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Books : Fiction : Authors, A-Z : H : Harris, Robert
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Certain thriller writers burst upon the scene with considerable impact: Forsyth with The Day of the Jackal, Cruz Smith with Gorky Park and Robert Harris with the masterly Fatherland. Interestingly, of these three authors, by far the most consistent has been Harris, and his new novel, Pompeii is in some ways his most audacious offering yet, a brilliantly orchestrated thriller-cum-historical recreation that plays outrageous tricks with the reader's expectations.As in the equally adroit Enigma, Harris takes a familiar historical event (there, the celebrated code-breakers at Bletchley Park, here the volcanic obliteration of an Italian city in AD79) and seamlessly weaves a characteristically labyrinthine plot in and around the existing facts. But that's not all he does here: few novelists who (unlike Harris) make a speciality of ancient history for their setting pull off the sense of period quite as impressively as the author does here. As the famous catastrophe approaches, we are pleasurably immersed in the sights, sounds and smells of the Ancient World, each detail conjured with jaw-dropping verisimilitude.
Harris's protagonist is the engineer Marcus Attilius, placed in charge of the massive aqueduct that services the teeming masses living in and around the Bay of Naples. Despite the pride he takes in his job, Marcus has pressing concerns: his predecessor in the job has mysteriously vanished, and another task is handed to Marcus by the scholar Pliny: he is to undertake crucial repairs to the aqueduct near Pompeii, the city in the shadow of the restless Mount Vesuvius. And as Marcus faces several problems--all life threatening--an event approaches that will make all his concerns seem petty.
Other writers have placed narratives in the shadow of this most famous of volcanic cataclysms, but Harris triumphantly ensures that his characters' individual dramas are not dwarfed by implacable nature; Marcus is a vividly drawn hero: complex, conflicted and a canny synthesis of modern and ancient mindsets. Some may wish that Harris might return to something closer to our time in his next novel, but few who take this trip into a dangerous past will be able to resist Harris's spellbinding historical saga. --Barry Forshaw
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A gripping World War II mystery novel with a cryptographic twist, Enigma's hero is Tom Jericho, a brilliant British mathematician working as a member of the team struggling to crack the Nazi Enigma code. Jericho's own struggles include nerve-wracking mental labour, the mysterious disappearance of a former girlfriend, the suspicions of his coworkers within the paranoid high-security project, and the certainty that someone close to him, perhaps the missing girl, is a Nazi spy. The plot is pure fiction but the historical background, Alan Turing's famous wartime computing project that cracked the German U-boat communications code, is real and accurately portrayed. Enigma is convincingly plotted, forcefully written, and filled with well-drawn characters; in short, it's everything a good techno-mystery should be. --James Early
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Before political journalist Robert Harris turned to fiction and resurrected Hitler for his best selling novel Fatherland, he also wrote a hugely entertaining account of the farce surrounding the publication of the hoax Hitler diaries. Archangel, with the obvious exception of substituting Hitler for that other 20th-century ogre Josef Stalin, can be seen as something of a combination of these previous projects. The novel opens in present-day Russia where a louche Oxford academic, Christopher "Fluke" Kelso, is attending a conference on the newly available Stalin archives. Kelso quickly becomes embroiled in a quest for some of Uncle Joe's still secret papers--and also a quest to make his own academic reputation--but soon uncovers more than he bargains for. The ghosts of the old authoritarian past exert a peculiar and all too powerful tug on Yeltsin's fragile capitalist democracy and as Kelso is drawn ever nearer to the secret that lies in the remote White Sea port of Archangel so the tragedies of the past become hideously more plausible in the present. Harris is historically sound, politically astute and his acute insight into the apparatus of state repression and minds of despots is unnerving. But most of all he tells a terrific yarn and Archangel sees him on top form. This is his best yet.--Nick Wroe
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Certain thriller writers burst upon the scene with considerable impact: Forsyth with The Day of the Jackal, Cruz Smith with Gorky Park and Robert Harris with the masterly Fatherland. Interestingly, of these three authors, by far the most consistent has been Harris, and his new novel, Pompeii is in some ways his most audacious offering yet, a brilliantly orchestrated thriller-cum-historical recreation that plays outrageous tricks with the reader's expectations.As in the equally adroit Enigma, Harris takes a familiar historical event (there, the celebrated code-breakers at Bletchley Park, here the volcanic obliteration of an Italian city in AD79) and seamlessly weaves a characteristically labyrinthine plot in and around the existing facts. But that's not all he does here: few novelists who (unlike Harris) make a speciality of ancient history for their setting pull off the sense of period quite as impressively as the author does here. As the famous catastrophe approaches, we are pleasurably immersed in the sights, sounds and smells of the Ancient World, each detail conjured with jaw-dropping verisimilitude.
