Barry Eisler
BIO
Barry Eisler spent three years in a covert position with the CIA’s Directorate of Operations. After leaving the CIA he lived and worked in Japan, where he earned his black belt from the Kodokan International Judo Center. The John Rain novels --- THE LAST ASSASSIN, KILLING RAIN, RAIN STORM, HARD RAIN, and RAIN FALL --- have won the Barry and Gumshoe Awards; have been translated into nearly twenty languages; and have been optioned for film by Barrie Osborne, Oscar-winning producer of the Lord of the Rings trilogy.
INTERVIEW
March 13, 2009
Barry Eisler's seventh book and first stand-alone thriller, FAULT LINE, revolves around two estranged brothers who must join forces when one finds himself caught up in a technology-based conspiracy. In this interview with Bookreporter.com's Joe Hartlaub, Eisler explains what prompted this foray outside of the John Rain universe and sheds light on the complex relationship shared between the two siblings. He also discusses his motivation for creating strong female characters, recounts his experiences on the set of Rain Fall --- the film based on his first novel that releases in Japan in April --- and heaps praise on one of his latest favorite reads, Charlie Huston's THE MYSTIC ARTS OF ERASING ALL SIGNS OF DEATH.
Bookreporter.com: Your new novel, FAULT LINE, is a stand-alone title and thus your first work that does not feature John Rain. What inspired this change in direction for you?
Barry Eisler: Nothing terribly conscious --- I'm still fascinated by Rain and the other characters in the Rain books, and can definitely see returning to that universe. FAULT LINE was just a new story that came to me and that I wanted to pursue.
I think the inspiration came partly from my odd career path, which took me from being a covert employee with the CIA; to an international lawyer in DC, Silicon Valley, Tokyo, and Osaka; to a high-tech, venture-financed start-up executive in Silicon Valley. Any one of those worlds is a potentially interesting milieu in which to base a story; having insider knowledge of all three is just too rich an opportunity to pass up.
But maybe all of that is more about the story’s foundation --- necessary, but not sufficient; the body, but not the spark of life. What really catalyzed the story was my sense of two brothers --- one from the covert world, the other from the high-tech --- who hated each other and hadn’t even spoken in years. What would happen if one of them, the lawyer, got in trouble and called on his big brother, the covert military operator, for help? The younger brother would hate to make that call, maybe even more than the older brother would hate to receive it. What would the older brother do at that point? What if the two of them were forced to work together just to survive some kind of conspiracy? Would they be able to? Or would distrust and recriminations and spite overwhelm them? What if, even as they were struggling in the face of grave danger with all this mutual hostility, their deep-seated animosity and resentment were brought to a boil by the presence of another lawyer, say, a beautiful Iranian-American woman who both brothers desire but can’t really trust?
The more I thought about these characters and the worlds they came from, the more questions I asked about who they were and what was forcing them together, the more excited I got. I guess that feeling of excitement is the best kind of inspiration a story can ever have.
BRC: In FAULT LINE the story is about two estranged brothers. Ben is an extremely capable special operative. Alex is an attorney whose client’s invention indirectly causes a chain reaction that results in a series of murders, ultimately forcing him to call on his brother for help. Their complicated relationship provides a strong subplot to the hide-and-pursuit that is the driving force of the book. Is it by accident or design that FAULT LINE deals with significant interactions between brothers, as opposed to the “loner” element of your previous work? Did this present any challenges that you had not anticipated?
BE: Hmmm... I guess you could call it an accident, though maybe "unconscious design" would be a better way to put it. It's true Rain is a loner, but as the Rain series progresses, he finds himself in relationships that present all sorts of new challenges for him. As a human being, Rain needs some level of companionship; as a certain personality type and freelancer, he needs solitude, and the tension between those two exigencies is part of what propels the series. At a high level, you could say the same sort of tension exists within and between Ben and Alex. They hate each other and want nothing to do with each other... and yet, family is family. What's that expression? "Home is the place where, when you go there, they have to take you." Solitude and community are points on a continuum, and I guess all my characters struggle with conflicting impulses about what part of that continuum they want to inhabit.
BRC: How did you begin developing the personalities, and relationships, of the Treven brothers? Did they ultimately result in the manner in which you had originally conceived them?
