Spies in History & Literature ~
T.H.E. Hill’s Voices
Under Berlin – A Spy Novel That Breaks All the Molds
By Wesley Britton
For 28 years, the most iconic symbol of the Cold War was
the Berlin Wall. After its construction beginning on August 13, 1961
until its dismantlement in the fall of 1989, U.S. Presidents –
notably Kennedy and Reagan – pointed to the wall as the
most visible representation of the totalitarian nature of the Soviet
bloc. The divided city was also the epicenter of espionage literature
and films.
The Wall, the Brandenburg Gate, and the most famous crossing
point – “Checkpoint Charlie” – were
important settings in the works of, for but a few examples, John Le
Carré (The Spy Who Came in From the Cold)
and Len Deighton (Funeral in Berlin). In fact, virtually
every novel in Deighton’s Bernard Sampson family saga
centered in Berlin with Western spies slipping in and Eastern
defectors sneaking out, making going over, under, or through the
Wall an ongoing sport in the covert duels between intelligence
agencies.
But one episode in this history has never been of much interest
to filmmakers or novelists. From February 1954 to April 1956,
“Operation Gold” – as the Yanks dubbed
it – or “Operation Stopwatch” –
as the Brits called it – was a joint operation of the CIA and
the British Secret Intelligence Service (SIS). Together, they dug
a tunnel below the border between the Western sector of Berlin
and the Soviet section to tap into the landline communications
between Group of Soviet Forces Germany and their masters in
Moscow. The most infamous personage connected to this
most-elaborate of phone-taps was George Blake, a mole inside
British intelligence who blew the whistle on the project even before
it began.
Over the years, many have wondered – did the
Soviets use the opportunity to provide disinformation to the West
or did they allow the line to stay open to keep Blake’s
cover secure? After all, he wasn’t uncovered until 1961.
Such a scenario might not seem fertile ground for literature
focusing on spies, counter-spies, and wiley intelligence chiefs
playing coded chess with their adversaries. If one were to follow
the formulas of most spy fiction, the Berlin Tunnel might not
have all the drama of a best-selling Ludlum pot-boiler. However,
if a writer was to take his attention off spy vs. spy molds and
focus instead on the cryptographers, linguists, and analysts
sifting through intercepted intelligence, then a long neglected
cadre of Cold War warriors could be something fresh to
explore.
Does the image of code-breakers sitting in dusty rooms
wearing headphones while scribbling on notepads sound a bit
on the dry side? Not in the hands of T.H.E. Hill. His 2008
Voices Under Berlin: The Tale of a Monterey Mary
is, in fact, perhaps the funniest spy book ever written. It’s
not a parody or satire of the 007 mythos nor is it a continuation
of themes in the novels by the likes of Graham Greene or Eric
Ambler poking fun at the ineptitude of clandestine services.
Still, in the tradition of Greene and Ambler, Voices
Under Berlin contains many literate qualities that make
it a work of special consideration, worthy of an audience much
broader than that of espionage enthusiasts or those interested
in Cold War history. In fact, one indication of the book’s
quality is that it was among the award winners at the July 2008
Hollywood Book Festival, a very rare honor for a spy novel.
The Berlin tunnel
Hill’s humor, justly, has been compared with that of
Joseph Heller’s Catch-22 and Richard
Hooker’s M*A*S*H. Like Heller and Hooker,
Hill’s characters and comic situations draw from military
life, in this case playing with the foibles and pitfalls inside military
intelligence – a term many have long considered an
oxymoron. But the book is deepened with Hill’s research
into the actual circumstances surrounding the tunnel spiced with
stories from his own time in Berlin as a linguist.
“I wanted to record what it was like to fight the Secret
Cold war for posterity,” Hill says. “When their
children ask ‘What did you do in the Cold War?,’
most Secret Cold War veterans have to say something trite, like
‘If I told you, I’d have to shoot you.’ I
wanted to give voice to some of their stories so that they would
not disappear when the generations of [characters like my] Kevins
and Fast Eddies who are sworn to silence shuffle off this mortal
coil.”
But this brief description only scratches the surface of what
readers will enjoy in Voices Under Berlin. So Spywise
has posted two files for readers to get a sense of what the book
is all about.
First, we asked Hill himself to explain his intentions, techniques,
and background in creating this new spy classic. Below is our
conversation. Then, Tom generously granted us permission to
post one of his later chapters
demonstrating his breed of humor. After you check these files out,
we have no doubt you too will be wanting more from this very
original new voice in spy literature.
