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Robert Ludlum - Road To Gandolfo.txt

Page 42

by The Road To Gandolfo [lit]


  galloping hooves. Seconds later

  MacKenzie Hawkins emerged on the dirt

  road from beyond the trees and the

  fields where only weeks ago maneuvers

  were held. He reined in his horse and

  trotted up to the northwest corner of

  the gardens.

  "Goddamn! Isn't it a glorious day?

  You can see the peak of the

  Matterhorn!"

  There was the music of a triangle

  calming from the other direction.

  MacKenzie waved; Devereaux and Anne

  turned 280

  and saw Francesco on the terrace

  outside the kitche door, the

  triangle and the silver bar in his

  hands. He w dressed in a large

  apron, the Tyrolean hat firmly on h

  head.

  Zio Francesco called out.

  "Lunch, everybody! The s''eciale

  di giorno is fantast co!"

  "I'm hungry as a horse!" roared

  back the Hawk as patted his mount.

  "What've you got, Zio?"

  Francesco raised his voice to the

  Alpine hills. And the, was music in

  his words.

  "My dear friends. It's Ling'`ini

  Bo7nbalini!

  291

  ,.,

  LUDLUM

  - ON

  LUDLUM

  Few writers have skyrocketed to popularity

  with the speed of Robert Ludlum, with each

  succeeding thriller becoming a bigger

  bestseller. The key to his success may lie

  in John Leonard's comment in The New York

  Times, "Mr. Ludlum stuffs more surprises

  into his novels than any other six-pack of

  thriller writers combined."

  Some people claim Ludlum has secret

  sources for information found in his

  stories. In one, an early book, a lrey

  theme was CIA involvement in domestic

  surveillance. At that time the subject

  shocked many people. Later, of course,

  this fact proved to be correct. Other

  people suspect Ludlum was an agent himself

  during the years prior to his career as a

  novelist. Not true. For close to twenty

  years he was in show business as an actor,

  producer, and as the "voice" of dozens of

  television commercials for products

  ranging from Tiparillos to Tuna Helper.

  During his "voice" period, Ludlum's wife

  crowned him "King of the Toilet Bowls." As

  he tells it, "there was this product

  called Plunge. All I had to do was read

  , ., ~1'

  .~

  three words: Plunge works fast. In spite

  of my off-ean delivery, they used my

  three words in over one hundre different

  commercials. The money from this put one

  my children through two years of

  college."

  Although none of Ludlum's novels draws

  on his sho business background for

  subject matter, they all refle'

  techniques he learned in the theater.

  Ludlum says, "tt theater man knows that

  he must involve the audienc He

  understands structure more than anyone

  else I} lo~cal evolving of one event

  into another event will out losing the

  audience's attention. Because if you lo;

  their interest, you're closing Saturday

  night."

  Ludlum admits, "I write primarily as an

  entertains But I find that whether

  you're writing comically

  dramatically, you write from a point of

  view of som thing that disturbs or

  outrages you. And that's what do. I

  admit to being outraged mostly by the

  abu: of power by the fanatics. The

  extremes bother me, rig or left." Yet he

  adds, "I disapprove of violence, that

  why I show pain for what it is. When my

  characte get hit, they hurt. They don't

  jump back into actic like John Wayne."

  All of this and Moroccan be found in the

  publishr work of Robert Ludlum. Since

  his first novel, TH SCARLATTI

  INHERITANCE, he has amassed ~ enviable

  record of success: THE OSTERMAN WEE!

  END, THE MATLOCK PAPERS, THE RHINt MANN

  EXCHANGE, THE GEMINI CONTENT ERS; more

  recently, THE CHANCELLOR MAN' SCRIPT,

  THE HOLCROFT COVENANT, TO MATARESE

  CIRCLE and THE BOURNS; IDE! TITY. His

  latest bestseller, THE PARSIFAL MC SAIC,

  will be published in paperback by Barton

  1983~

  .

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