Most readers reach for a Robert Ludlum novel to experience the thrill of suspense and the intricacy of international espionage machinations. Others may be drawn to his portrayals of largerthan-life heroes who, against all odds, succeed against labyrinthine networks of deception, corruption and intrigue. Few, however, would expect from Ludlum more than a cursory treatment of social or ideological issues. After all, the author has admitted in an interview: "I don't spend a great deal of time on things that don't move the story."

And yet, on occasion, even a writer as action-oriented as Ludlum is motivated by social rather than entertainment-driven concerns. As he has remarked elsewhere, "I'm fundamentally and merely a storyteller who hopes you enjoy the entertainment, but perhaps will permit me an idea or two." Only a year before The Cry of the Halidon, for example, Ludlum wrote one of his most...