By John Le Carré
From the “literary grasp for a generation” - The London Observer comes a fiercely compelling and present novel set in Hamburg that performs to all of le CarrÉ’s trademark strengths— Germany, rival intelligence operations, and sympathetic protagonists who find a style for ethical integrity.
A half-starved younger Russian guy in an extended black overcoat is smuggled into Hamburg at dead of night. He has an unbelievable amount of cash secreted in a purse round his neck. He is a religious Muslim. Or is he? He says his identify is Issa.
Annabel, an idealistic younger German civil rights attorney, determines to avoid wasting Issa from deportation. quickly her client’s survival turns into extra very important to her than her personal career—or safeguard.
In pursuit of Issa’s mysterious prior, she confronts the incon- gruous Tommy Brue, the sixty- year-old scion of Brue FrÈres, a failing British financial institution established in Hamburg.
Annabel, Issa, and Brue shape an not going alliance—and a triangle of most unlikely loves is born. in the meantime, scenting a yes kill within the so-called struggle on Terror, the spies of 3 international locations converge upon the innocents.
Poignant, compassionate, peopled with characters the reader by no means desires to permit cross, A so much sought after guy is alive with humor, but prickles with stress till the final heart-stopping web page. it's a paintings of deep humanity and unusual relevance to our times.
From Publishers Weekly
When boxer Melik Oktay and his mom, either Turkish Muslims residing in Hamburg, absorb a road individual calling himself Issa before everything of this morally advanced mystery from le Carré (The challenge Song), they trigger a series of occasions implicating intelligence firms from 3 international locations. Issa, who claims to be a Muslim clinical pupil, is, in truth, a sought after terrorist and the son of Grigori Karpov, a pink military colonel whose huge resources are hid in a mysterious portfolio at a Hamburg financial institution. Tommy Brue, a stereotypical incorrect everyman stuck up within the machinations of spies and counterspies, enters the plot whilst Issa's legal professional seeks to assert those resources. The booklet works top in its depiction of the rivalries besetting even post-9/11 intelligence businesses that are meant to be allies, yet not one of the characters is as memorable as George Smiley or Magnus Pym. nonetheless, even a lesser le Carré attempt is way above the typical run of thrillers. (Oct.)
From Bookmarks Magazine
While this novel might be le Carre's first tackle espionage in Europe after the chilly conflict, critics couldn't be extra divided over its caliber. Alan Furst, himself one of many greats of the style, opines such a lot sought after guy will be one of many author's most sensible, no longer for its content material quite a bit as for its technical brilliance. yet different reviewers panned the paintings, arguing that le Carre's outrage over fresh American intelligence practices distorts the plot and renders some of the characters as mere cliches. possibly the consensus is such a lot sought after guy is an stress-free le Carre novel (and consequently far better than so much thrillers)—but faraway from his best.
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Additional info for A Most Wanted Man
2a b c The kings of the earth take their stand and regents intrigue together against Yahweh and his anointed. Cola a and b contain the first main clause (again: clause = colon) and the core of the second main clause, after w h i c h the C - c o l o n is filled u p w i t h the adjunct that concludes the second sentence. T h e poet, by the way, thinks of m o r e than just syntax, and at the end even manages to effect a form of balance: h e places two people in the C - c o l o n , the deity and the king, and this pair is intended to counterbalance the w o r d pair kings/regents.
4 and v. 8, since they are an obvious enumeration, and w i t h all these nonfunctioning b o d y parts constitute attractive polemics*. T h e surrounding verses have clearly b e e n synchronized. All refer to people and contain the point: w h o w o u l d be so naive as to w o r ship their handiwork? T h e C - c o l o n of v. 7 concludes the central series w i t h a slightly different pattern, and together w i t h (the " m o u t h s " in) v. 5a makes a frame around the core of the evidence. At the last m o m e n t , it seems as if the p o o r wretches want to cry o u t in distress after the merciless trouncing by the poet, but they cannot manage this—they really are d u m b .
8—9 is n o t prominent, but certainly recognizable and lends an aspect of har m o n y to the people gathered there. T h e y are presented in the plural (princes, children), by w h i c h the poet takes us back to the beginning. In this way h e effectively rounds off his song w i t h a form ofinclusio*, a frame. O n l y after w e have crossed the finish d o The Art of Poetry: A Definition and Analysis 21 w e realize that there are excellent reasons for the call to "praise G o d " in v. 1: these are given in the long final strophe.