Paranoia Joseph Finder Analysis Essay

Who is the intruder? "Was there any doubt it was a deranged laid-off employee?" Mr. Finder writes. Just as fans of the genre recognize the red herring in this, they will also spot the book's most ill-conceived character, a supposedly stealthy figure who might as well be wearing a sandwich board describing evil intentions. A 520-page book leaves quite a lot of slack time for the reader who senses what's coming.

But Mr. Finder is stronger on atmosphere than plot. And "Company Man" is as much a novel about the chicanery of the business world as it is a mystery story. Takeovers and outsourcing are not news, but Mr. Finder weaves these prospects menacingly throughout the story, as Nick finds himself increasingly undermined by his colleagues. The issue of whether to "sell Stratton down the Yangtze River" -- that is, whether to lose control of the hugely popular office chair that has made Stratton's fortune -- is as compelling as that of who stabbed Barney, the Conovers' pet.

Nobody in Mr. Abrahams's "Oblivion" is as benign as Barney, certainly not Nick Petrov, the stellar private eye who is the main character. Nick is so famous that (take this any way you'd like) Armand Assante has played him in a television movie about his exploits. He's a cool customer in a noir, Chandleresque California, and he has an inordinate acuity for details. One unmistakable thing he notices throughout the first part of the book: he has a small, nagging headache. And it won't go away.

Petrov, as Mr. Abrahams calls him here, has worked his way deep into a missing-persons case, tracking down a teenage girl named Amanda, when the headache explodes. It becomes a seizure, after such harbingers as Petrov's strange, inappropriate word choices and nagging malaise. Petrov is hospitalized. The headache is diagnosed as Grade IV brain cancer.

Suddenly, Petrov is being called Nick by Mr. Abrahams. Everything about him changes. And the oblivion of the title sets in. The author grippingly manipulates Nick's memory loss, which destroyed his understanding of the case he was on and a good deal more about his life. But as his memory begins to return, it works in unexpected ways. Sometimes it flashes deeply into the past. Sometimes it is abruptly set off by an odd image or smell. And most interestingly within the context of a mystery novel, sometimes it tells him things that he didn't know before.

Nick is propelled through the latter part of "Oblivion" by the imagined voice of his father. If he can stick with the case, that voice tells him, he can stay alive. He is also strongly attracted to Billie, his nurse, in ways that invigorate the book without trivializing its fundamental darkness. Adroitly rather than morbidly, Mr. Abrahams fuses the mortality of his hero with that of the crime victims he has known.

"Oblivion" is so circuitously plotted that the reader's memory gets as much of a workout as Nick's does. But it is most interesting for the light, elliptical voice with which Mr. Abrahams discloses information. Here, Nick realizes that something strange has happened to the woman he is questioning: "Her eyes were wide open, a beautiful blue of the lightest possible shade, but sightless. Stroke? He turned her over, still couldn't see what was wrong with her. The color of her shirt fooled him, masking what was going on. It was only when he checked his hands, suddenly sticky, that he began to understand: red, red, red."

It has been said that "Peter Abrahams may well be the best writer in the thriller business" -- by Mr. Finder, as it happens, in keeping with the logrolling blurbs that often link one writer in this genre to another. In this case, the affinity is easier to understand: these writers are after similar effects. But they achieve them -- Mr. Finder pragmatically, Mr. Abrahams dreamily -- in very different ways.

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Joseph Finder is the bestselling author of thirteen previous novels, including The Fixer and Suspicion. Two bestsellers, Paranoia and High Crimes, became major motion pictures. His awards include The Barry, Gumshoe, and The International Thriller Writers Award. His new novel is The Switch.

The Switch focuses on Michael Tanner, an ordinary guy whose marriage and business career are in trouble. Coming home to Boston from a business trip, he accidentally picks up the wrong MacBook laptop after it passed through TSA screening. He doesn’t notice the mix-up until he arrives home, and when he sees its owner affixed a Post-It with a password, he opens the laptop, happy to be able to contact that person to correct the mix-up. But, by opening that laptop, his nightmare begins. He’s in possession of a U.S. senator’s laptop which contains “top secret” government files. Michael Tanner finds himself at the center of an extraordinary manhunt, and his entire life begins unraveling.

The Switch has a ‘ripped from the headlines’ quality, yet veers in its own unique direction. What role do current events play in your conception of thrillers?

I think thrillers play upon the ambient anxieties in our society. You can write a thriller having nothing to do with the headlines, but it will still have some relationship to what’s going on in our culture.

I was writing The Switch during the 2016 presidential campaign at the time Donald Trump was lambasting Hillary Clinton. I didn’t finish writing the book until after the election, and I suddenly realized I was writing a conspiracy novel during a conspiratorial age—with the issue of Russia having hacked into and having tried to interfere with our electoral process. While not all of my books are ‘ripped from the headlines,’ this one was and it felt like it was appropriately so.

