Good News, Bad News

"Good News, Bad News" is just plain fun. It takes the classic aggrieved spy tale, betrayed by his masters and turns the genre on its head. George and Charlie work at a photo kiosk. Charlie suspects George is a spy and, so, spies on George. Charlie also suspects one of the customers of the photo kiosk of being a spy as well and stakes out her hotel. Some sleuth Charlie is: the woman sends over a drink and invites Charlie to her room. Some very interesting events occur, resulting in the rather odd bonding of Charlie and George. A few days later, some film arrives at the photo kiosk to be developed. Both Charlie and George look through the developed prints and learn something: they are to kill each other. Turns out Charlie and George are both spies. From that point on, Wolstencroft weaves a marvelous tale. It kept me awake through the night. I hope it does the same for you. Jerry

If you love MI-5, you'll love this book. If you've never watched MI-5 (on A & E) you'll still go crazy over it. This is a phenomenal rollercoaster spy ride with two of the most original and entertaining characters I've read in a long time. George and Charlie remind me a little of Butch Cassidy and the Sundance Kid and I don't think I've enjoyed a yarn quite so much since I saw that movie. Also, I loved MI-5 on A & E because of the twists and turns and this book has more than the whole show put together. They just keep coming until the final standoff. The good news is, this book delivers on all its promises. The bad news is, we'll have to wait a little while for the next one!

You get the feeling, almost from the first page of GOOD NEWS, BAD NEWS, that you are reading something special. There are all sorts of influences here, from John le Carre to Monty Python to even John Woo --- but all of it is pure David Wolstencroft. GOOD NEWS, BAD NEWS is Wolstencroft's first novel, but not his first artistic work; he is the creator and writer of the British spy drama "Spooks," broadcast in the United States on the A & E Network under the name "MI-5." Wolstencroft nails every scene, every sentence, every word like the English language had evolved to its present stage just for him. The proof positive here is about halfway through GOOD NEWS, BAD NEWS. I am sorely tempted to reproduce the passage here, but I will not because I want you to get this book and read it; suffice it to say that it is contained in a passage that describes the eighteenth century and the Cambridge Library in terms of the feeling that both invoke. The closest that anything comes to it for dead-bang brilliance is Bob Dylan's line from "Visions of Johanna": inside the museum, infinity goes up on trial/voices echo this is what salvation must be like after a while. Yes. Wolstencroft is a bit more scatological in his description, but the emotion it invokes is the same, stated in such a way that, once you have read it, you know that no other way will come close. But I am ignoring an important element here while getting lost in the literary wonders of this work. GOOD NEWS, BAD NEWS is a fun read. I may have read a better book (or two) this year, but I have not read one that is as enjoyable an experience as this one is. Wolstencroft has somehow mastered the ability of injecting humor into his narrative without sacrificing an iota of suspense. I do not believe that I have ever read a novel wherein Edward Lear was referenced, however briefly and indirectly, in the middle of a scene where two guys are desperately on the run, and yet the reference is not stretched or strained; it is perfect. So what is GOOD NEWS, BAD NEWS about? It is so difficult to summarize without giving away the multitude of surprises within. Suffice to say that two British spies, both of whom work for "the Agency," are, for different reasons, ready to retire. They are each given a final assignment: each is assigned to terminate the other. This poses a number of problems: the men are friends, each is aware of the other's assignment, and they have no clue as to what either of them might have done to deserve the extreme termination. As a result, they trust each other with a wary eye as they simultaneously seek to evade death from an unknown source while attempting to determine how their peculiar set of circumstances has come about. Both men are very, very good at what they do, and are well versed in all the elements of spy craft --- but so is their mysterious pursuer. The fact that neither of the targeted agents has been completely honest with the other heightens the suspense, which would be excru

I brought the book on a lark because I love the writer's television series (MI-5 on A & E)...and boy was I rewarded for listening to my spirit of adventure. Wolstencroft is an extremely clever and entertaining writer who rewards his reader with every turn of the page. You will love his rich characters, relish his creative plot twists and marvel at his sheer talent for storytelling. I simply couldn't put the book down. Now if only it were December, all my Christmas shopping would be done.

British Security Services Agents twenty-seven years old Scotsman Charlie Millar and almost fifty George Shaw separately receive good news that their next respective assignments will be their last ones for each of them. The cover for their final assignment is a shabby photo-processing booth, where each must hide his real identity from the other, while awaiting their final mission orders. However, the bad news is that those final assignments are to assassinate the other. Quickly, Charlie and George realize something is not right as the cover is really for one person. When they learn each other's assignment, they agree to flip a coin with the loser on the run, but first want to learn why their employer would use such a drastic means to terminate them. As Charlie and George work closely together, the good news is that they make headway; the bad news is that treachery runs very high in their agency that wants them and others dead immediately. The good news for readers is this is an exhilarating espionage tale reminiscent of F/X as Charlie and George trust no one except somewhat each other; the bad news is that the audience needs to set aside several hours to finish in one sitting. The tale hooks the audience once George explains to Charlie in their photo lab section that he is retiring because his cousin's aorta was too tiny to handle the stress. The plot never slows down though it is often amusing with comparative observations on spying and modern life by the delightful George and Charlie until a final explosive confrontation in North America. Harriet Klausner