BE: At the beginning of the process, I had only a vague idea. The older brother is an operator, the younger brother is a lawyer, they hate each other because of some family trauma, the younger one gets in trouble...now what happens? After that was the usual process of ruthlessly asking all the necessary who, what, where, when, why questions to gain a sufficient understanding of who these characters are. Now that the book is written, I feel like Ben and Alex are true to that initial feeling I had for them. It's nice... it's like I got to watch them grow up and fulfill their potential, and even surprise me along the way.
BRC: While it is somewhat introspective, I thought FAULT LINE was more action-driven than your other novels, something that I would not have thought possible. Was this deliberate as you started writing, or did it change as the story evolved?
BE: It's never really planned, or at least not consciously. I get an idea for a story and if the idea is exciting enough to pursue, it's then a matter of building out from the initial idea. Thrillers are my thing, so naturally there will be a lot of action, but hopefully that (like everything else) is integral to the story and not something particularly deliberate.
I'll tell you something funny, though: a friend of mine who's also a book reviewer told me he was expecting *more* action in the book, that he was surprised there was so much about the relationships. Personally, I think there's a lot of both. On the one hand, without the brothers' damaged relationship, there's no story, so there's a lot about their misunderstanding and resentments and history. But on the other hand, Ben does manage to kill eight or ten people in the book, and there are a few runs at him, Alex, and Sarah, too, so I don't think there was any shortage of violence. Maybe it depends on what an individual reader responds to or is looking for.
BRC: One could almost immediately see that Sarah Hosseini, an associate in Alex Treven’s law firm, would cause some conflict between Alex and Ben, though you add a number of interesting twists to a classic situation. Hosseini is certainly one of the most interesting characters you have created, and hopefully we will see more of her in the future. Is there a “real-world” Hosseini, living in San Francisco, practicing law and breaking hearts by the hour?
BE: LOL! People are always asking me if I know Delilah's number and I have a feeling I'm going to get that with Sarah, too. I love writing women as strong as those two, and I'm really pleased with how Sarah developed. I know this is a big generalization and will probably land me in some kind of reeducation camp, but I think men and women are strong in different ways. Male strength can have a certain brittle quality to it because men tend not to be as in touch with themselves as women are, and there's something about female strength that's more honest to me, and perhaps therefore, paradoxically, more vulnerable. I'm thinking here of Joan Allen's character in Searching for Bobby Fisher: honest; vulnerable because of that honesty; and yet fearless and indomitable. Or, for another example, Jenna Elfman's character in Keeping the Faith. Or the wife of one of the Spartans in Steven Pressfield's phenomenal GATES OF FIRE, who more than holds her own in front of a council of grizzled warriors and does so without bombast or pretense or posturing. That's a kind of strength I aspire to myself, and I find it incredibly moving when it's portrayed in stories.
BRC: One of the most impressive elements of FAULT LINE is its pacing; at times I almost felt as if I was “reading a song,” if you will, one with a strong sense of dynamics. I never got the sense that you were rushing toward any one point or climax, yet I was constantly on edge while I read it. How did you infuse the book with this quality? Did you read it aloud to yourself? Did you have others reading your work in progress? And, considering the rhythm of the narrative, do you listen to music while you write? If so, to what and to whom?
BE: Well, thanks for the kind words. Pacing isn't something I think a lot about, and in fact I think what often feels like "pacing" is just the writer doing his job of making sure every scene turns or advances the story. When there's a lot going on in a scene --- whether it takes the form of action, sex, character development, foreshadowing, or (ideally) some combination of things --- the scene is absorbing.
That said, I guess I'm aware that you can't just have nonstop action in a story -- action turns the story in certain ways, but it has to turn in others, too. So in my books you'll have an intense sequence of violence that turns the story, but then we have to deal with the aftereffects of that violence, which will turn the story in another way.
I do listen to music when I write (though I need silence when I'm editing). I'm pretty eclectic and it depends on my mood and on the mood I'm going for in the scene I'm writing. Some recent favorites include Robbie Robertson's “Somewhere Down the Crazy River”... just so haunting and hypnotic, it feels like a restless summer night dream. Really like Sean Lennon's Friendly Fire, the whole album. Seal's a perennial favorite. Coldplay. Royksopp. The The. The soundtrack to Collateral, the soundtrack to Lust, Caution, and always the soundtrack to Blade Runner (the latter is especially good if you're trying to capture some aspect of Tokyo). Also a lot of J pop and jazz, including the terrific Frank Morgan, who I learned about from Michael Connelly.