Q – I get the sense Voices
Under Berlin drew from your own time in Berlin, extensive
research into its history, and your comic imagination. What were
the sources you drew from for the history of the tunnel and the
time period during which it was in operation?
The lead into this question is quite perceptive.
The story is hung loosely on the historical background of the
CIA cross-sector tunnel in Berlin in the mid-1950s, and that came
primarily from three sources: (1)Battleground Berlin,
a book on the Intelligence war in Berlin written by a former chief
of the CIA Base in Berlin in cooperation with a retired KGB Chief
of German operations from that period. It has a whole chapter on
the tunnel. (2) Spies Beneath Berlin by David Stafford
of the University of Edinburgh. (3) The Official CIA history of the
tunnel that was prepared in August 1967 and declassified in
February 2007.
The historical background for occupied Berlin during the
tunnel period came from a number of sources such as Berlin
Before the Wall by Hsi-Huey Liang and a series of booklets
published by Berlin Command for distribution to newcomers. The
fact that these army booklets are quite rare and are not to be
found in libraries – even in the Library of Congress –
made me decide to reprint them as a single volume after I completed
Voices Under Berlin. Those interested in the reprint can
find it on Amazon.com as Berlin in Early Cold-War Army
Booklets. The booklets contain a wealth of background
information on occupied Berlin at the time of the tunnel.
Very few of the incidents in the book are entirely the product
of my comic imagination, though they are all liberally decorated by
it, and by my own experiences in Berlin in the mid-1970s.
Q – Most sources I’ve read
on the Berlin Tunnel focus on British traitor George Blake, who
blew the whistle to the Soviets even before the lines had been
tapped. Why did you discount this in your novel-historical or
literary reasons?
The reason that I did not talk about Blake and the persistent
legend that the tunnel was used by the KGB for a massive
disinformation campaign was historical. Both Battleground
Berlin and Spies Beneath Berlin make credible
claims that the KGB expressly avoided doing so for fear of
compromising Blake.
Stafford supports his argument that the Berlin Tunnel was
not used for a disinformation counter-intelligence operation by
the KGB by pointing to information that came to light during
the “Teufelsberg” Conference on Cold-War
intelligence operations that brought intelligence professionals
from both the CIA and the KGB together in Berlin in 1999. He
concludes that “[f]ar from using the tunnel for
misinformation and deception, the KGB’s First Chief
Directorate had taken a deliberate decision to conceal its
existence from the Red Army and GRU, the main users of the
cables being tapped. The reason for this extraordinary decision
was to protect ‘Diomid’, their rare and brilliant
source George Blake.” (p. 180)
Stafford ends his discussion of the legitimacy of the material
collected from the Berlin Tunnel with a quote from Blake, who
was still living in Moscow at the time of the
“Teufelsberg” Conference. “I’m
sure 99.9% of the information obtained by the SIS and CIA from
the tunnel was genuine,” said Blake. (p. 183)
Q – While the actual venture was a
joint CIA/British Intelligence project, your novel focuses on analysts
within the U.S. military. Again, was this inspired from research or
an opportunity for you to engage in military humor?
Yes, the tunnel was indeed a joint CIA/SIS collection operation.
It was known to the Americans as Operation GOLD and to the
British as Operation STOPWATCH. According to my historical
sources, the Americans dug the horizontal portion of the tunnel,
and then the British sent in a team to dig the vertical tunnel up to
the cables and make the tap. That division of “labour”
is reflected in Voices Under Berlin – though
perhaps too subtly – in the chapter “The Calm
Before the Storm,” in which the Americans get a month
off while the professional miners from Wales dig the vertical shaft,
and in the Chapter “The Tap Turns On,” when
the chief British technician refuses delivery of the Chief of
Base’s implied insult about the tap not being properly
installed.
My sources point to joint manning of the collection operation,
but there is nothing available that talks about the British
contribution there. Stafford makes a point of saying how
close-mouthed the British are with regard to covert operations,
comparing the amount of British info about the tunnel to the amount
that has become available from the Americans.
