Excerpted from Kingdom of Shadows by Alan Furst. . Excerpted by permission of Random House Trade Paperbacks, a division of Random House LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Alan Furst describes the area of his interest as “near history.” His novels are set between 1933–the date of Adolf Hitler’s ascent, with the first Stalinist purges in Moscow coming a year later–and 1945, which saw the end of the war in Europe. The history of this period is well documented. Furst uses books by journalists of the time, personal memoirs–some privately published–autobiographies (many of the prominent individuals of the period wrote them), war and political histories, and characteristic novels written during those years.
“But,” he says, “there is a lot more”–for example, period newsreels, magazines, and newspapers, as well as films and music, especially swing and jazz. “I buy old books,” Furst says, “and old maps, and I once bought, while living in Paris, the photo archive of a French stock house that served newspapers of Paris during the Occupation, all the prints marked as cleared by the German censorship.” In addition, Furst uses intelligence histories of the time, many of them by British writers.
Alan Furst has lived for long periods in Paris and in the south of France. “In Europe,” he says, “the past is still available. I remember a blue neon sign, in the Eleventh Arrondissement in Paris, that had possibly been there since the 1930s.” He recalls that on the French holiday le jour des morts (All Saints’ Day, November 1) it is customary for Parisians to go to the Père Lachaise Cemetery. “Before the collapse of Polish communism, the Polish émigrés used to gather at the tomb of Maria Walewska. They would burn rows of votive candles and play Chopin on a portable stereo. It was always raining on that day, and a dozen or so Poles would stand there, under black umbrellas, with the music playing, as a kind of silent protest against the communist regime. The spirit of this action was history alive–as though the entire past of that country, conquered again and again, was being brought back to life.”
The heroes of Alan Furst’s novels include a Bulgarian defector from the Soviet intelligence service, a foreign correspondent for Pravda, a Polish cartographer who works for the army general staff, a French producer of gangster films, and a Hungarian émigré who works with a diplomat at the Hungarian legation in Paris. “These are characters in novels,” Furst says, “but people like them existed; people like them were courageous people with ordinary lives and, when the moment came, they acted with bravery and determination. I simply make it possible for them to tell their stories.”
1. How does Nicholas Morath's experience as a cavalry officer in World War I affect his behavior in this book?
2. During many of Morath's assignments, he acts with very limited knowledge--he knows what he is to do, but not why, or who is involved. His uncle, a diplomat at the Hungarian legation, does not tell him the full story. Why? Is his uncle morally right to do this? Is he right in any sense? How is this used as a plot device?
3. The first verse of the Hungarian national anthem, quotes in the epigraph of Kingdom of Shadows, speaks of a people "torn by misfortune," a nation that has "already paid for its sins." How is the tone of this national anthem different from that of other patriotic songs? What can you infer about the history of Hungary from its national anthem?
4. Critics praise Furst's ability to re-create the atmosphere of World War II-era Europe with great accuracy. What elements of description make the setting come alive? How can you account for the fact that the settings seem authentic even though you probably have no first-hand knowledge of the times and places he writes about?
5. Furst's novels have been described as "historical novels" and as "spy novels". He call them "historical spy novels." Some critics have insisted they are, simply, novels. How does his work compare with other spy novels you've read? What does he do that is the same? Different? If you owned a bookstore, in what section would you display his books?
6. Furst is often praised for his minor characters, which have been described as "sketched out in a few strokes." Do you have a favorite in this book? Characters in Furst's books often take part in the action for a few pages and then disappear. What do you think becomes of them? And, if you know, how do you know? What in the book is guiding you toward that opinion?
7. At the end of an Alan Furst novel, the hero is always still alive. What becomes of Furst's heroes? Will they survive the war? Does Furst know what becomes of them? Would it be better if they were somewhere safe and sound, to live out the end of the war in comfort? If not, why not?
8. Love affairs are always prominent in Furst's novels, and "love in a time of war" is a recurring theme. Do you think these affairs might last, and lead to marriage and domesticity?
9. How do the notions of good and evil work in Kingdom of Shadows? Would you prefer a confrontation between villian and hero at the end of the book? Do you like Furst's use of realism in the novel?