BRC: You have a background as a technology attorney and a startup exec in the tech sectors, as well as experience as a covert operative in the CIA. The tech scene has been volatile over the last two decades with moments of feast and famine, as well as a changing landscape on what software and hardware is "hot." As you were writing, was this in the back of your mind as you mentioned companies and technologies?
BE: Somewhat. Certainly in writing FAULT LINE I was drawing on my own experience in the world of technology law and venture finance. But my main concern for the technology everybody's willing to kill for in FAULT LINE was that it be interesting and realistic. Hopefully Obsidian, which I came up with after a lot of reading and consulting with a number of computer security experts, is both.
BRC: Your previous novels have been set in Asia, but FAULT LINE makes a dramatic change of scene to Northern California with a great deal of the story taking place in the tech hub of Menlo Park. What prompted your literary change of scene?
BE: Again, it wasn't really planned; probably it was just a natural effect of living in the Bay Area. Looking back at my books, I realize that whatever was most engaging me at the time winds up in the stories. I started RAIN FALL when I was first living in Tokyo, and it's no coincidence that the Tokyo jazz scene and Kodokan judo are a big part of the story. Also no coincidence that, of all my books, RAIN FALL is the most detailed about surveillance and countersurveillance, because I started writing it only a year after I left the CIA. There's more of a political background in FAULT LINE than in my other books, and that, I'm sure, is a reflection of my news and blogging habits.
BRC: At the same time, you and your family are spending a year in Japan this year. What prompted that, and how has your year been going?
BE: It's been great! Our fourth-grade daughter has developed a strong interest in Japan, and we told her we thought it would be great if the three of us spent a year living here. For me, living abroad has been one of the most satisfying, enriching, mind-expanding experiences of my life, and I hoped my little girl would be game now, when she's young and learning a language is so much easier. To her great credit, she was --- and here we are.
BRC: On a related note, what was your work schedule like while you were writing FAULT LINE? Did it change or differ in any way from when you were writing the Rain novels? And do your writing practices differ significantly when you are writing in Japan or California?
BE: FAULT LINE was pretty much the same as for the previous novels --- try not to get distracted by all the promotion and business, and find a way to write the book. I have to say, living in Tokyo when you're writing a novel set somewhere else is a challenge. The city is insidious and overwhelming, and blocking it out isn't easy. I keep hearing John Rain, but the next book is a sequel to FAULT LINE. Well, I'll just have to come back to Tokyo when I'm ready to come back to Rain.
BRC: Your extremely brief allusion to John Rain in FAULT LINE was quite entertaining, easy to miss for the reader who is not paying close attention and most rewarding for the reader who is. Do you have any plans for John Rain at this point? Will he cross paths with one or both of the Treven brothers at some future point?
BE: Hah! There were actually two allusions... ;)
I could definitely see returning to Rain's universe. Whether he would cross paths with the Trevens, or whether Dox or Delilah would, I'm not sure yet.
BRC: On a related note, I understand that your next novel will be a sequel of sorts to FAULT LINE and primarily involve Ben Treven. What can you share with readers about that? Will Alex be involved as well? And what of Sarah Hosseini?
BE: The next book is mostly Ben's. All three characters went through a lot of changes in FAULT LINE, but the changes Ben is grappling now are the most compelling to me. But there's so much to Sarah... I think you can expect to see more of her, too.
BRC: In April, RAIN FALL is due to be released as a film in Japan starring Gary Oldman. What can you share with readers about the movie? Were you on the set for any of the shooting?
BE: I did get to visit the set and it was cool to watch the movie getting made. The movie is very different from the book, so I think it's best to approach it as an interpretation of or as something inspired by the novel, not as the same story found in the novel.
BRC: If you were not writing full time, what do you see yourself doing for a living?
BE: Ideally, something that would represent the intersection of politics and marketing, both of which are passions of mine.
BRC: What books/authors have you read in the past six months that you would recommend to our readers?
BE: Here's what I had to say about Charlie Huston's new book, THE MYSTIC ARTS OF ERASING ALL SIGNS OF DEATH:
If you haven't heard of Charlie Huston yet, you're about to. And not just from me --- from everyone.
