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Code to Zero [Mass Market Paperback]

Ken Follett
3.1 out of 5 stars  See all reviews (157 customer reviews)
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Product Description

From Amazon

Veteran thriller writer Ken Follett (Eye of the Needle, The Third Twin, The Key to Rebecca) turns in another nifty story of espionage, deceit, and betrayal, a fast-paced read with "bestseller" written all over it. A man wakes up in a Washington, D.C., train station in 1958, shortly before the launch of Explorer I, America's first space satellite, with no idea who he is or how he got there. And in less than a few hours, it's clear that someone doesn't want him to find out. He's dressed like a bum, and he looks like he's been on a bender. But he's remarkably skillful at evading pursuit, obscuring his tracks, stealing a car, and breaking into a house. He's not sure how he came by those talents, and it worries him:
"I wonder if I'm honest?" Maybe it was foolish, he thought, to pour out his heart to a whore on the street, but he had no one else. "Am I a loyal husband and a loving father and a reliable workmate? Or am I some kind of gangster? I hate not knowing."

"Honey, if that's what's bothering you, I know what kind of guy you are already. A gangster would be thinking, am I rich, do I slay the broads, are people scared of me?"

That was a point. Luke nodded. But he was not satisfied. "It's one thing to want to be a good person--but maybe I don't live up to what I believe in."

But he does, and it's that firm interior moral compass that keeps him on track through the novel's most fascinating pages as he solves the puzzle of who he really is: Claude "Luke" Lucas, a renowned rocket scientist who was en route from Cape Canaveral to Washington to warn someone in the Pentagon about something he also can't remember, even with the help of some of his oldest friends. Like Anthony Carroll, a CIA agent who apparently has proof that Luke's been sabotaging the fledgling American space program and working for the Russians. And Billie Josephson, the woman Luke once loved, who happens to be an expert in brainwashing and memory loss. And Elspeth, Luke's mathematician wife, who'll do almost anything to save his life.

This is one of Follett's strongest books in years. The flashbacks bring the story of the idealistic young collegians from World War II into 1958, nicely setting up the action in an exciting, solidly plotted, and suspenseful read that grabs the reader by the throat in the first paragraph and doesn't let up until the last. --Jane Adams --This text refers to an out of print or unavailable edition of this title.

From Publishers Weekly

After dabbling in his last few books in historical sagas and various thriller subgenres, Follett returns to his espionage roots with this absorbing, tightly plotted Cold War tale about skullduggery in the early days of the space race. Set in 1958 shortly after the Soviets beat the Americans into orbit, the story tracks the frantic movements of Dr. Claude Lucas, who wakes up one morning in Washington, D.C.'s Union Station, dressed as a bum. A victim of amnesia, he has no recollection that he is a key player in the upcoming launch of Explorer 1, the army's latest attempt to get a rocket into space. While Lucas slowly unravels the clues to his identity, the CIA follows its own agenda. The agency, led by Lucas's old Harvard buddy Anthony Carroll, has its own murky reasons for wanting Lucas to remain amnesic, and will kill him if he tries to interfere with the launch. Follett (The Hammer of Eden) does a wonderful job of keeping readers guessing about Lucas; is he a spy trying to foil the launch, as the CIA apparently believes? From the nation's capital to Alabama and Cape Canaveral, Lucas manages to stay one step ahead of his pursuers, steadily learning more about his memory loss, his wife, Elspeth, and his college friends Carroll, Billie Josephson and Bern Rothsten. Suspense junkies won't be disappointed by Follett's man-on-the-run framework; tension courses through the book from start to finish. Yet where the story shines is in the chemistry between Lucas and the four other major characters. As told through a series of well-chosen flashbacks, all the old college chums are now working or have worked as spies. The dilemma, skillfully posed by Follett, is figuring out who's friend and who's foe. (Dec. 4) Forecast: In his first hardcover for Dutton, Follett is wise to return to his forte of espionage thriller, and to base this novel on a real event, the unexplained delay of the 1958 Explorer 1 launch. Given the promotional hooplaDwhich includes a 425,000 first printing and $400,000 ad/promoDplus first serial to Reader's Digest; status as a BOMC, Literary Guild and Doubleday Book Club main selection; simultaneous audios from Penguin Audio; and the sale of movie rights to Columbia Pictures, this book has a good chance of dancing with the charts.
Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Library Journal