Stafford says that when the Russians discovered the tunnel
and made it front-page news, the Americans were the ones who
got all the limelight of publicity, because Soviet First Secretary
Khrushchev was on an official state visit to the U.K. at the time,
and was expected at a reception hosted by the Queen in Windsor
Castle on the next day. According to Stafford, the British and Soviets
agreed to conceal the fact of British participation in the tunnel
project so as not to spoil the state visit.
This lack of information on the Brits makes the tunnel look
almost entirely like an Yank show. I’ve just followed
suit.
Q – Your book has been compared to
the work of Joseph Heller and Richard Hooker. I saw the influence
of Heller in the character of the Chief of Station always showing up
in his disguises. Did you have these authors, or any others, in mind
as you wrote Voices Under Berlin?
I was not consciously trying to write like Heller or Hooker, but
after the similarity was pointed out to me, I could see the
resemblances.
I first read Catch-22 shortly after I got out of Army
Basic Training and was waiting for my first language course to
start in Monterey, California, where the Defense Language
Institute is located. The novel made a big impression on me,
because I was living in an environment that was full of resonances
with the things going on in the book. While the threat of death
that Yossarian and his buddies were facing was more immediate
than the threat of death that I was under (Monterey, California is,
aside from the remote threat of earthquakes, not very hazardous),
the Vietnam War was in full swing at that time and all you needed
to do to get your orders to an infantry company somewhere in a
Vietnamese jungle was to flunk a couple of tests. The threat was
real enough to motivate people to study very, very hard.
And we had people going crazy – quite literally –
from the pressure of the courses. We lived in 40-man open
bays in old World-War-II pre-fab barracks, and one morning I
woke up to find one of the Russian students in my bay in the
fetal position, on top of his wall locker. Whenever anyone came
near him to find out what was going on, he said, “I’m
a past passive participle. Don’t touch me.” They
carried him off while we were in class that morning and nobody
ever saw him or heard from him again.
I read M*A*S*H at about the same time. The
attraction was the same. The story was full of resonances with
the life I was leading at the time. In retrospect, the element in
M*A*S*H that has perhaps the most resonance with
Voices Under Berlin is the reason that Hawkeye,
Trapper and [my character] Kevin can get away with being
unmilitary. They’re so good at what they do that the
military has to put up with them. That fact of life was not apparent
to me while I was still in Monterey, because Monterey was not
exactly the real army while I was there. It only became clear to
me after I was sent off to put what I had learned at Monterey to
use. I also found out that the system has ways of dealing with
people like that. One of them found its way in to Voices
Under Berlin.
Q – The level-headed figure in the
book is Kevin, and I see your acknowledgments include
“Kevin’s daughter.” Which of your
characters drew from actual people?
The characters in the book are amalgams of people I knew,
and people I heard about, and of myself. Prepublication readers
of the book who know me, kept pointing to various characters in
the book, claiming to have recognized me in them. And they were
almost all pointing to different ones. One particularly insightful
reader, who worked with me for a long time and was the best
man at my wedding, said that he thought it presumptuous of me
to write myself into the novel twice. He was right, but not entirely.
His count was too low. The personalities in the book are an
attempt to paint a picture of generic character types of the people
I met (and was) during my career. There is no single individual
behind any of them.
“Kevin’s daughter” is an astute
young lady who is a senior in college. She read the book in
manuscript and made some very insightful and useful comments.
She’s an Army brat, and her father, like Kevin, is a
military linguist. She said that Voices Under Berlin
helped her to understand him better. She didn»t want
me to give her real name in the acknowledgments, but I wanted
to include her, so we compromised, and I called her
“Kevin’s daughter.” She knows who
she is, and that I appreciated her help.
Q – It’s been suggested Kevin
wasn’t given a last name or rank to show him as an
outsider to military uniformity. Was this your intention?
Yes, it was. All the surnames in the book are talking names.
A number of them are translations. Some of them are simple
plays on words. Sergeant Laufflaecker’s name is
based on the German word that means “tread,”
as in “tire tread”. “Tread” is
the Army slang for someone who has re-enlisted, or been
“re-treaded.”
Corporal Neumann’s name means “new
man” in German. He is the eternal “newk,”
the new guy, who doesn’t know how things really work.
Blackie’s name takes almost a whole chapter to explain,
and Trudy, his girlfriend is a “working girl,”
because her name is Russian for “works.”
General Molotov’s name is a joke that only becomes
apparent when you realize that he always only speaks with
Colonel Serpov. The translation of their names is “hammer
and sickle.” As Jim Henson of the Muppets once said:
“It’s a cheap joke, but we’re worthy of
it.”