Charlie is the author of the acclaimed Joe Pitt vampire detective series and Hank Thompson crime novels. Last year, I read his first stand-alone, THE SHOTGUN RULE, and loved it. I just finished his new stand-alone, the awesomely entitled THE MYSTIC ARTS OF ERASING ALL SIGNS OF DEATH, and loved it even more.
Charlie is not for everyone: he's no fan of quotation marks (but neither is Cormac McCarthy, and McCarthy won a Pulitzer and got invited on "Oprah"); his characters use lots of bad words (but always in hilariously creative ways); and the milieus he creates give you that dizzying feeling of having fallen down a rabbit hole into some slightly off-kilter version of the reality you previously took for granted (anyone who used to spend quality time with the late, great Loompanics Unlimited book catalogue --- "the lunatic fringe of the libertarian movement" --- will know this feeling well). But even if you're one of the people for whom such qualities are bugs rather than features, I can't imagine that you wouldn't love MYSTIC ARTS. The characters are fascinating despite their outward efforts not to be; the dialogue is a kind of slacker stiletto I've never read anywhere else; and the story -- involving a company that cleans the blood and bits left over at trauma sites, truck hijackers, a whacky femme fatale who's laughing when you think she's crying, and a damaged protagonist groping for a way to fix himself --- just rocks.
Oh, and the title. I thought it was great before I read the book. It's even better, even more fitting, afterward. But that's all I'm saying for now.
Stephen King thinks the book rocks. So does Janet Maslin of The New York Times. So does Publishers Weekly, which gave MYSTIC ARTS a rare starred review. Here are some links:
The Mystic Arts of Erasing All Signs of Death and a note from Stephen King on Amazon.com
Janet Maslin's article on NYTimes.com
PulpNoir.com
I think it's his stunning originality and f**k-you fearlessness that have made Charlie probably the best writer you might not have heard of. But okay, you've heard of him now. And I think you're going to love him.
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May 25, 2007
Barry Eisler's new novel, REQUIEM FOR AN ASSASSIN, is the sixth book in the acclaimed John Rain series, which features a half-American, half-Japanese assassin attempting to leave the killing business behind. In this interview with Bookreporter.com's Joe Hartlaub, Eisler attempts to shed light on his character's actions in this latest installment and explains the steps he takes to plot each book. He also discusses the travel involved to both accurately capture the series' exotic settings and realistically portray the mindset of Rain, reveals details about a prequel in the works and shares with readers some of his favorite authors and writing influences.
Bookreporter.com: Each of your John Rain novels has been distinguishable from the others, and your latest is no exception. Much of REQUIEM FOR AN ASSASSIN deals with Rain's struggle to leave behind his dark side to rescue Dox. What spurred you to have Rain take this path? Did you have any qualms about some of the actions Rain was involved with in this book?
Barry Eisler: Rain's inner conflicts --- his struggle between nihilism and attachment, solitude and society, the exigencies of his job and his longing for something more --- are the heart of the books for me, and I'm always looking for a way to bring those conflicts into dramatic relief. A year or so ago I was talking to a friend, Marc MacYoung, about his own struggle to get out of the life, and that conversation got me thinking...what would happen if the poles of Rain's personality were to separate even more widely? What if, just as he's making the most strides ever to get out of the life --- living in a new place, his relationship with Delilah deepening, the killing business largely behind him --- something were to happen that would force him back in more deeply than ever? Say, his friend and partner, former Marine sniper Dox, getting kidnapped and used as a hostage to force Rain to do three jobs? What would Rain do? And more importantly, what would the situation do to him?
Did I have any qualms about what Rain does in the book? Not really. Sometimes a reader will be horrified at what Rain is capable of, but my job is less to worry about that and more to write the character as honestly and accurately as I can. Sure, in various respects Rain is a likable and sympathetic character, but you have to remember that by instinct, training and long experience, this man is a killer. He's comfortable and capable with violence in a way few people are, so of course, he acts accordingly when the situation calls for it --- which, given the life he's led, can be fairly often.
BRC: In REQUIEM FOR AN ASSASSIN, Rain is a world beater. He crosses the globe --- maybe twice --- in this novel, revisiting significant episodes of his past along the way. It gives readers an opportunity to watch Rain confront his past even as he is considering his future. Will you continue to reveal events from Rain's past in upcoming books?
