Tom Clancy died this week, aged 66. Sad news. I enjoyed his books in their day. His writing – and games – brought a good deal of pleasure to many people.
He achieved something few authors manage; he defined a genre, the ‘techno-thriller’. Other authors followed, some of them service personnel whose own experiences gave their stories a ring of authenticity. And if their characters were at best cardboard, their plots contrived, the stories nevertheless struck chords in the 1980s and 1990s, particularly.
It was a genre born of the Cold War, and it was a genre of its period. The realities of warfare at personal level (stress, isolation, noise, fog of war, death without warning, visually unspectacular), were lost amid the gee-whizz factor of boys-with-toys hardware. It was also largely an American genre, suffused with all the symbols of American patriotism. Some of the more extreme techno-thrillers could have substituted slabs of text with the chant “America! Flags! America! States! Mom! Apple pie!” without anybody particularly noticing.
To me that spoke a good deal about the human condition in general; for the late Cold War was not the first time that popular militarism had led to popular loss of touch with the realities of this darker side of our existence. My own country, New Zealand, went through the same experience in the 1890s, plunging into fervent ‘social militarism’ pivoting on the same fantasy glorification of warfare and popular idolisation of hardware.
That led to such things as a letter from one of our ‘lads’ heading to the Boer War in 1900, telling his mother he hoped to get shot as a way to earn glory. He was; and it was not glorious, it was a tragedy, especially for his poor mum. The trend culminated, in 1909, in our getting into a ridiculous debt to buy a battlecruiser for Britain. I wrote a Masters thesis on how that happened. Later, after that thinking had been blown out of us by the First World War, it did seem a little silly.
Looking back on the techno-thriller, I can’t help thinking the same thing. I read a lot of them in the late 1980s and early 1990s, and enjoyed them at the time. But they were not exactly literature. Some read like Murder on the Orient Express as written by the Eric Olthwaite Locomotive and Rivet Counting Club instead of Agatha Christie. Today, for me, novels need to be more than a thinly disguised catalogue of military hardware working to design specifications. That never happens in reality, and it shouldn’t happen in a novel if disbelief is to be suspended.
What’s more, real warfare has more to do with hearts, minds, morale, tactics and support than it does with hardware specifications. I could give dozens of instances, but let’s put it this way – in a ‘techno-thriller’ world, we’d have lost the Second World War because the German Tiger II’s, Me-262’s and V2’s, out specced anything the Allies had and, by techno-thriller logic, therefore made the Germans invincible.
To me, the techno thriller in its original ‘cold warrior’ form is a period genre – one sliding away from us as the years roll by. I suspect many of its books will fade too, as ‘airport novels’ (which is what these things really are) inevitably do.
But we’ll see. Your thoughts? Have you read any of Clancy’s work – or any other techno-thrillers? What did you think of them?
Copyright © Matthew Wright 2013
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