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Download The Nearest Exit Audiobook (Unabridged)

Extended Audio Sample The Nearest Exit (Unabridged), by Olen Steinhauer
3 out of 53 out of 53 out of 53 out of 53 out of 5 3.00 (1,670 ratings) (rate this audio book) Author: Olen Steinhauer Narrator: David Pittu Publisher: Macmillan Audio Format: Unabridged Audiobook Delivery: Instant Download Audio Length: Release Date:
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The Tourist, Steinhauer's first contemporary novel after his award-winning historical series, was a runaway hit, spending three weeks on the New York Times best seller list and garnering rave after rave from critics. Now faced with the end of his quiet, settled life, reluctant spy Milo Weaver has no choice but to turn back to his old job as a tourist .

Before he can get back to the CIA's dirty work, he has to prove his loyalty to his new bosses, who know little of Milo's background and less about who is really pulling the strings in the government above the Department of Tourism or in the outside world, which is beginning to believe the legend of its existence. Milo is suddenly in a dangerous position, between right and wrong, between powerful self-interested men, between patriots and traitors especially as a man who has nothing left to lose.

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Listener Opinions

  • 3 out of 53 out of 53 out of 53 out of 53 out of 5 by Evelyn | 1/19/2014

    " a decent interesting read... like action but not thriller. if you want something that will leave you with insights or feelings that you remember over time... not really a book of that kind of depth. great for entertainment value. "

  • 4 out of 54 out of 54 out of 54 out of 54 out of 5 by Falm94 Lutz | 1/1/2014

    " Like The Tourist, very good spy novel page turner... nothing special or smart but fun to read. "

  • 2 out of 52 out of 52 out of 52 out of 52 out of 5 by Hans | 11/28/2013

    " Just as thin as the Tourist "

  • 2 out of 52 out of 52 out of 52 out of 52 out of 5 by Gina | 11/22/2013

    " I gave Steinhauer a chance, but somehow, these two Tourist books lack a moral center. Categorically, the comparisons by other critics, who have put him on a par with Le Carre, are to be dismissed. One gets the feeling that the author wishes us to believe that he finds the actions of his fictive CIA black ops problematic; but one never feels it in one's spine, as Nabokov might say. It seems a "put on" theme and, as a result, the books make one wish for Milo Weaver, the main character, that he had had a more empathic author. "

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