BE: Recently I agreed to write a John Rain short story for Otto Penzler's Mysterious Press and for my Dutch publisher, and the idea that grabbed me for the story was, where did Rain get his inhibitions about killing women? After all, the guy's an extraordinary killer, but he wasn't born with his rules of engagement... so where did they come from? The answers that started coming as I ruminated on this question excited me, and in short order, I realized that the "origins" story I was coming up with was much more than a short story. So now, I think I'll write this story as a novel-length John Rain prequel, with a chapter excerpted as a short story.
BRC: One of the most memorable vignettes in REQUIEM FOR AN ASSASSIN takes place about halfway through the novel in New York, beginning on Christopher Street and ending at the Sheridan Square subway entrance, and involves a sighting of Koichiro, Rain's child. It felt like a pivotal scene in the book, almost as if the entire novel was written around it. How did this scene evolve? Have you had it in mind since THE LAST ASSASSIN, when Rain discovered he had a child?
BE: You're right, the scene is pivotal, but I'm not sure where it came from --- one of those instances of the unconscious at work, I think, urging me in directions I'm not consciously aware of. I don't want to say too much about the scene, lest I spoil it for someone who hasn't read it yet, but I'll say this much. As Rain is being pulled apart by the relationships he's built and the violence required to save his friend, the question arises: how far will he go? How out of control is he? How much has he surrendered to the killer inside him? The question fascinated me, and that scene became a way of dramatizing it.
BRC: While REQUIEM FOR AN ASSASSIN is the latest in the John Rain series, it works as well on its own as it does as a series title. When you are writing, do you set out to do this? If so, can you nail the storyline with an effective supporting back story where details are revealed to readers on a first pass, or is it something you hone during the editing process?
BE: Absolutely, I design each book to function both as a stand-alone and as a satisfying installment of an ongoing series with a long dramatic arc. At a craft level, I'm acutely conscious of doing so all the way from the beginning, and it gets honed through editing, as well. I try to have a feel for what information people need to enjoy the current story, and give them that. But the information also needs to be stated in a fresh way, a way that illuminates new areas, so readers who've already read the books won't feel like I'm repeating myself.
BRC: Rain is usually pretty much a lone wolf out of necessity, but in parts of REQUIEM FOR AN ASSASSIN, he actually works as part of a team. Are there any plans to have Rain utilize additional personnel resources in the future, or do you see him returning to lone-wolf status?
BE: Strangely enough, I never plan those aspects; they seem to evolve organically. I will say that I so enjoyed getting to know Boaz, one of the Israelis with whom Rain develops an alliance of convenience in REQUIEM FOR AN ASSASSIN, that I could see him getting more involved in future stories. And of course Kanezaki, Rain's contact in the CIA's Tokyo Station, has become an increasingly formidable player as the series has progressed, so I think we could see more of him, too.
BRC: Perhaps there is no significance to it, but the first four titles of the John Rain series were linked --- at least in the States --- by using the word "Rain" in the title, while the two most recent ones, THE LAST ASSASSIN and REQUIEM FOR AN ASSASSIN, have the word "Assassin" in common in the titles. Happenstance, coincidence, or significance?
BE: My publisher likes to repeat words in the titles, I think. I thought we'd gotten away from that after the first four books, but apparently I was mistaken! I think we could do better, title-wise, and hope I'll have more input on future books.
BRC: When you first started writing RAIN FALL, the book that introduced John Rain to the world, did you foresee that it would lead to a series?
BE: Strangely enough, I didn't write the book to be part of a series --- I started it as a stand-alone. But Putnam and all the other publishers who bought the rights to the manuscript insisted on a sequel, and one thing led to another. Looking back, I'm almost chagrined that I didn't spot the series potential. Rain is such a fascinating and three-dimensional character that one book wouldn't have been nearly enough to explore his world.
BRC: Could you walk us through how the writing of a John Rain novel unfolds? Do you walk with him, hopping planes, staying in hotels and creeping down alleys? Do you rely on memory? Do you do other research? Or do you use some combination of the three?
BE: It usually starts with a "what if" question like the one I mentioned above: "What if, just as Rain were on the verge of leaving the life behind him, something pulled him back in deeper than ever?" Which, if the question resonates in my mind, leads to a series of follow-ups: "What would that event be? What would be going on in his world at the time?" Etc.
