Firefly is the latest thriller from author Henry Porter, I'd enjoyed his previous works; especially Empire State and Brandenburg, and he was one of the few columnists in the Observer I could stand to read when he wrote for that paper. I therefore had high hopes for his new novel; his first since The Dying of the Light (aka The Bell Ringers) in 2009.
Unfortunately those hopes were not met. Whilst Firefly is far from a terrible novel its not a particularly great one either.
The primary issues is its reliance on lazy-cliche and one-dimensional characterisation. For example, the book's hero Paul Samson is that old stand-by, the reluctant spy. In this specific case that means a former MI6 officer of impeccable decency who quit the service because he couldn't tolerate his colleagues's underhanded, cynical methods. An archetype we have seen a dozen times or more from innumerable authors and lazy short-hand for 'he's a good guy!' Porter even gives him the obligatory flaw that all such heroes must have, in this case a gambling habit (but of course not one so bad that it makes him unattractive as a person or undermines his noble decency).
That same unquestionable, one-dimensional nobility is common to all the other 'good characters' in the book too. There's Anastasia, the almost angelically good love-interest who works as a child psychologist in a refugee camp but is also willing to drop everything to assist Samson despite only meeting him once for about ten minutes. Or the eponymous Firefly, an innocent but wholly decent (and almost super-humanly intelligent and self reliant) child sucked into events beyond his control. Every 'good' character in this book, down to the minor supporting roles, is inherently decent and lacking in genuine complexity in the way that no disparate group in real life ever would be.
Those on the other side are equally stereotypical too. In Firefly, if you work for any of the intelligence services then by default you are untrustworthy, duplicitous, cynical and hard-nosed. If this book is an accurate reflection of the real world then no European Intelligence agency employees a genuinely compassionate, decent human-being; which I find very hard to believe. It would also seem, according to Porter, that western Agencies don't employ smart ones either, but just single-minded, dogmatic ones.
In fact the only people in the world of Firefly less trustworthy than Western Intelligence Agents are Islamic State Terrrorists themselves, who are all, to a man, singularly ugly, evil human beings with no complexity or contradictions. If they weren't so thoroughly and genuinely barbaric they'd be pantomime villains. As it is they all feel like a Hollywood scriptwriter's idea of what constitutes an IS Terrorist, right down to bad breath and other physical deformities. This is the sort of book where the good guys are all physically attractive, the untrustworthy ones are rumpled or into power-dressing and the bad 'uns are ugly and smelly. Its almost laughably formulaic.
But then I'm not sure that the characters or the plot are really that important to Henry Porter. From the very start the primary purpose of Firefly seems to be to highlight the plight and suffering of refugees trying to enter Europe from Syria, Afghanistan and other war torn countries. Its this element of the story that seems to get the most attention and also feels the most plausible and well researched. Its obvious that the author has spent some time in the places in he portrays and has witnessed some of the suffering he describes first hand. The little details he inserts are proof of that.
However, by inserting into this vivid portrayal of a modern tragedy a cast so unremittingly one-dimensional Henry Porter just serves to undermine the points he's trying to make. When every refugee, aid worker or innocent civilian is so unswervingly good, every authority figure is without exception untrustworthy, incompetent or self-serving and the villains all irredeemably evil then plausibility begins to go out of the window. Add in a plot that relies too much on coincidence and deus-ex machina resolutions, whilst also lacking the genuinely hard edge that events really demand (for evil terrorists the bad guys seem very unwilling to actually kill anyone) and as a reader you begin to question the verisimilitude of everything on the page, That includes the the writer's portrayal of a real life, on-going refugee crisis which as a result loses its ability to shock and move..
If I was Henry Porter next time I would spend less effort on trying to present a realistic backdrop for my story and more on creating believably complex individuals and a plot that feels genuinely satisfying from start to finish.