| | |  | Terrorism | Home » » The Ghost | | | | | | | Description: | | The role of a ghostwriter is to make his client look good, not to uncover the truth. But what happens when the client is a major political figure, and the truth could change the course of history? Adam Lang, the controversial former prime minister of Britain, is writing his memoirs. But his first ghostwriter dies under shocking circumstances, and his replacement—whose experience lies in portraying aging rock stars and film idols—knows little about Lang’s inner circle. Flown to join Lang in a secure house on the remote shores of Martha’s Vineyard in the depths of winter, cut off from everyone and everything he knows, he comes to realize he should never have taken the job. It’s not just his predecessor’s mysterious death that haunts him, but Adam Lang himself. Deep in Lang’s past are buried shocking secrets . . . secrets with the power to alter world politics . . . secrets with the power to kill. | | | Product Details: | | | Average Customer Rating:
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Average Customer Review:
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52 of 62 found the following review helpful:
 When reading this latest work of his, you cannot avoid making parallels with the real thingOct 30, 2007
the former PM and his entourage, his political adventures and disasters, and so on and so forth. But the way Harris narrates his story is enticing and thrilling, issuing suspense right and left with a skilled hand: the ambience is right, the dialogue fits, the main characters tally, the spinning is familiar and the cynicism is sharp. I enjoyed the book in a single reading, and I think I'll go back to it with more attention to detail, since it seems to me this is a super parody of Blair and his retinue, and of the publishing world from which the author extracts true images surely derived from real experience. Also, if you missed reading Tino Georgiou's masterpiece--The Fates, go and read it. I'm reading it at a rapid pace because it's so addictive. There is something about his books that bring you in and get you hooked. and I'm loving this one. Highly Recommend!
33 of 39 found the following review helpful:
 Good Book...Great EndingOct 25, 2007
By Holden Caulfield
I own and enjoyed Harris' other works "Fatherland," "Archangel" and "Enigma." While this definitely is a bit of a different historical fiction, (set in present day or not so distant future), I found it to be a good read. Harris is a master of the thriller, and you won't be disappointed. Everyone is entitled to their opinion, I just happen to disagree with the notion that fans of Harris who enjoy reading intelligent writing should skip this book. The ending alone is worth it, as Harris employs an unusual and possibly original technique that leaves the reader satisfied. I usually don't review the books I read (this is my first) but I felt this book was worthy of defense against a one star rating.
31 of 37 found the following review helpful:
A great novel with many levelsMar 25, 2008
By C. Keith Conners
"Professor Emeritus"
This book quickly draws you into its story before you realize why. The first level is probably because the writing is so witty and graceful that you immediately feel entertained.
At another level you feel drawn to the author-protagonist because of his self-deprecating humor and the acceptance of his fate, which is to be a ghost writer rather than a "real" writer. The politics of being a ghost writer, always humbly in the background, while nevertheless creating stunning works for celebrity non-authors gives insight into the mind of actual ghost-writers, whom Harris liberally quotes in each chapter.
Then of course there is a level of political analysis thinly veiled from the real world of a discredited (in Harris' mind) Tony Blair. Harris hits upon a deep sense of regret felt by many of us because of Blair's foolish entanglement with the arrogant American president in the Iraq war. As one who admired Blair's entertaining performances in Parliament (seen at home on C-Span)I can heartily share the sense of tragedy of a great man who, like Chamberlain, falls from grace by commiting a remarkable stupidity of judgment. While the Prime Minister in this story is fictional, the parallels with Blair are inescapable.
Finally, there is the plot itself, which starts off with a suspicious death, weaves its way into the private life of the fallen PM, maintains a sense of urgency and tension until the climax is revealed, in the best tradition of mystery thrillers. The value of this book is that it is much more than a thriller, without eroding the central plot.
A wholly entertaining, engrossing, and instructive book. This one immediately sent me looking for other books by this exceptional writer. None have been disappointing.
7 of 7 found the following review helpful:
Well written political thrillerApr 20, 2008
By J. Murphy
I've not read any of Robert Harris' books before this one so I was a relative newcomer to his style of writing. What a trip! I really enjoyed this book on so many levels (it kept me up late many a night while reading before bedtime). How cool it was of Harris to never actually name his "ghost" (who tells the story in first person narrative). It added to the air of mystery. It was also enjoyable to have each of the primary cast members became slowly fleshed out through the course of the book, not the usual two-dimensional characterization of "good/bad". Nothing was transparent or easily guessed at in this novel. Even thhe book's protaganist is written as a normal, ordinary fellow put into abnormal, extraordinary circumstances. That just adds to it even more. This is a very good story and if Harris continues to write choice thrillers like this one, I'll keep buying them and reading them.
6 of 6 found the following review helpful:
The moment I heard how McAra died, I should have walked away. I know that now.Mar 17, 2010
By Andy Orrock
Robert Harris' Fatherland: A Novel (Mortalis) was one of the last century's finest novels in my estimation. In 'The Ghost,' Harris again shows that he's a master of conjuring up wonderfully almost-real-life experiences and playing them out in thrilling, suspenseful narratives.
Harris' ex-PM Adam Lang has Blair-like charisma and a similar fall in standing due to his role in a war against terror and a decision regarding extraordinary rendition. Lang's wife, Ruth, is said to be the smarter of the two, not standing for office but influencing career, campaign and policy behind the scenes (hello, Cheri). Spin doctors, lawyers and personal aides flesh out the former PM's retinue.
New to Lang's inner circle is Lang's would be ghostwriter, named, um, well, hold on, it's in here somewhere...
Ah. We _never learn_ this character's name. After 400 pages of fiction, and with his protagonist appearing on almost every page, Harris skillfully dodges revealing the man's name. Every other character either already knows the writer, or - in the case of Adam Lang - refers to 'the ghost' in a indirect way like 'man.' The Ghost mistakenly interprets this as a sign of Lang's comfortableness with him. Others pop his bubble: Lang's just terrible with names and has forgotten yours. [Another novel that used this same technique to good effect: Joanne Harris' Gentlemen and Players: A Novel (P.S.).]
This feat is more than a parlor trick by Harris: The Ghost is meant to be an unseen force shaping Lang's work-in-progress memoir. [That's why 'The Ghost' - the novels' original UK release name - is better than the US release's 'Ghost Writer.' That title is akin to redundant phrases like 'ATM Machine' or 'PIN Number'.] Lang's efforts have stalled (cough,cough). The Ghost is here to reboot the effort. Indeed, The Ghost's first review of Lang's draft with his previous collaborator reveals a dreadfully boring, leaden text. While our protagonist is warming to the task, larger forces in The Hague and Washington (and a certain Virginia suburb) are about to turn Lang's life upside down.
The Ghost - heretofore known for his light confections with aging rockers and others of that ilk - shows surprising gumption and nerve as an investigator. It's this steeliness that leads him into a web of intrigue and danger that he could not have foreseen. As the novel's first two lines ominously predestine: "The moment I heard how McAra died, I should have walked away. I know that now."
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