The Crook Factory
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- 69,00 kr
Publisher Description
It's the summer of 1942, and FBI agent Joe Lucas has come to Cuba at the behest of the Director to keep an eye on Ernest Hemingway in the Caribbean. Lucas thinks of it as a demotion-a babysitting job for a famous writer who has decided to play spy, assembling a team of misfits including an American millionaire, a twelve-year-old Cuban orphan, a Spanish jai alai champion and more in a would-be espionage ring Hemingway dubs the "Crook Factory."
But when Hemingway uncovers a critical piece of intelligence that both threatens his life and endangers the political landscape, the fate of the free world and the life of one of its most preeminent writers lies in the hands of the FBI's most ruthless agent.
PUBLISHERS WEEKLY
In previous novels, Simmons has cast John Keats as an intergalactic emissary (Hyperion) and Mark Twain as an occult adventurer (Fires in Eden). His new excursion in fictional literary biography--and first nonfantasy since Phases of Gravity (1989)--is a gutsy speculation on Ernest Hemingway's exploits in wartime espionage, much of it apparently based on fact. In 1942, Hemingway petitioned the American embassy for help in establishing a counterintelligence outfit he called "The Crook Factory," designed to investigate Nazi activity in his adopted home of Cuba. Joe Lucas, a dedicated if unimaginative young FBI agent, thinks he has been assigned to humor the well-connected writer but soon discovers that Hemingway and his crew of colorful sycophants have stumbled on a Nazi spy nest abuzz with activity. Someone is channeling information through the island's intelligence underground, all of it implicating a host of historical celebrities. The more deeply Hemingway's team probes, the more Lucas is persuaded that the Crook Factory has been deliberately set up as an expendable military subterfuge. As vividly depicted by Simmons, pre-Communist Cuba is an exotic locale whose volatile wartime intrigues are comparable to those of the cinematic Casablanca. It's the perfect milieu for Hemingway, whose larger-than-life evocation must be accounted one of Simmons's sterling literary achievements. The macho figure he cuts here is the stuff of countless Life magazine photos, and his development as Joe's friend and mentor is handled with intelligence and dignity. No one will mistake the novel's immersions in the numbing, repetitive detail of secret service operations for Papa's own concise prose. But the web of conspiracy Simmons spins, the zesty characters it entangles and its intricate cross-weave of fact and fiction distinguish this celebration of the Hemingway centenary.
