Richard A. Clarke took to heart the old maxim, “Write what you know.” An advisor to three consecutive U.S. presidents, Clarke has penned several nonfiction books about intelligence operations, security policy and terrorism. Bottom line: when Clarke writes about these subjects, he knows whereof he speaks.
In his new global thriller Pinnacle Event, a secret nuclear test in the Indian Ocean alerts the American government that shadowy forces have purchased five nuclear weapons built in apartheid-era South Africa. With the 2016 elections just a couple weeks away, the President plucks out of retirement former intel operative Ray Bowman (who sensibly chucked this job at the end of Sting of the Drone, Clarke’s previous novel) to track down the nukes before they cause The End of the World As We Know It.
As you might expect, Clarke knows which intelligence agencies do what where, what their capabilities are, and how well they play with others. He’s aware of how spooky people (on all sides of the Spy-vs.-Spy game) can move around the world without having to shed their shoes for TSA. He knows intimately the history of South Africa’s nuclear weapons program and how the public story doesn’t align with real events. In that the story takes us to six of the seven continents, the author gets a lot of opportunity to show off this knowledge. Much of what happens feels just about like it could really happen… if it hasn’t already. This is the good stuff.
The bad? Clarke seems to have forgotten that in writing fiction, plot is only the start.
There are characters in this story, but precious few people. Their dialog is speechy, often stiff and largely interchangeable. They rarely display complex feelings or are significantly affected by anything happening around them. Aside from a couple stabs at giving them non-work lives, they’re largely free of anything that isn’t focused on the job.
This sensory deprivation extends to other areas. While we visit a large number of potentially interesting settings, their descriptions are spare to the point of starvation; don’t expect that you’ll know what any of these places look, sound or smell like by the end of the story. What action there is comes off as reportage rather than immersion. Clarke has set up a couple hellacious built-in ticking clocks and several scenes that ought to be nail-biters, but the remote and dispassionate writing sucks out all the tension.
I’d hoped that the author would use his insider knowledge to give us fresh, realistic portrayals of the people and organizations who would really be involved in this sort of situation. Instead we get common thriller tropes. Bowman is the Indispensable Man: he’s supposedly the only American in the world qualified to do this job (even though he doesn’t do anything all that remarkable). The other major characters are equally types: the noble African pursuer of justice, the driven computer jockey, the doughty Mossad agent, the dastardly Russian oligarch.
The international cabal behind the world-threatening plot isn’t exactly SPECTRE, and it at least has an interesting reason for doing what it’s doing. But it, too, becomes another trope: the Gang That Can’t Shoot Straight. This massively resourced conspiracy with literally global reach can kill its enemies anywhere and everywhere, but can’t polish off Our Hero or his minions even with multiple tries.
Bowman and his crew zero in on the baddies not because of their impressive analytical abilities or brilliant leaps of logic, but because of another trope: the God Machine, in this case Minerva, a massive computer system that can grab every iota of data on the planet and piece it together on demand. It’s extremely convenient to have Minerva continually spit out precise, verified intelligence about anything you can think of at just the right time, and tell Our Heroes exactly where to go next. This tends to rob those ticking clocks of their dramatic potential. Of course the good guys will stop the timer at 0:07 – they have Minerva.
In his defense, Clarke is hardly the first thriller writer to serve up an interesting plot stocked with flat characters, stagy dialog and herds of clichés. If you don’t mind this, you’ll like Pinnacle Event. The most engaging part for me was the short Author’s Note that lays out the real-world underpinnings of the story. It made me wish Clarke had instead written a nonfiction exposé about South Africa, Israel, and rogue nukes – a real-life spy thriller, full of real people and real tension.