2.5 out of 5
Filthy and gritty.
Those are the two words which come to mind when thinking about this novel.
Conway has a way with words. There's no denying that. He has this -- if I may be so bold -- a distinct British ability to talk in background, to Convey in the buzz, to propel the narrative in subtext. It's like watching a piece of art, in its distinct, brilliant parts.
Separately, these pieces are breathtaking. But taken collectively, it's a mess and a great missed opportunity.
The novel is mostly set in Pakistan, and being an Indian, I fully appreciate the accuracy of his description of the land, the customs, the social structure and most of all, use of the words from local languages. He depicts, quite accurately, the sorry state Pakistan currently is in, and how army and ISI had swindled the west for money and resources.
It's gritty, the sights, the smells, the people and the poverty. The filth around tribal areas and even in major cities, around which even the big shots like Noman Butt often wakes up. He's the most interesting character in the novel by the way. At first, I groaned at him, thinking him as 'just another Sherlock' who couldn't function properly without a case and needs a world of intoxicants without. But he grew on me later.
The protagonist, (if we can call him that), Ed Malik, too is interesting enough, but has nothing that we haven't seen before. But his girlfriend Leyla, is a gem. Her determination and fiery nature, later unfortunately turns into a starry eyed helpless in love damsel caricature.
The bomb boy, too, is perhaps a quite unique character readers would surely like.
Conway needs too much sex, however. And he does not mince words around it. "Arse" and "cunt" both are fare game in his novel for characters. At times, it feels like nothing but titillation.
But the biggest flaw is the story itself, the first 20% of it, seems to have been taken straight from "Zero Dark Thirty" . The 'House Of War' mystery, as interesting as it initially sounded, isn't the main plot. And it absolutely doesn't help, that the main story, starts when the novel is already past 60% mark. It's like Conway is purposely dithering behind his fancy narration and word play.
Therein lies the problem of 'The Agent Runner' -- lack of focus. It's scattered all over the place, it lacks conviction. Of sorts. Conway brings a supposedly brilliant twist to 'The Spy Who Came in From The Cold.' but by then it's too late. Because the twist and the facts that Ed narrates to Noman, to support that twist, comes totally out of blue. It would have been brilliant if foreshadowing hints have been there for readers from the start. Finally, it does not make sense in the first place, to send Ed, to do that "entrapment operation" -- as the in-novel-parlance call it, specifically 'because' of that twist. I won't spoil it, but you'll see what I'm talking about when you reach there.
And now the elephant in the room : the near plagiarizing symmetry to Le Carre's legendary Novel and even managing to botch it. A great storyline like that ; which, I admit, was the biggest surprise for me.
Conway does acknowledge it in the his 'Thank You notes' when he talks about Graham Greene's 'Our man from Havana' and Le Carre's 'The tailor of Panama'. But that does not take away the fact that at the center of it all, if we see the whole picture, from a distance; we have to admit that despite individual, subtly beautiful subtext-y parts, there's absolutely nothing creative here. It's a fake, and botched attempt at recreating 'MonaLisa of spy novels.'