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Then it ended. The German patrol boat started up with a roar, their own engine accelerated, and the boat moved forward; somebody on the other side of the wall said, “All right, that’s over. We’ll let you out as soon as we clear the harbor.”

On deck, Casson breathed the salt air, gripped the railing, and watched the land fall away as the boat moved out to sea. It was the end of the night, hills dark against the sky, faded moon, white combers rolling in to shore.

Good-bye.

Forever—he knew that. This was what life cost you, you lost what you loved. He closed his eyes and saw her, felt her breath on his face, felt her skin against him. Then he was in the sea.

Cold. The shock of it made him gasp, then swim for his life. Behind him, great volleys of angry threats and curses. Ahead of him, now he could see it, the beach.

Citrine.

HOTEL DU MER
(1944)

Brilliantly written and directed by

René Guillot, the last weekend of a small seaside

hotel in the south of France. Danielle Aubin (Citrine)

is ravishing as a mysterious stranger.

THE WORLD AT NIGHT

ALAN FURST

A Reader’s Guide

To print out copies of this or other Random House Reader’s Guides,
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www.atrandom.com/rgg

The Research of Alan Furst’s Novels

Alan Furst describes the area of his interest as “near history.” His novels are set between 1933—the date of Adolf Hitler’s ascent, with the first Stalinist purges in Moscow coming a year later—and 1945, which saw the end of the war in Europe. The history of this period is well documented. Furst uses books by journalists of the time, personal memoirs—some privately published—autobiographies (many of the prominent individuals of the period wrote them), war and political histories, and characteristic novels written during those years.

“But,” he says, “there is a lot more”—for example, period newsreels, magazines, and newspapers, as well as films and music, especially swing and jazz. “I buy old books,” Furst says, “and old maps, and I once bought, while living in Paris, the photo archive of a French stock house that served the newspapers of Paris during the Occupation, all the prints marked as cleared by the German censorship.” In addition, Furst uses intelligence histories of the time, many of them by British writers.

Alan Furst has lived for long periods in Paris and in the south of France. “In Europe,” he says, “the past is still available. I remember a blue neon sign, in the Eleventh Arrondissement in Paris, that had possibly been there since the 1930s.” He recalls that on the French holiday
le jour des morts
(All Saints’ Day, November 1) it is customary for Parisians to go to the Père Lachaise Cemetery. “Before the collapse of Polish communism, the Polish émigrés used to gather at the tomb of Maria Walewska. They would burn rows of votive candles and play Chopin on a portable stereo. It was always raining on that day, and a dozen or so Poles would stand there, under black umbrellas, with the music playing, as a kind of silent protest against the communist regime. The spirit of this action was history alive—as though the entire past of that country, conquered again and again, was being brought back to life.”

The heroes of Alan Furst’s novels include a Bulgarian defector from the Soviet intelligence service, a foreign correspondent for
Pravda,
a Polish cartographer who works for the army general staff, a French producer of gangster films, and a Hungarian émigré who works with a diplomat at the Hungarian legation in Paris. “These are characters in novels,” Furst says, “but people like them existed; people like them were courageous people with ordinary lives and, when the moment came, they acted with bravery and determination. I simply make it possible for them to tell their stories.”

Questions for Discussion

1. If you asked Jean Casson to define the word
honor,
what would he say? Which, if any, of the following would be included: Loyalty to friends? Loyalty to country? Loyalty in love? Loyalty to self?

2. After his meeting with Simic, in which he is first offered the chance to work for British intelligence, Casson thinks to himself,
“You think you
know how the world works, but you really don’t. These people are the
ones who know how it works.”
How would you say Casson’s understanding of the world has changed by the novel’s conclusion? Has he become one of the people who know how the world “really works”?

3. To what extent is Casson culpable for the death of his friend Langlade?

4. During the early years of the German Occupation of France, a common question, which Langlade poses to Casson, was this: “If your barber cuts hair under the Occupation, does that make him a collaborator?” How would you respond? What would you have done in similar circumstances?

5. Alan Furst has said that his books are written from the point of view of the nation where the story takes place. Describe the French point of view as it appears in
The World at Night.

