Thomas Waugh’s Endgame employs sharp wit and brilliantly relentless dry humour in this
latest addition to the Daniel Ambler series. The narrative concerns Ambler being assigned to
re-establish contact with a former flame, who happens to be intimately connected to a now-
deceased Russian oligarch. Ambler must work undercover to extract information before
adversary forces gain control of considerable assets. Alongside the main intrigue, Waugh
employs a running theme of social commentary, demonstrating his keen eye for human
dynamics through our charmingly cynical protagonist, which ensures that the high-stakes
thriller is grounded in recognisable social realities. The writing is darkly slick and embedded
with culturally salient humour; when reading, one is compelled to file away several expertly
crafted insults into one’s memory for later use.

What stands out in this novel is the overarching theme of the internal cost of secrecy on our
leading character. Though Ambler’s inner dialogue is often consumed by the consequences
of his double life as both a novelist and a spy, it becomes increasingly clear that this duplicity does not
entirely haunt him; on the contrary, he derives a certain satisfaction from the
thrill of espionage. However, as a (sometimes) good Catholic, Ambler is often guilt-ridden by
past secrecy and indiscretions. This is most apparent in his relationships with both Sara and
Natasha, inviting one to question the extent to which we can ever truly know another’s
motivations and intentions. This introspective line of questioning enriches the narrative. It is
further reflected in the characters who orbit Ambler, many of whom gradually reveal secret
parts of their identities that complicate our perception of them. Waugh’s writing brings to
the surface the uncomfortable truth that secrecy permeates not only society’s institutions
but also individuals, with its corrosive force. This lends a certain depth to the story without
sacrificing any momentum in the process.

Waugh skilfully draws on the classic ingredients of a spy thriller to create an engaging
narrative, including a race against the shadowy enemy, echoes of the Cold War, and, of
course, the inner turmoil of our sometimes morally ambiguous hero. Despite Ambler’s
operation in an ethically grey zone, it is hard to dislike the protagonist due to his consistent
self-awareness and reflection. His humour and occasional lapses of vulnerability serve as
counterweights to the more ruthless side of his character. Waugh employs a disarming
mixture of witty modern colloquialisms alongside references to the ideas of classical
philosophical authors. This stylistic blend makes the book feel approachable, yet satisfyingly
erudite in its tone. The pacing of the novel builds tensions effectively throughout,
culminating with several exciting and well-concealed twists which keep one hooked until the
last page. Both newbies and seasoned readers of the genre may well be caught off guard by
the coalescence of events at the end of the story.

Although the novel is escapist by its very nature as a spy thriller, it remains rooted in reality,
with the war in Ukraine as an ever-present backdrop to the story, grounding the narrative in
a way that feels relevant and consequential. Endgame works well as a self-contained,
standalone novel, and each character’s journey is well thought out; however, one is
compelled to visit or revisit the earlier titles in the Daniel Ambler series, as well as explore
the character of James Marshall in Waugh’s other work. Certainly, there is still ample room
in the story for both characters to return. The novel is successful as an action-driven,
suspenseful spy thriller, but also provides thought-provoking insight into the costs of leading
a double life.

Thomas Waugh is the author of the Daniel Ambler Spy Thrillers and much more, which can be found here.