What happens to spies when they get old? This is the intriguing question posed by Spook Street. Former senior spy David Cartwright is showing the early signs of dementia. He wanders round his village in his pyjamas, convinced that the flickering streetlights are a code, and that the local shopkeeper’s small talk is an interrogation. What might he reveal in his confusion?
His grandson, River Cartwright, is one of the misfit spies exiled to Slough House under Jackson Lamb (the so-called Slow Horses). He is concerned about his grandfather and wants to take care of him before the Service move to ‘take care of him’ in another sense.
At first I found it hard to orient myself in the present day, particularly as this was my introduction to Slough House. I’m a big fan of John le Carré and I couldn’t shake the feeling that I was back in the world of Smiley. The grotty building, the sluggish central heating, the air of ennui, the animal terminology (stoats and horses rather than moles) – Even the cadence of the prose echoes le Carré. It’s only the references to technology that hurtle you back to the present day.
But this is more than Smiley with iPods. I soon warmed (if that’s the right word) to the Slow Horses. They are flawed but clever, unlikeable to varying degrees (likeability is, in my view, a much-overrated quality in a fictional character) but always interesting.
One way Spook Street differs from le Carré is that no one here seems to much believe in anything. In Smiley’s world, people are motivated at times by principle, even if they’re not the principles they’re supposed to have. Here the ambitious are motivated by their own power and status, while the employees at Slough House seem to have enough to do just to make it through the day.
A lot of contemporary spy fiction, and crime in general, seems to be high in concept and low in substance. Fast food for the eyeball, with clockwork characters marching through the obligatory twists. This is the opposite. The plot is the plot, and is probably best not examined too closely, but the prose is rich and satisfying and funny in the darkness and bleak in the light. There are complex, grown up characters and a world in Slough House that may owe a debt to le Carré but clearly has a life of its own. A world that lives and breathes and which you are sure is still there when you have stopped reading. I’ll definitely be back.
I received a copy of Spook Street from the publisher via Netgalley.
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