The Ghost

The Ghost Writer tells the first person story of a professional ghost writer who is engaged to complete a manuscript begun by a man whose body had recently been found washed ashore. Hesitant at first, the protagonist accepts the appointment after he is told that he is to receive $250,000 for one month's work. True to the adage that "If its too good to be true, it is", our writer soon finds himself having nightmares of floating in the sea beside the body of his predecessor. The Ghost Writer was penned by accomplished author Robert Harris, and originally published as The Ghost. When reading this tome it is good to remember that the person speaking makes his living ghostwriting the autobiographies of celebrities. The book avoid the use of stale formulas, but the identity of the book's villain is very shopworn. The first half or so of this work can be tedious at times, and the main character's ready acceptance into his client-politician's inner circle challenges one's ability to suspend disbelief. Nevertheless, this book tells a refreshingly novel tale, and provides several real surprises. The ending is quite unanticipated, and leaves the reader questioning the reality of the geopolitical world around him. Anyone who enjoys a good Alfred Hitchcock mystery will enjoy this book. I highly recommend it.

Robert Harris' Fatherland: A Novel (Mortalis) was one of the last century's finest novels in my estimation. In 'The Ghost,' Harris again shows that he's a master of conjuring up wonderfully almost-real-life experiences and playing them out in thrilling, suspenseful narratives. Harris' ex-PM Adam Lang has Blair-like charisma and a similar fall in standing due to his role in a war against terror and a decision regarding extraordinary rendition. Lang's wife, Ruth, is said to be the smarter of the two, not standing for office but influencing career, campaign and policy behind the scenes (hello, Cheri). Spin doctors, lawyers and personal aides flesh out the former PM's retinue. New to Lang's inner circle is Lang's would be ghostwriter, named, um, well, hold on, it's in here somewhere... Ah. We _never learn_ this character's name. After 400 pages of fiction, and with his protagonist appearing on almost every page, Harris skillfully dodges revealing the man's name. Every other character either already knows the writer, or - in the case of Adam Lang - refers to 'the ghost' in a indirect way like 'man.' The Ghost mistakenly interprets this as a sign of Lang's comfortableness with him. Others pop his bubble: Lang's just terrible with names and has forgotten yours. [Another novel that used this same technique to good effect: Joanne Harris' Gentlemen and Players: A Novel (P.S.).] This feat is more than a parlor trick by Harris: The Ghost is meant to be an unseen force shaping Lang's work-in-progress memoir. [That's why 'The Ghost' - the novels' original UK release name - is better than the US release's 'Ghost Writer.' That title is akin to redundant phrases like 'ATM Machine' or 'PIN Number'.] Lang's efforts have stalled (cough,cough). The Ghost is here to reboot the effort. Indeed, The Ghost's first review of Lang's draft with his previous collaborator reveals a dreadfully boring, leaden text. While our protagonist is warming to the task, larger forces in The Hague and Washington (and a certain Virginia suburb) are about to turn Lang's life upside down. The Ghost - heretofore known for his light confections with aging rockers and others of that ilk - shows surprising gumption and nerve as an investigator. It's this steeliness that leads him into a web of intrigue and danger that he could not have foreseen. As the novel's first two lines ominously predestine: "The moment I heard how McAra died, I should have walked away. I know that now."

It may not be a fair assessment, but I often think of Robert Harris as the "other Harris": somehow Thomas Harris, creator of Hannibal Lector, always seems to get more of the spotlight. It's unfortunate, because Robert Harris may be the better writer of the two. Certainly, Robert has not allowed himself to be pigeonholed into a single genre (unlike Thomas, who after his first novel (Black Sunday), has been limited to Lector books): Robert Harris has written alternate history (Fatherland), WWII novel (Enigma) and Roman historical novels (Pompeii, Imperium) among his books. The Ghost is also a different kind of thriller, and one of Harris's best yet. The unnamed narrator of The Ghost is a fortyish man who's carved out a reasonably successful life as a ghost writer assisting celebrities write their memoirs. As the book opens, he is given his biggest assignment yet: writing the autobiography of former British Prime Minister Adam Lang. Lang--who bears a slight resemblance to Tony Blair--has retired to Martha's Vineyard, where he is dogged by his complicity with the American war on terror. The narrator was not the first writer of the memoir; his predecessor died of an apparent suicide (though most readers will suspect something else is afoot). Whisked to Martha's Vineyard and subjected to a very tight timeline, the new ghost writer tries to understand the man who he is supposed to depict. The ex-P.M. is a bit of an enigma, however, forcing the ghost writer to do his own research, which will unearth disturbing facts. Meanwhile, Lang is facing a real threat to his livelihood: a possible indictment for war crimes related to kidnapping and torture. Most of the time, I don't like the idea of a nameless narrator, but in The Ghost, it works. After all, the character is supposed to be a ghost, haunting the background but outside of events. It doesn't really work out that way, leading to some threatening situations and a number of plot twists, even a big one on the final page. The Ghost is a fast-paced and fun thriller that fans of suspense novels will enjoy. The lack of any Oscar-winning adaptations of his books may continue to keep Robert Harris as "the other Harris" but among those with that surname, he is the best.

I've read all Robert Harris' novels but was very surprised by what a witty gem his latest is. This quick, sophisticated novel works on several levels, not the least of which is as a sly drawing-room comedy with political smarts. The first half reads like a David Hare play. Throw in savvy asides on the publishing world and a neat thriller plot that kicks in towards the end and the whole affair is a complete delight. His earlier novels are white-knuckle classics. This one doesn't exactly have the fine writing and passion you get with LeCarre, but Harris takes his game to a different level. He doesn't go in for the scorched earth attack of Absolute Friends, but offers instead a devastating slow burn. An instant classic. Bravo.

As a writer, I enjoyed this book on multiple levels. The description of the way the ghostwriter works, although necessarily under-played, was interesting in that it's not all that different from the way I work, whether I'm writing fiction or non-fiction. The mechanics of the process had little to do with the plot, although they do tell use something about the narrator. His tone of voice--cynical yet curious--perfectly fits someone in the profession. The major characters were credible, although not particularly admirable, and the action moved along apace. From the opening murder to the twist at the end, the book carries the reader forward not just to see who dunnit, but to find out what happens. The resolution was, in my opinion, quite satisfactory. A good, diverting read.