Kevin, however, does not have a last name, which makes
him stand out in the Army, where everybody has a last name,
first name, middle initial, and a rank to go with them. You have to
sew your last name on your uniform “so you won’t
forget who you are,” as one wag put it. The Army’s
explanation is so that they’ll know what name to put
on your tomb stone when they find your body.
There’s an old army war story that perhaps explains
the place of names and ranks in the military. It seems there was
a lieutenant talking to a private who hadn’t quite got a
handle on the finer points of military courtesy. The private says,
“My name’s John. What’s yours?”
The lieutenant replies, “You can call me by my first
name too. It’s lieutenant.” It sounds a lot
funnier if you’ve never met someone whose first name
was lieutenant. I, however, have. Not having a last name or a
rank is intended to mark Kevin as a civilian in uniform.
Sergeant Laufflaecker calls Kevin “Kilroy”
as a joke. It’s not really Kevin’s surname. Kilroy
was the nickname (and graffiti tag) associated with the average
American GI during World War II. Kilroy was everybody and he
was nobody, all rolled into one. The suggestion of Laufflaecker
calling Kevin “Kilroy” is that Kevin represents
the countless Monterey Marys [graduates of the Defense
Language Institute in Monterey, California] who fought the
Secret Cold War for one tour and then went home to do other
things. They never became “soldiers,” and
didn’t care about rank or position, just like Hawkeye
and Trapper in M*A*S*H*. The only thing that
mattered to them was professional competence, and the
bureaucracy was often at pains to understand people like
that.
The other character who has no surname is the Chief of
Base. He is nameless, because the secrecy of his job
requires him to be so. He is like Peter Sellers, who once said,
“I can play anyone, but I can’t be myself. There
is no me. There used to be one, but I had it surgically removed.”
These two nameless characters – the Chief of Base
and Kevin – are the antipodes of the story, the older
man showing what the younger one could develop into, if he
stayed in the business long enough.
Q – The use of Kevin’s
translated transcripts of the Russians’ telephone calls
allows readers to see inside the Russian perspective. At the
same time, the transcripts allow us to see Kevin’s
abilities as both a translator and analyst. How did you come
to use this device?
This approach is drawn from real life. Its goal is not only
to present the reader with the Russian perspective, but to help
the reader understand Kevin’s ear-centric view of the
world. The Chief of Base’s disguises, for example,
never fooled Kevin for long, because Kevin could recognize
his voice.
Courses on instructional technique break students down
into “aural learners” and “visual
learners” based on the differences in their learning
styles, and teachers are encouraged to vary their presentations
to take this into account. To some extent this categorization
explains why some people (Kevin) make good transcribers
and others (Fast Eddie) don’t. Books are, in general,
a very visual medium, and by writing an “aural”
book, I wanted to push the reader out of his/her “visual”
comfort zone to give them a better feeling for what it is like
to be ear-centric, because if you are going to understand what
makes Kevin tick, you need to look at the world through his
ears.
Q – Once the phone taps begin
operation, Voices Under Berlin becomes a very
episodic book with a series of pranks, missteps, and all manner
of scenes full of muddled military thinking. What of these came
from experience, what from your sense of humor?
Some parts of the book are cut from the same bolt of cloth
as the Emperor’s new clothes, but most of the episodes
in the book have some basis in fact, or personal experience.
The delivery of the “facts” is what is based on
my sense of humor. The flood that stopped digging on the eighth
of September 1954 is factual, as is the snow almost giving
away the location of the tunnel later that winter.
The episode about the courier run to Gatow, for example,
s based on one paragraph in Battleground Berlin
(p. 423) about a problem with the chief of the classified
shipment registry section of Berlin Base. Magnetic tape is
very heavy. I know this for a fact. I’ve lifted more
than my share of boxes full of it. The tunnel operation was
producing a great deal of tape that had to be shipped out for
processing, and the chief of registry began complaining about
all the heavy boxes he had to ship. He had no need to know
that the boxes were full of magnetic tape from the tunnel cable
tap, so they told him that the boxes were full of uranium ore
from the East German Wismut uranium mines.
