Alan Furst
Alan Furst
Alan Furstis an American author of historical spy novels. Furst has been called "an heir to the tradition of Eric Ambler and Graham Greene," whom he cites along with Joseph Roth and Arthur Koestler as important influences. Most of his novels since 1988 have been set just prior to or during the Second World War and he is noted for his successful evocations of Eastern European peoples and places during the period from 1933 to 1944...
NationalityAmerican
ProfessionNovelist
Date of Birth20 February 1941
CountryUnited States of America
I'd never been in a police state. I didn't know what it was. I knew that it was, in the general way that people know that two and two is four, but it had no emotional value for me until I found myself in the middle of it.
I wrote three mysteries and then a contemporary spy novel that was unbelievably derivative - completely based on 'The Conversation,' the movie with Gene Hackman. Amazingly, the character in the book looks exactly like... Gene Hackman.
I write about the period 1933-42, and I read books written during those years: books by foreign correspondents of the time, histories of the time written contemporaneously or just afterwards, autobiographies and biographies of people who were there, present-day histories of the period, and novels written during those times.
I was raised on John D. MacDonald's Travis McGee series. Something about this genre - hard-boiled-private-eye-with-heart-of-gold - never failed to take me away from whatever difficulties haunted my daily world to a wonderful land where I was no more than an enthralled spectator.
I started writing in my 20s. I just wanted to write, but I didn't have anything to write about, so in the beginning, I wrote entertainments - mainly murder mysteries.
I never got any training in how to write novels as an English major at Oberlin, but I got some great training for writing novels from anthropology and from Margaret Mead.
I look for the dark story, where something secret was done. I read and read and pick up the trail of a true story. I use nothing but true stories. They are so much better than phony ones.
I just became what I call an 'anti-fascist novelist.' There is no word that covers both the fascists and the Communists, which mean different things to people, but of course they're the same: they're tyranny states.
I had the experience of a monk copying documents, applying myself assiduously to my work. And I thought whatever happened, happened - this is just what I do in my life.
I am there to entertain. I call my work high escape fiction; it's high, it's good - but it's escape, and I have no delusions about that. I have no ambition to be a serious writer, whatever that means.
For John le Carre, it was always who's betraying who: the hall-of-mirrors kind of thing. When you go back to the '30s, it's a case of good vs. evil, and no kidding. When I have a hero who believes France and Britain are on the right side, a reader is not going to question that.
You have to have heart's passion to write a novel.
Women take great care of themselves in France. It's a culture dedicated to making women beautiful and to manners.
What I discovered is I don't like to repeat lead characters because one of the most pleasurable things in a book to me is learning about the lead.