Evelyn is charged with infiltrating the Lion Society, a group of homegrown fascists whom the authorities fear might help Hitler and the war effort. She conducts herself with maybe a little too much savoir faire, given that this is her first undercover experience, but soon enough the society’s members ask her to supply classified information from the British War Office. Then she discovers a surprising personal connection among the Nazi sympathizers—a connection that will return to haunt her in the years after the war.

Anderson frames his story with in-depth biographies of four CIA operatives largely unheralded in the annals of American espionage. These men include Edward Lansdale, a larger-than-life advertising executive turned secret agent; Peter Sichel, a German Jew who escaped Nazi Germany and later led key operations in postwar Europe; Michael Burke, an ex-naval officer who guided operations in Albania and Eastern Europe; and Frank Wisner, a crusading spymaster who oversaw many covert missions.

Atkinson quickly establishes place, diction, and a credible spirit of wartime and postwar milieus—while rarely getting bogged down in unnecessary exposition. The tone in the early chapters is both keenly literary and vividly cinematic. Confusion arises, however, with a plethora of secondary characters, i.e., the German sympathizers and double agents, some of whom are being “run” by Godfrey Tobey, some by Perry (her boss). The reader might be forgiven for wondering why many of these clandestine members of the Fifth Column talk so openly about “working for Berlin” or “spying for the Gestapo” in the midst of wartime England. 

Many nights, Spooks turn on their shortwave radios and drift through the frequencies. On any given night, one can hear amateur radio stations broadcasting church sermons, utility traffic for aircrafts – with the right equipment, you can hear/contact the International Space Station. Yet one of the most eerie, mysterious uses of shortwave is that of the numbers stations: stations that feature ominous – sometimes robotic – voices saying seemingly random number patterns.

As a storyteller, McEwan has few equals. From the novel’s opening lines—“My name is Serena Frome (rhymes with plume) and almost forty years ago I was sent on a secret mission for the British Security Service”—he draws us into the dreary world of Cold War England, circa 1974,  time of internal social and political upheaval. The story purrs along like a well-oiled machine, as Serena falls in love with Tony Canning, a married professor and much older man. The affair ends badly, though not before Canning has set her on an eventful career path with MI5. 

While strong female protagonists have been all but invisible in conventional war genre films (Jarhead, Hurt Locker, Black Hawk Down, Restrepo), a new sub-genre has cropped up that puts women at the center of military defense politics. From Alias and Salt to Homeland and the Oscar-nominated Zero Dark Thirty, we have witnessed the emergence of a contemporary screen obsession with watching ass-kicking female CIA agents hunting the world’s most elusive political terrorists.