As some of the elements begin to fall into place, I like to travel to where the story will take place. Sometimes, this is more to block out a specific sequence, like the assassin vs. assassin surveillance and combat sequence that opens RAIN STORM in Macau. Other times, it's more to get inside the character, to understand what Rain has been feeling, what's going on in his head --- which is why I spent five days in Paris a year ago, where Rain has been living with Delilah as the book opens (really, honest, that was the only reason...).
I love these trips, and not just because they've taken me to some fascinating places. From the moment I get off the plane, I'm in Rain's head, almost pretending I'm him, arriving in Manila or Barcelona or wherever, for the same reasons he is and looking at the world through his eyes. It's an exhilarating feeling to channel a character this way --- not so different from what I imagine an actor doing to prepare for a role --- and some of the best writing in the books has come out of those moments of communion with John Rain.
BRC: I understand you began writing as a teenager and that you completed several short stories. Have you ever considered revisiting those stories and perhaps, after some rewriting, publishing them?
BE: I was more like nine or ten, actually, and no, I wouldn't consider revisiting them, even if they were still around, which, thankfully, they're not! They were great (albeit not consciously planned) training for a future life as a storyteller, but I didn't really find my own mind and voice until I was somewhere in my thirties, so I don't think whatever came before would be terribly useful or relevant now.
BRC: You have indicated elsewhere that at least a part of the genesis of John Rain occurred as the result of your reading a biography of Harry Houdini and learning of Houdini's penchant for acquiring what you refer to as "forbidden knowledge," which you have used extensively in the Rain novels. What other literary works and/or authors have influenced your literary career, either stylistically or with respect to your characterizations?
BE: Probably more than I can remember, or am even aware of, at any given moment. I read pretty eclectically --- fiction, nonfiction and poetry --- and I've been inspired and influenced by a number of writers. I love Trevanian, whose killers, Nicolai Hel (in SHIBUMI) and Jonathan Hemlock (in THE EIGER SANCTION and THE LOO SANCTION), are sympathetic in part because they are superior human beings --- superior in intellect, taste and culture. Andrew Vachss, with his dark, gritty Burke novels and hard-boiled atmosphere, has also been an influence. Pat Conroy and Dave Gutterson have inspired me with the lyricism of their prose. The cadences and imagery of T. S. Eliot and Cormac McCarthy are certainly influences, as well. Stephen King has inspired me with his humor and honesty, and his admonition that the author's job is to tell the truth. I saw him at the Edgars recently, and I think he might be the coolest man in the world --- interesting, insightful, unpretentious, totally at ease with himself.
BRC: You recently have acknowledged that for a time you held a covert position in the CIA. How much of Barry Eisler is reflected in John Rain?
BE: Well, I used to be a lawyer, which a lot of people say is like being an assassin…
There are some similarities. We both love jazz and judo, and quality single malt whisky and other aesthetic experiences. But the differences might be more telling. Rain has had experiences I haven't, chiefly war, combat and killing. As a result, he's far more capable with violence than I, and also a good deal more cynical.
BRC: Did you find that you went through a gradual catharsis when you left your prior occupation? What problems, in general, did you encounter readjusting to civilian life?
BE: It wasn't that hard a transition for me. For the most part, I kept the habits I wanted to keep, and shed the ones I wanted to shed. Breaking cover, which I received permission to do about two years ago, was weird after so many years of secrecy, but I'm used to it now.
BRC: What are you working on now? And while we are on that subject, do you have any novels --- completed, outlined, half-finished --- that are outside of the John Rain mythos, or at most are only tangentially connected to Rain? And do you have any desire or motivation to dabble in another genre?
BE: My next book will be a stand-alone thriller, something I had started when I first sold the rights to RAIN FALL and that I'm thrilled to finally get back to. After that, I think I'll do that prequel I mentioned above. Dabbling in another genre... it's hard to say. For me, it's all about the story. Right now, when a story comes to me, it tends to be a thriller. But I can see where that could change, and if it does, I'll follow the stories wherever they take me.
BRC: Last of all, this has been nagging at me since I finished REQUIEM FOR AN ASSASSIN, and I want to ask without giving anything away: At the conclusion of the book, was it…sister? Or bomb?
BE: LOL! I wish I knew...
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