In Olen Steinhauer’s bestseller The Tourist, reluctant CIA agent Milo Weaver uncovered a conspiracy linking the Chinese government to the highest reaches of the American intelligence community, including his own Department of Tourism---the most clandestine department in the Company. The shocking blowback arrived in the Hammett Award--winning The Nearest Exit when the Department of Tourism was almost completely wiped out as the result of an even more insidious plot.
Following on the heels of these two spectacular novels comes An American Spy, Olen Steinhauer’s most stunning thriller yet. With only a handful of “tourists”—CIA-trained assassins—left, Weaver would like to move on and use this as an opportunity to regain a normal life, a life focused on his family. His former boss in the CIA, Alan Drummond, can’t let it go. When Alan uses one of Milo’s compromised aliases to travel to London and then disappears, calling all kinds of attention to his actions, Milo can’t help but go in search of him.
Worse still, it's beginning to look as if Tourism's enemies are gearing up for a final, fatal blow.
With An American Spy, Olen Steinhauer, by far the best espionage writer in a generation, delivers a searing international thriller that will settle once and for all who is pulling the strings and who is being played.
An American Spy is one of The New York Times Notable Books of 2012.
Praise for An American Spy
“Stunning. . .Readers are irresistibly drawn into Weaver's dogged struggle to unravel a complicated game of cat and mouse. . .Steinhauer is at the top of his game—but when isn't he?""
“The action is lickety-split and spiked with exceedingly satisfying spy craft.”
—The New York Times
“Not since Le Carre has a writer so vividly evoked the multilayered, multifaceted, deeply paranoid world of espionage, in which identities and allegiances are malleable and ever shifting, the mirrors of loyalty and betrayal reflecting one another to infinity. In this intensely clever, sometimes baffling book, it’s never quite clear who is manipulating whom, and which side is up.""
—The New York Times Book Review
“This ambitious, complex story spans the globe. Even when the intricacies of its plot are most challenging, we are fascinated and swept forward. Steinhauer has been likened to John le Carre and rightly so. Both men carry readers deep into a rival spy agency, one Soviet, one Chinese. . .Zhu may in time be to Weaver what the Soviet spymaster Karla was to le Carre’s George Smiley. Olen Steinhauer’s Milo Weaver novels are must-reads for lovers of the genre.”
—The Washington Post
Praise for The Nearest Exit
“The Nearest Exit [is] a terrific second installment in Olen Steinhauer’s ‘Tourist’ spy series about Milo Weaver, a brooding CIA operative with all the right lone-wolf tendencies. . .Milo’s company is at least as valuable to the series’ appeal as is his flair for international trickery.”
—Janet Maslin, The New York Times (Notable Book of 2010)
“Weaver is the novel’s gem. . .In many ways this is a classic spy novel, but it's Weaver’s angst that lifts the book to a compelling level of freshness.”
“Steinhauer delivers another winner in The Nearest Exit, a spy novel that asks deeper questions about the price we extract from individuals in the pursuit of the so-called greater good and the innocents who become collateral damage. It’s a subject as relevant to a spy within the CIA as it is to any of us: That’s a point that—through the prism of Milo's humanity and the dangerous web in which he finds himself enmeshed—Steinhauer makes abundantly and thrillingly clear.”
—Los Angeles Times
Praise for The Tourist
“Here’s the best spy novel I’ve ever read that wasn’t written by John le Carré. . .It’s a complex story of betrayal anchored by a protagonist who’s as winning as he is wily.”
—Stephen King, Entertainment Weekly
“Remember John le Carré . . . when he wrote about beaten-down, morally directionless spies? In other words, when he was good? That's how Olen Steinhauer writes in this tale of a world-weary spook who can't escape the old game.”
“The kind of principled hero we long to believe still exists in fiction, if not in life.”
—The New York Times Book Review (Editor’s Choice)