This book has literary problems that are not overcome by the exciting, even if puzzling, story the author presents. This 466-page version of the hardcover edition likely would still be too long at 300 pages, but a much shorter version would render a more exciting story. These problems are the result of headstrong writer prevailing over an editor about how necessary each word on every one of those pages was crucial to telling the story, when in fact some of the problems on display in this book could have been eliminated by careful and empathetic (to the reader) editing by an experienced editor unafraid of an author's ego. Despite all the other problems I found, the 3 or 4 chapters at the end were very good, something that is hard to say about the rest of the book.
The book is a 400-page chase with little pause granted the reader to allow the reader to understand the story. Too much of the book is given over to simile and metaphor (simile/metaphor is a substitute for writing that makes a story live). About 2/3 of the way through the book, I started underlining the similes. On average, there I found one per page, and on more than one page, there were as many as 3 or 4. These are wasted words, unnecessary when a writer knows how to describe events or make dialogue clear. Far more is written and said in this book that doesn't have to be said if goals of the narrative are clarity and being intelligible to the reader. Not every thought or piece of information known to an author, or references to every movies seen in the last 20 years is required to make the story pungent, precise, and exciting. Yet, this is what the author seems to do. Fill page after page with data and references that do not clarify the story.
Dugoni's chapters sometimes end so abruptly that pieces of the overall narrative just sit out there, unwoven into an integrated story. I was almost 200 pages into this book with its dozens of unconcluded chapters before I began to get the sense that the core of the story began in Vietnam during America's involvement there in the 1960s and 1970s. The problem with this style of writing is that, while I and those of my generation lived through those years, there aren't that many of us left and for those of us who are left, these events were close to 50 years old. When, in reading a book, I get to the point where I am asking repeatedly, what is the point of the reference, I know I am having trouble. At one point, at the start of a chapter, the chapter heading and first sentence contained errors about a highway name (Interstate 5, or I-5 as it is known to everyone on the West Coast, was renamed Highway 5--there is no such road in Washington or Oregon--and the author excitedly writes about driving the entire distance of Washington and Oregon states on "Highway 5" to Dunsmiure, California, without stopping. That's a distance of about 600 miles, dude. You have got to stop for gas, food, a urine break, or simply a stretch at some point. Please, I have driven from Portland to Santa Barbara, and I know that even if I was pounding it, I couldn't get further than Ashland (about 300 miles from Portland) without stopping for gas and a stretch. It is a sign of a writer's infancy to try to make readers believe that, in the heat of being excited, feats of extraordinary ordinariness can be accomplished by fictional characters. The problem for the author and the reader is that it makes the story a lot less plausible.
In other words, what Dugoni required with this book was a good editor who was willing to tell the author that at least 30-40% of his content had to go. That's right. This was a 250-300 page paperback read, not nearly 466 pages. Only Anthony Trollope, George Eliot, Charles Dickens, and perhaps James Michener are entitled to 500 plus page books, and them only because they make points make that are good for the ages. I prefer Don Winslow, Donna Leon and John LeCarre. But, that's just me. All I ask is spare me from overuse of simile, metaphor, and wasted writing. Find a good editor, preferably an old one.