How did this idea of a mistaken switch of laptops occur to you?

I was on a book tour and grabbed my Mac Book Air when it came out of the X-ray machine. I stopped and realized it was someone else’s. So, I thought, ‘What would have happened if I’d grabbed the wrong laptop?” Probably not much. It would have involved a hassle, but it wouldn’t have been a big deal. I then thought, ‘What if this was a laptop belonging to someone important and there was something on it? At that point, my twisted mind kicked in and I had a story.

You once said, ‘The daily news brings me stories I could never use in a book, because nobody would believe them. Fiction has to make sense. Real life doesn’t.’ Tell us more about that.

In our increasingly conspiratorial age, countless political conspiracy theories float everywhere. This is the kind of story I wouldn’t make up; it just seems too far-fetched. Basically, a thriller is about the restoration of order. There’s a tear in the fabric of someone’s life and it’s mended by the end of the novel. The story must make sense. It cannot be about an open-ended conspiracy. Reality doesn’t have to make sense in a way that fiction must make sense. That may be one of the reason we read fiction—it’s a way of processing our fears and worries, and coping with them.

Many of your novels deal with government agencies and corporate conspiracies. How did you develop an interest in these issues?

I came very close to joining the CIA. I have friends who work there—friends I really admire—and I must say, I always read Robert Ludlum novels, which helped foster my interest in these things. Robert Ludlum’s novels were always about large conspiracies. In general, I’m not a conspiracy theorist, I’m a conspiratologist. I’m interested in the study of conspiracy and what it does to people. I actually don’t believe in conspiracies to the extent that many people do because I think government people involved in conspiracies are unable to keep a secret. The notion of conspiracies is an interesting way of looking at the world. I was trained as a Sovietologist, and I think understanding the way the Kremlin works is an exercise in conspiracy theory.

Despite his flaws, Michael Tanner inThe Switchis a very likable protagonist. What do you think makes him soappealing?

He’s an entrepreneur, yet he lacks the killer instinct. I set the novel up so that it’s Tanner versus someone in the government. One has too much ambition, and the other lacks the killer instinct. I think Michael Tanner is appealing because he’s a happy-go-lucky and easily-relatable person. He loves his work and wants to save his coffee business, even though he’s struggling to survive.

Another thing that makes him likable is he begins to adapt to his insane circumstances. He gets better and better at negotiating the rigors of the virtually impossible dilemma in which he finds himself immersed.

The prose inThe Switchis straightforward, very readable, and quite powerful. How would you describe your writing style?

I find prose very important when I read. It’s difficult for me to read badly-written novels. I feel that just because I’m writing something considered popular entertainment, doesn’t mean the prose can be lazy or predictable. I write as directly as possible, yet I try to make sure the words I choose are apt, the expressions are not clichés. I’m telling a story but I don’t want the prose to get in the way. I don’t want the reader to notice how ‘beautiful’ it is. I want it to be invisible, but good.

Your first novel, The Moscow Club,was published when you were twenty-three years old and still a student at Harvard. I know there’s an interesting story behind it. Will you share it with us?

The Moscow Club began as a non-fiction book. I’d learned Armand Hammer, the CEO of Occidental Petroleum, had connections with Russia’s KGB. But there were things I couldn’t put in a non-fiction book because I couldn’t completely nail down the facts. So instead, I decided to write a novel in which an Armand Hammer-like character was featured. As fiction, I could say whatever I wanted.

Armand Hammer was very unhappy about the book. His lawyer, Louis Nizer, published an Op-Ed piece in the New York Times threatening a libel lawsuit against the publisher. But Hammer couldn’t sue because he would never want to go through the discovery process. Instead, he called Harvard and tried to have me expelled. He really went after me. It was very scary.

When the book came out, Hammer bought up as many copies as he could to take the book off the market. So, thanks to him, in the end, the book sold very well. [Laughter].

Is there anything about your writing process that might surprise our readers?

I spend a lot of time doing research. While I’m talking to people as part of my research, I get plot ideas from talking to them. So, even though I’m doing research, I’m also plotting the narrative arc at the same time. My discussion with a CIA or an ex-CIA operative may generate a good idea for a scene or plot twist. In a sense, I come up with my characters by talking to real characters.

What’s coming next from Joseph Finder?

I’ll be writing a Boston-based standalone with a female protagonist.

Congratulations on writingThe Switch, a gripping thriller that makes you feel every emotion and rams home therealization of how flimsy the predictability of life can be.

Mark Rubinstein’s latest book is Beyond Bedlam’s Door: True Tales from the Couch and Courtroom, a psychiatric/medical memoir.

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