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| Trace Conger |
The Shadow Broker by Trace Conger is a good read. What it did, in addition to providing the satisfaction of reading an interesting and innovative crime tale, is re-ignite in my mind two on-going debates in the publishing world.
The first is independent publishing, the new and kinder word
for self-publishing, which replaced the even worse sounding “vanity press.” The Shadow Broker is proof that it is
possible for a well-written book to make it to market and have an impact
without the backing of a major publisher. Might the book have been even better had it
gone though the traditional publishing process?
Maybe, but I doubt it. It’s solid as is.
Well-written and edited, with a great cover.
Might it sell more if it were traditionally published? I
don’ know, but I’m guessing, “yes.”
Though I know from experience that an independently published book can sell
better than one published by one of the big five that didn't provide adequate marketing
support. In this case, the book is doing
well on Amazon, both in reviews and sales. Out of 45 reviews, more than
two-thirds give the book five stars. It is also attracting Shamus Award
attention, tough enough for any new writer.
As I said, Conger’s first novel brings other questions to
the surface: one is: Can we justify rooting for a seriously and I mean
seriously flawed human being? Mr. Finn, the main character, is likable only in
as much as everyone else is less so. As we often do in the political arena, we
go for the lesser or least evil. We can’t help but root for Mr. Finn and his
irascible father. Everyone else is worse.
Final question: Is there such a thing as the pornography of
violence? When does excessive, graphic
blood and guts become merely obscene? This is a violent book. The thing is: it
is no more violent than most of the books and films we buy into every day. Personally, I would not, could not make a
steady diet of reading at this level of violence. But just as sex-related
obscenity is in the eye of the beholder, so too are graphic portrayals of
violence. And, it is fiction.
Depiction of violence in contemporary crime fiction often seems to be
obligatory. There is no shortage here either. However, the strength of the
story and the heightened level of suspense pulled me through my prudish,
anti-gore preferences. The violence is organic, essential to the plot and to
the development of character. In short, Conger has a winner.
In fact, I’d be surprised if this wasn’t the first of many
adventures of the easily compromised Mr. Finn. I would also be surprised if his
series isn’t picked up by one of the big five publishers should Conger want to
go in that direction.
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