6. Critics praise Furst’s ability to re-create the atmosphere of World War II–era Europe. What elements of description make the setting come alive? How can you account for the fact that the settings
seem
authentic even though you probably have no firsthand knowledge of the times and places he writes about?

7. Furst’s novels have been described as “historical novels,” and as “spy novels.” He calls them “historical spy novels.” Some critics have insisted that they are, simply, novels. How does his work compare with other spy novels you’ve read? What does he do that is the same? Different? If you owned a bookstore, in what section would you display his books?

8. Furst is often praised for his minor characters, which have been described as “sketched out in a few strokes.” Do you have a favorite in this book? Characters in his books often take part in the action for a few pages and then disappear. What do you think becomes of them? How do you know?

9. At the end of an Alan Furst novel, the hero is always still alive. What becomes of Furst’s heroes? Will they survive the war? Does Furst know what becomes of them? Would it be better if they were somewhere safe and sound, to live out the war in comfort? If not, why not?

10. How do the notions of good and evil work in
The World at Night
? Would you prefer a confrontation between villain and hero? Describe Furst’s use of realism in this regard.

Suggested Reading

There is an enormous body of literature, fiction and nonfiction, written about the period 1933–1945, so Alan Furst’s recommendations for reading in that era are very specific. He often uses characters who are idealistic intellectuals, particularly French and Russian, who become disillusioned with the Soviet Union but still find themselves caught up in the political warfare of the period. “Among the historical figures who wrote about that time,” Furst says, “Arthur Koestler may well be ‘first among equals.’ ” Furst suggests Koestler’s
Darkness at Noon
as a classic story of the European intellectual at midcentury.

Furst, as a novelist of historical espionage, is most often compared with the British authors Graham Greene and Eric Ambler. Asked about Ambler’s books, Furst replies that “the best one I know is
A Coffin for
Dimitrios.”
Published in 1939, a month before the invasion of Poland, Ambler’s novel concentrates on clandestine operations in the Balkans and includes murder for money, political assassination, espionage, and drug smuggling. The plot, like that of an Alan Furst novel, weaves intrigue and conspiracy into the real politics of 1930s Europe.

For the reality of daily life in eastern Europe, Furst suggests the novelist Gregor von Rezzori, of Italian/Austro-Hungarian background, who grew up in a remote corner of southeastern Europe, between the wars, and writes about it brilliantly in
Memoirs of an Anti-Semite,
which takes place in the villages of Romania and the city of Bucharest in the years before the war.

To see life in that period from the German perspective, Furst says that Christopher Isherwood’s novels
The Last of Mr. Norris
and
Good-bye to Berlin
are among the best possible choices. The sources for the stage plays
I Am a Camera
and
Cabaret,
these are novelized autobiographies of Isherwood’s time in Berlin; they are now published as
The
Berlin Stories.
Furst calls them “perceptive and wonderfully written chronicles of bohemian life during the rise to power of Adolf Hitler and the Nazi party.”

For a historical overview of the period, Alan Furst recommends Martin Gilbert’s
A History of the Twentieth Century, Volume Two:
1933–1951.
All the major political events that rule the lives of the characters in Alan Furst’s novels are described, in chronological sequence, in this history.

This is a work of fiction. Names, characters, places, and incidents are the product of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.

Copyright © 2000 by Alan Furst

Map copyright © 2001 by Anita Karl and Jim Kemp

All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Random House, Inc., New York.

RANDOM HOUSE and colophon are registered trademarks of Random House, Inc.

This work was originally published by Victor Gollancz, a member of the Orion Publishing Group, London, in 2000.

Library of Congress Cataloging-in-Publication Data

Furst, Alan.

Kingdom of shadows: a novel / Alan Furst.

p. cm.

1. World War, 1939–1945—France—Fiction. 2. World War, 1939–1945—Hungary—Fiction.3. France—Fiction. 4. Hungary—Fiction. I. Title.ps3556.u76 k56 2001

813’.54—dc21 00-032344

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www.atrandom.com

eISBN: 978-0-375-50680-2

v3.0

Contents

Master - Table of Contents

Title Page

Copyright

Epigraph

Map

In the Garden of the Baroness Frei

Von Schleben’s Whore

Night Train to Budapest

Intermarium

This nation has already paid for its sins, past and future.

—
HUNGARIAN NATIONAL ANTHEM