Explorer I is about to blast off at Cape Canaveral, ready to challenge Sputnik in space, and Luke Lucas finds himself lying on the ground in a train station. He doesn't remember who he is, but he does know a terrible secret that could affect blast-offDand peace in the time of Cold War. Sounds like a classic Follett thriller.
Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Booklist

Follett has written a string of best-selling thrillers over the past 20 years, but none of them has matched the electricity of his breakthrough novel, Eye of the Needle (1978). His latest, however, may change that. As with Needle, this cold-war thriller uses a time-driven espionage plot to generate remarkable tension. The plot hinges on the activities of four former Harvard classmates, one of whom, Claude "Luke" Lucas, is a scientist working on the launch of the first American satellite, Explorer I, in 1958. With Sputnik safely in orbit, the Russians hope to sabotage the American launch and take control of the space race. When Luke wakes up in a toilet in Washington's Union Station with autobiographical memory loss, it's clear the game is afoot; will he be able to reconstruct his identity in time to figure out who's behind the Russian plot and save the launch, scheduled for that same night? As the story unfolds, Follett jumps between the present, January 1958, and December 1941, when Luke and his Harvard friends were about to be swept up in the maelstrom of World War II. Follett's strength as a writer has always been plot over characters; his people are alive enough not to undermine our commitment to the story, but, finally, they take a backseat to the tumult of the action. Don't look for ambiguity here, or for le Carre's specialty, espionage as metaphor for the problem of identity, but frankly, as the launch clock ticks down to zero, you won't be thinking about identity. A classic page-turner on a classic theme: cold-war skulduggery. Bill Ott
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.

Review

“Gripping.”The New York Times

“This spy thriller is Follett at his best.”People

Code to Zero’s split-second suspense proves that nearly a quarter century after his breakthrough novel, Eye of the Needle…[Follett is] still a hell of a storyteller.”Entertainment Weekly

“Absorbing, tightly plotted…Suspense junkies won't be disappointed.”Publishers Weekly

“Starts off fast and never slows down…Follett creates a rousing story that never flags.”Chicago Tribune

“Flawlessly plotted, tautly told and suspenseful.”Minneapolis Star Tribune

“A winner…a jolting joyride.”St. Louis Post-Dispatch

About the Author

Ken Follett was twenty-seven when he wrote Eye of the Needle, an award-winning thriller that became an international bestseller. After writing more successful thrillers he surprised everyone with The Pillars of the Earth, about the building of a cathedral in the Middle Ages, which continues to captivate millions of readers all over the world and its long-awaited sequel, World Without End, was a number one bestseller in the US, UK and Europe. Fall of Giants was the first bestselling book in the Century trilogy, followed by Winter of the World. --This text refers to the Paperback edition.

Excerpt. © Reprinted by permission. All rights reserved.

5 a.m.

The Jupiter C missile stands on the launch pad at Complex 26, Cape Canaveral. For secrecy, it is draped in vast canvas shrouds that hide everything but its tail, which is that of the Army’s familiar Redstone rocket. But the rest of it, under the concealing cloak, is quite unique . . .

He woke up scared.

Worse than that: he was terrified. His heart was pounding, his breath came in gasps, and his body was taut. It was like a nightmare, except that waking brought no sense of relief. He felt that something dreadful had happened, but he did not know what it was.

He opened his eyes. A faint light from another room dimly illuminated his surroundings, and he made out vague shapes, familiar but sinister. Somewhere nearby, water ran in a cistern.

He tried to make himself calm. He swallowed, took regular breaths, and attempted to think straight. He was lying on a hard floor. He was cold, he hurt everywhere, and he had some kind of hangover, with a headache and a dry mouth and a feeling of nausea.

He sat upright, shaking with fear. There was an unpleasant smell of damp floors washed with strong disinfectant. He recognized the outline of a row of washbasins.

