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The printer was not the only villain, though, and Harley had to find the unknown writers who wished to bring the government down. Full of original research, The Paper Chase tears through the backstreets of London and its corridors of power as Edwards's allegiances waver and Harley's grasp on parliament threatens to slip.
Joseph Hone's The Paris Trap, first published in 1977, saw him step aside from his sequence of 'Peter Marlow' novels to offer a different kind of political thriller.Jim Hackett and Harry Tyson first met in Paris, in days of hope - Hackett a promising actor, Tyson a budding writer. Twenty years later, their dreams soured, they are reunited in Paris for a substantive project: Hackett, now a movie actor, has been cast in a major film derived from a spy novel authored by Tyson, who now works for British intelligence. But the plot of the film, concerning a Palestinian terrorist cell, is about to be overtaken in the dramatic stakes by real events.'A fine example of a vastly popular genre - the thinking man's thriller.' Irish Times'Through a distorting filter of betrayals, private and public, Joseph Hone conducts us to a final scene so dire that Hamlet by comparison leaves the stage tidy.' Guardian
'Joseph Hone went to Zaire for the BBC. His aim was a series of talks about crossing Africa from coast to coast, as Stanley had done. That intention began, and ended, in Kinshasha... Having fallen in love in boyhood with the idea of Africa, he had looked for 'great liberating spaces', and found himself in a city from which there was no escape without a private plane.' Guardian'For those who like to read, in comfort, about uncomfortable journeys, frightful hotels, dreadful meals, and broken-down capitals, I strongly recommend Children of the Country. The section on Kinshasha, in particular, is both alarming and hilarious.' Richard Cobb, Spectactor 'Books of the Year''A darkly coloured personal odyssey.... Hone hopes to achieve some kind of perspective on his unraveling marriage here in the landscape of his boyhood fantasies... His ability to articulate his own reactions to the landscape, combined with his precise notation of detail, lend his narrative freshness and vitality.' Michiko Kakutani, New York Times
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