Targeting the Wismut mines was an operation that was a
more or less open secret among those assigned to Berlin
Base, and they felt safer telling him that than telling him what
was really in the boxes. The scene’s elaboration is
from my sense of humor. The part of the chapter about the
lieutenant waving around his sidearm with three corroded
rounds in the magazine is from personal experience. It makes
for a great war story today, but at the time I didn’t
think it was so funny.
Q – What points, what themes were
you trying to illustrate with Voices Under Berlin?
An operation like the Berlin tunnel can only succeed if there
are people like Kevin to work it. This fact, however, seems to
escape the attention of some of the people who
“manage” linguists, because they are unable
to understand how linguists think. Turning disembodied voices
into the kind of intelligence that can sink one of those proverbial
ships of World War II poster fame is harder than it looks. This
theme, as developed in Voices Under Berlin, is
very similar to the central theme in Ayn Ran’s
Atlas Shrugged. It looks at what happens when
the people whose little grey cells make things work become
disillusioned with the system and leave, or are banished from it.
Another goal was to write a spyfi novel based on the reality
of espionage. That’s not to say that I am not a fan of
Ian Fleming, Robert Ludlum or Le Carré. I’ve
read all their books, and it’s all Ian Fleming’s
fault that I was in ASA [the Army Security Agency].
That, however, is not reality. It’s fantasy. Real-life
spying is a far cry from the action-packed screen adventures
of spies like James Bond, liberally decorated with dazzlingly
attractive fold-out girls. In the movie Tomorrow Never
Dies (1997), Bond is seen in Oxford, brushing up his
Danish under the tutelage of a voluptuous instructor in a state
of undress. When Miss Moneypenny gets Bond on the phone
and discovers what he’s doing, she calls him a
“cunning linguist.” Military linguists have
been calling themselves “cunning linguists”
since long before Miss Moneypenny made the term popular
in that movie. I’ll bet that one of the script writers must
have been a military linguist “in another life.”
I’m a three-time graduate of the Defense Language
Institute, and none of my language instructors ever looked
like that, and we never did any role-playing with the set of
vocabulary that Bond was practicing in the movie.
Q – Did anyone ever encourage you
to include more Bondian elements in your book?
When the manuscript for Voices Under Berlin
was making its way around literary agents in search of
someone to represent it, one agent said that the book was
very Helleresque, but that it would sell better with more sex and
violence. That wasn’t, however, the book that I wanted
to write. I wanted to write a book that was based on the reality
of the mind numbing boredom of a Sunday mid while you’re
waiting for the target’s loose lips to sink a ship.
I wanted to record what it was like to fight the Secret Cold
war for posterity. When their children ask, “What did
you do in the Cold War?,” most Secret Cold War
veterans, have to say something trite, like “If I told you,
I’d have to shoot you.”
I wanted to give voice to some of their stories so that they
would not disappear when the generations of Kevins and Fast
Eddies who are sworn to silence shuffle off this mortal coil.
Voices Under Berlin may not be exactly the story
that each and every one of them would like to tell, but it is
close enough so that people who fought the Secret Cold War
in places other than Berlin say that they felt right at home
while reading it. I wanted Secret Cold War vets to be able to
answer their children and grandchildren with: “I
can’t tell you exactly, but why don't you read Voices
Under Berlin?”
And I wanted to entertain people with what I was writing.
Q – What projects are you working
on now?
I have a new novel entitled The Day Before the
Wall. It is based on a Berlin legend that we knew that
the wall was going to be built, and we knew that the East
Germans had been instructed to pull back, if we took aggressive
action to stop construction. The novel follows an American
sergeant who has this information and is trying to cross back
to the west with it while it is still relevant. His return
“home” is made more difficult by the fact that
the Stasi have framed him for the murder of his post-mistress,
and have asked the West-Berlin police for help in tracking him
down. The key question of the novel is that even if he does
get back to report what he knows, will the Americans believe him
and take action on it? The key question of getting it published
is can I get prepublication clearance for the manuscript?
To learn more about Voices Under Berlin, check
out the book’s website –
Voices
Under Berlin.
A sample chapter of Voices
Under Berlin can be found in the
Spies in History & Literature
section of this website.
Voices Under Berlin was among the winners of the
July 2008 Hollywood Book Festival.
Wikipedia has
an article about the Hollywood Book
Festival.
T.H.E. Hill’s Voices Under Berlin and his
other books are available in bookstores everywhere, as well as
these online merchants ~
Amazon U.S.
Amazon Canada
Amazon U.K.
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