He was in a public toilet.

He felt disgusted. He had been sleeping on the floor of a men’s room. What the hell had happened to him? He concentrated. He was fully dressed, wearing some kind of topcoat and heavy boots, though he had a feeling that these were not his clothes. His panic was subsiding, but in its place came a deeper fear, less hysterical but more rational. What had happened to him was very bad.

He needed light.

He got to his feet. He looked around, peering into the gloom, and guessed where the door might be. Holding his arms out in front of him in case of invisible obstacles, he made his way to a wall. Then he walked crabwise, his hands exploring. He found a cold glassy surface he guessed was a mirror. Then there was a towel roller, then a metal box that might be a slot machine. At last his fingertips touched a switch, and he turned it on.

Bright light flooded white-tiled walls, a concrete floor, and a line of toilets with open doors. In a corner was what looked like a bundle of old clothes. He asked himself how he got here. He concentrated hard. What had happened last night? He could not remember.

The hysterical fear began to return as he realized he could not remember anything at all.

He clenched his teeth to stop himself from crying out. Yesterday . . . the day before . . . nothing. What was his name? He did not know.

He turned toward the row of basins. Above them was a long mirror. In the glass he saw a filthy hobo, dressed in rags, with matted hair, a dirty face, and a crazy, pop-eyed stare. He looked at the hobo for a second; then he was hit by a terrible revelation. He stared back, with a cry of shock, and the man in the mirror did the same. The hobo was himself.

He could no longer hold back the tide of panic. He opened his mouth and, in a voice that shook with terror, he shouted, “Who am I?”

>>><<<

The bundle of old clothes moved. It rolled over, a face appeared, and a voice mumbled, “You’re a bum, Luke, pipe down.”

His name was Luke.

He was pathetically grateful for the knowledge. A name was not much, but it gave him a focus. He stared at his companion. The man wore a ripped tweed coat with a length of string around the waist for a belt. The grimy young face had a crafty look. The man rubbed his eyes and muttered, “My head hurts.”

Luke said, “Who are you?”

“I’m Pete, you retard—

“I can’t—” Luke swallowed, holding down the panic. “I’ve lost my memory!”

“I ain’t surprised. You drank most of a bottle of liquor yesterday. It’s a miracle you didn’t lose your entire mind.” He licked his lips. “I didn’t get hardly any of that goddamn bourbon.”

Bourbon would explain the hangover, Luke thought. “But why would I drink a whole bottle?”

Pete laughed mockingly. “That’s about the dumbest question I ever heard. To get drunk, of course!”

Luke was appalled. He was a drunken bum who slept in public toilets.

He had a raging thirst. He bent over a washbasin, ran the cold water, and drank from the tap. It made him feel better. He wiped his mouth, then forced himself to look in the mirror again.

The face was calmer now. The mad stare had gone, replaced by a look of bewilderment and dismay. The reflection showed a man in his late thirties, with dark hair and blue eyes. He had no beard or mustache, just a heavy growth of dark stubble.

He turned back to his companion. “Luke what?” he said. “What’s my last name?”

“Luke . . . something, how the hell am I supposed to know?”

“How did I get this way? How long has it been going on? Why did it happen?”

Pete got to his feet. “I need some breakfast,” he said.

Luke realized he was hungry. He wondered if he had any money. He searched the pockets of his clothes: the raincoat, the jacket, the pants. All were empty. He had no money, no wallet, not even a handkerchief. No assets, no clues. “I think I’m broke,” he said.

“No kidding,” Pete said sarcastically. “Come on.” He stumbled through a doorway.

Luke followed.

When he emerged into the light, he suffered another shock. He was in a huge temple, empty and eerily silent. Mahogany benches stood in rows on the marble floor, like church pews waiting for a ghostly congregation. Around the vast room, on a high stone lintel atop rows of pillars, surreal stone warriors with helmets and shields stood guard over the holy place. Far above their heads was a vaulted ceiling richly decorated with gilded octagons. The insane thought crossed Luke’s mind that he had been the sacrificial victim in a weird rite that had left him with no memory.

Awestruck, he said, “What is this place?”

