What We Fear Now

“During the Cold War, the conflicts that powered the thriller were rooted in ideology: Le Carre’s Berlin and Greene’s Havana were mainly backdrops against which the clash of the superpowers was played out. The new thrillers were not focused on ideology but on place; it was the peeling away of layers of culture and history that gave these novels their impetus.”

Email this to someoneShare on FacebookTweet about this on Twitter