By Kristine A. Miller (eds.)
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Additional info for Transatlantic Literature and Culture After 9/11: The Wrong Side of Paradise
Example text
To read this response as paralyzing despair suggests that the ongoing war on terror, signified by the two novels’ publication dates – 2003 and 2008 – has diffused the power of polemical fiction to sustain the passion of its outrage. But le Carré’s paradoxical polemics comes to its own rescue here. Like Absolute Friends, A Most Wanted Man portrays the war as a Hollywood western. With “the tall American” engineering an ambush and a “high-sided minibus” standing in for the white horse, with “men in balaclavas and black tracksuits […] climbing out at their leisure,” the novel’s political passion is sustained by le Carré’s ongoing parody of America’s siege on terror (322, 317, 319).
The “crisp night wind […] whisking off the lake, bringing a smell of oil from the harbor” (AF 322), is no more cleansing than the fog-ridden “foul black” Thames beside which George Smiley weeps for his inadequate moral response to villainy (CD 141). Both Absolute Friends and A Most Wanted Man express a multivalent polemics that includes grief in its expression of rage and corrective laughter in its complex inquiry into le Carré’s post-9/11 rhetorical war on America. ” In choosing a distressed but open ending for A Most Wanted Man, le Carré creates a proposition that differs markedly from the all-encompassing 32 Phyllis Lassner control he assumed and activated in his explosive ending to Absolute Friends.
Le Carré’s paradoxical polemics represents an alternative epistemological method. Rather than exhausting the critical possibilities of parody, the novels create a multivalent, generative perspective. At the finale of A Most Wanted Man, as Brue, Bachmann, and Richter are held apart by their defeat and speechless response, they are connected by the novel’s increasingly paradoxical polemics. With an image reminiscent of Call for the Dead, the expression of mournfulness joins that of corrective laughter.