“Union Station, Washington, D.C.,” said Pete.

A relay closed in Luke’s mind, and the whole thing made sense. With relief he saw the grime on the walls, the chewing gum trodden into the marble floor, and the candy wrappers and cigarette packs in the corners, and he felt foolish. He was in a grandiose train station, early in the morning before it filled up with passengers. He had scared himself, like a child imagining monsters in a darkened bedroom.

Pete headed for a triumphal arch marked exit, and Luke hurried after him.

An aggressive voice called, “Hey! Hey, you!”

Pete said, “Oh-oh.” He quickened his step.

A stout man in a tight-fitting railroad uniform bore down on them, full of righteous indignation. “Where did you bums spring from?”

Pete whined, “We’re leaving, we’re leaving.”

Luke was humiliated to be chased out of a train station by a fat official.

The man was not content just to get rid of them. “You been sleeping here, ain’t you?” he protested, following hard on their heels. “You know that ain’t allowed.”

It angered Luke to be lectured like a schoolboy, even though he guessed he deserved it. He had slept in the damn toilet. He suppressed a retort and walked faster.

“This ain’t a flophouse,” the man went on. “Damn bums, now scram!” He shoved Luke’s shoulder.

Luke turned suddenly and confronted the man. “Don’t touch me,” he said. He was surprised by the quiet menace in his own voice. The official stopped short. “We’re leaving, so you don’t need to do or say anything more—is that clear?”

The man took a big step backward, looking scared.

Pete took Luke’s arm. “Let’s go.”

Luke felt ashamed. The guy was an officious twerp, but Luke and Pete were vagrants, and a railroad employee had the right to throw them out. Luke had no business to intimidate him.

They passed through the majestic archway. It was dark outside. A few cars were parked around the traffic circle in front of the station, but the streets were quiet. The air was bitterly cold, and Luke drew his ragged clothes closer about him. It was winter, a frosty morning in Washington, maybe January or February.

He wondered what year it was.

Pete turned left, apparently sure where he was going. Luke followed. “Where are we headed?” he asked.

“I know a gospel shop on H Street where we can get free breakfast, so long as you don’t mind singing a hymn or two.”

“I’m starving. I’ll sing a whole oratorio.”

Pete confidently followed a zigzag route through a low-rent neighborhood. The city was not yet awake. The houses were dark and the stores shuttered, the greasy spoons and the newsstands not yet open. Glancing at a bedroom window hung with cheap curtains, Luke imagined a man inside, fast asleep under a pile of blankets, his wife warm beside him; and he felt a pang of envy. It seemed that he belonged out here, in the predawn community of men and women who ventured into the cold streets while ordinary people slept on: the man in work clothes shuffling to an early-morning job; the young bicycle rider muffled in scarf and gloves; the solitary woman smoking in the brightly lit interior of a bus.

His mind seethed with anxious questions. How long had he been a drunk? Had he ever tried to dry out? Did he have any family who might help him? Where had he met Pete? Where did they get the booze? Where did they drink it? But Pete’s manner was taciturn, and Luke controlled his impatience, hoping Pete might be more forthcoming when he had some food inside him.

They came to a small church standing defia...

From AudioFile

[Editor's Note: The following is a combined review with the unabridged CODE TO ZERO.]--Ken Follett spins a story centering on the U.S.-Russian Space Race of the '50s. The novel starts with an intriguing phenomenon--autobiographical amnesia--and listeners are thrust into the uncertainty that rocket scientist Luc Lucas must unravel. Both versions are handled by narrative masters. It's intriguing to savor the differences between Frank Muller's intense approach in the abridgment and George Guidall's slower, yet no less compelling, reading of the unabridged. The styles are different--Muller gives a hard-driving edge to Luc and Anthony, the CIA's dirty-tricks master. Guidall has the whole text to develop the characters and makes use of the duplicity and deception involving the race to launch America's first satellite. Great spy thriller material in either format. R.F.W. © AudioFile 2001, Portland, Maine-- Copyright © AudioFile, Portland, Maine --This text refers to an out of print or unavailable edition of this title.
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