Harris's protagonist is the engineer Marcus Attilius, placed in charge of the massive aqueduct that services the teeming masses living in and around the Bay of Naples. Despite the pride he takes in his job, Marcus has pressing concerns: his predecessor in the job has mysteriously vanished, and another task is handed to Marcus by the scholar Pliny: he is to undertake crucial repairs to the aqueduct near Pompeii, the city in the shadow of the restless Mount Vesuvius. And as Marcus faces several problems--all life threatening--an event approaches that will make all his concerns seem petty.
Other writers have placed narratives in the shadow of this most famous of volcanic cataclysms, but Harris triumphantly ensures that his characters' individual dramas are not dwarfed by implacable nature; Marcus is a vividly drawn hero: complex, conflicted and a canny synthesis of modern and ancient mindsets. Some may wish that Harris might return to something closer to our time in his next novel, but few who take this trip into a dangerous past will be able to resist Harris's spellbinding historical saga. --Barry Forshaw
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Certain thriller writers burst upon the scene with considerable impact: Forsyth with The Day of the Jackal, Cruz Smith with Gorky Park and Robert Harris with the masterly Fatherland. Interestingly, of these three authors, by far the most consistent has been Harris, and his new novel, Pompeii is in some ways his most audacious offering yet, a brilliantly orchestrated thriller-cum-historical recreation that plays outrageous tricks with the reader's expectations.As in the equally adroit Enigma, Harris takes a familiar historical event (there, the celebrated code-breakers at Bletchley Park, here the volcanic obliteration of an Italian city in AD79) and seamlessly weaves a characteristically labyrinthine plot in and around the existing facts. But that's not all he does here: few novelists who (unlike Harris) make a speciality of ancient history for their setting pull off the sense of period quite as impressively as the author does here. As the famous catastrophe approaches, we are pleasurably immersed in the sights, sounds and smells of the Ancient World, each detail conjured with jaw-dropping verisimilitude.
Harris's protagonist is the engineer Marcus Attilius, placed in charge of the massive aqueduct that services the teeming masses living in and around the Bay of Naples. Despite the pride he takes in his job, Marcus has pressing concerns: his predecessor in the job has mysteriously vanished, and another task is handed to Marcus by the scholar Pliny: he is to undertake crucial repairs to the aqueduct near Pompeii, the city in the shadow of the restless Mount Vesuvius. And as Marcus faces several problems--all life threatening--an event approaches that will make all his concerns seem petty.
Other writers have placed narratives in the shadow of this most famous of volcanic cataclysms, but Harris triumphantly ensures that his characters' individual dramas are not dwarfed by implacable nature; Marcus is a vividly drawn hero: complex, conflicted and a canny synthesis of modern and ancient mindsets. Some may wish that Harris might return to something closer to our time in his next novel, but few who take this trip into a dangerous past will be able to resist Harris's spellbinding historical saga. --Barry Forshaw
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Before political journalist Robert Harris turned to fiction and resurrected Hitler for his best selling novel Fatherland, he also wrote a hugely entertaining account of the farce surrounding the publication of the hoax Hitler diaries. Archangel, with the obvious exception of substituting Hitler for that other 20th-century ogre Josef Stalin, can be seen as something of a combination of these previous projects. The novel opens in present-day Russia where a louche Oxford academic, Christopher "Fluke" Kelso, is attending a conference on the newly available Stalin archives. Kelso quickly becomes embroiled in a quest for some of Uncle Joe's still secret papers--and also a quest to make his own academic reputation--but soon uncovers more than he bargains for. The ghosts of the old authoritarian past exert a peculiar and all too powerful tug on Yeltsin's fragile capitalist democracy and as Kelso is drawn ever nearer to the secret that lies in the remote White Sea port of Archangel so the tragedies of the past become hideously more plausible in the present. Harris is historically sound, politically astute and his acute insight into the apparatus of state repression and minds of despots is unnerving. But most of all he tells a terrific yarn and Archangel sees him on top form. This is his best yet.--Nick Wroe
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