Four hours after his failed suicide attempt, he descended toward Aerodrom Ljubljana. A tone sounded, and above his head the seat belt sign glowed. Beside him, a Swiss businesswoman buckled her belt and gazed out the window at the clear Slovenian sky--all it had taken was one initial rebuff to convince her that the twitching American she'd been seated next to had no interest in conversation.
The American closed his eyes, thinking about the morning's failure in Amsterdam--gunfire, shattering glass and splintered wood, sirens.
If suicide is sin, he thought, then
“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.”—Time
“Smart… He excels when the focus is on Weaver an intriguing, damaged man yearning to break free of his dark profession.”—People
“Olen Steinhauer evokes the work of spy novel greats like John le Carré with his new novel, The Tourist…As in the best of le Carre'swork, the clandestine world of The Tourist is as much about bureaucrats as it is about black bag ops. Steinhauer has a solid grasp of the espionage world (either that or a fertile imagination) that enlivens his enjoyable story.”—Chicago Sun-Times
“Justifiably praised for his novels set in Cold War-era Eastern Europe.The Tourist is contemporary but equally intelligent, evocative, and nuanced.”—Seattle Times
“Elaborately engineered… He immerses his reader in the same kind of uncertainty that Milo faces at every turn… As for Mr. Steinhauer, the two-time Edgar Award nominee who can be legitimately mentioned alongside of Johnle Carré, he displays a high degree of what Mr. le Carré’s characters like to call tradecraft. If he’s as smart as The Tourist makes him sound, he’ll bring back Milo Weaver for a curtain call.”—Janet Maslin, The New York Times
Edgar-finalist Steinhauer takes a break from his crime series set in an unnamed Eastern European country under Communist rule (