The 21st Century Spy Novel

spy, espionage, reading

(photo: David Lytle, creative commons license)

Some readers may long for the (fictional) days of the Cold War—a nostalgia fueled by the brilliant movie Bridge of Spiesand the dark-soul novels of John LeCarré and Graham Greene. At least then, we knew who the enemies were. After the disintegration of the iron curtain that protected Soviet secrets, the spy novel became a bit of an anachronism, but now it’s surging back in popularity and creativity, 21st century style.

While the antagonists may have changed—or, with what’s going on in Russia these days, be cycling back again—clandestine operations persist among countries that are enemies. And, as Wikileaks has reminded us, spying even occurs among friends. “As a piece of news, this surely sits alongside the Pope’s status as a Catholic,” said Christopher J. Murphy for CNN last year. As a consequence, the espionage writer has a lot of conflicts to choose among.

Tthe techno-thriller subgenre, so well explored in the past by writers like Frederick Forsyth (The Day of the Jackal) and Tom Clancy (The Hunt for Red October), has rapidly expanded fictional possibilities. Every day, it seems, more sophisticated technologies emerge that can be used to create political instability in other countries or groups and damage their military and economic security.

A recent Library Journal article said, “One needs look no further than today’s headlines to see the global issues available to present-day storytellers that weren’t there even 20 years ago.” A good case in point was the 2015 near-future thriller, Ghost Fleet (by P.W. Singer and August Cole) about the vulnerability of a U.S. military dependent on communication technologies—like GPS and wireless—and compromised by the computer chips that make them possible.

Recent popular espionage thrillers illustrate how diverse the threats are: Terry Hayes’s I Am Pilgrim, involves deadly biological warfare; cyberespionage in David Ignatius’s The Director; Close Call by Stella Rimington (first female director general of MI5) covers counterterrorism; and the agents in Todd Moss’s Minute Zero face political instability in Africa.

Books like these turn reading and watching the daily news into a quest for the story beneath the story.

UPDATE:  Great minds . . . Dawn Ius wrote about this same trend in The Big Thrill magazine, 1/31/16.

The Martian

The Martian, Matt DamonRidley Scott’s movie (trailer) based on the runaway best-seller by debut author Andy Weir is a knockout. But then I’m a sucker for stories with a big component of “how to make things work.” The hero of this story, astronaut Mark Watney has to get a lot of things working very fast, when the crew of the ARES III Mission inadvertently strands him on Mars, “the first person to be alone on a whole planet.” Watney (played by Matt Damon) is left behind when a massive sandstorm threatens the entire crew. Flying debris damages his biotelemetry unit, which registers him as dead. And in the storm, they can’t find his body.

First, he must solve the problems of food and water, long-term, since it will take at least four years until another Mars mission could rescue him, even if NASA knows he’s still alive. Which he has no way of telling them. It’s a test of humanity to put a person in extreme circumstances, and you cannot get any more extreme than the surface of the Red Planet.

Back on Earth, though, eagle-eyed Mars-watchers notice movement on the planet surface and come to an obvious conclusion. The race is then on—against distance, bureaucracy, technological limitations, and the implacable elements of Mars. All I can say is I’m glad I’m not NASA Director Teddy Sanders’s (Jeff Daniels) or his media relations director (Kristen Wiig). Especially strong were the roles of Jet Propulsion Lab director Bruce Ng (played by Benedict Wong), and ARES III Mission Commander Melissa Lewis (Jessica Chastain). Matt Damon is terrific, as always, in the role of Watney. Just the right mix of angst and wit, supported by an excellent script from Drew Goddard. The Martian surface was filmed in Wadi Rum, Jordan.

I know there are people who believe they don’t like science fiction. To me, movies like this are less about the science and more about the human spirit and how it can engage with the creative mind. The science makes it read “real.” As The Atlantic critic Christopher Orr wrote, “Excellence in cinema is sometimes a singular achievement . . . On other occasions, it’s the result of extraordinary collaboration. The Martian is one of these.”

Rotten Tomatoes critics rating: 93%, viewer ratings: 93%.

*****Ghost Fleet

navy ships, ghost fleet

America’s “ghost fleet” (photo: Ingrid Taylar, creative commons license)

By P. W. Singer and August Cole – This gripping thriller about what the next world war might look like has captured the attention of Washington policymakers and defense industry insiders alike. Singer is a senior fellow at the New America Foundation, a nonprofit, nonpartisan Washington, D.C., think tank, and Cole is a former defense industry reporter for the Wall Street Journal.

Unlike so many other speculative fiction outings, this one is based on technologies already plausibly “in the works,” and the authors provide 374 endnotes to backstop the action and interfere with readers’ ability to sleep peacefully at night. Ghost Fleet is a novel of the post-Snowden world, in which the techniques the U.S. National Security Agency used on others are turned back against the Americans.

The story begins at the International Space Station. Russia and China have declared war against the United States, and a U.S. Air Force Colonel, on a disastrously timed space-walk, becomes the unwitting point of the spear. Oblivious to the political developments taking place on the blue globe spinning below, he finds the ISS reentry hatches sealed against him. “Goodbye, my friend. I am truly sorry. It is orders,” says his Russian cosmonaut colleague.

It’s the initial action in a war fought not solely, but significantly, in cyberspace. Takeover of the ISS enables the analogous Chinese space station, Tiangong-3, to systematically knock out every communications satellite that U.S. armed forces depend on. It soon becomes apparent that not only the satellites are down, all local-area communications networks are compromised, because military suppliers have been using low-cost Chinese-made computer chips in their planes, ships, and communications equipment by the unidentifiable thousands, and these chips are insecure, tiny moles. Only the mothballed planes and ships destined for the scrapyard–the Ghost Fleet–are now safe: “The 707 passenger-jet derivatives did not have a modern chip anywhere, unlike the new KC-46s, which had turned out to be missile magnets like all the other Chinese-chipped gear.” This new top-to-bottom vulnerability of the military, which has become overly confident in the security of its communications systems, shows in brilliant and devastating relief.

This is a multiple point-of-view novel, with short scenes from many locations involving numerous protagonists, though most of the action takes place in the Pacific, San Francisco, and Hawaii, where “The Directorate”—comprising Chinese military, along with Russian elements under their command—has established an important outpost. At the story’s heart are the trials of the USS Zumwalt, an oddly designed, mothballed ship recalled into action after much of the modern U.S. fleet is destroyed—again at Pearl Harbor. The Zumwalt’s newly appointed captain, Jamie Simmons, is challenged militarily and by relations with his estranged father, retired chief petty officer Mike Simmons. Like the vintage tin cans—seagoing and aerial—rescued for the U.S. counterattack, retired military personnel are called back into service, and by some inevitable cosmic sense of humor or irony, Mike is assigned to the Zumwalt.

Other principal characters include: a Hawaiian woman working as a freelance assassin who is tracked by the omnipresent surveillance drones and a live Russian operative; a small team of surviving Marine insurgents harassing the Chinese forces on Oahu; a Russian who attempts to aid the Americans and ends up in a neuroscience laboratory nightmare; Sun-Tzu-spouting Admiral Wang, captain of the Chinese battleship Admiral Zheng He; and a wealthy Brit-turned-space-privateer. Other non-state players also emerge, providing a level of DIY unpredictability.

The epigrams for the several parts of the book come from Sun-Tzu’s advice to warriors, and the one for Part 3 is “All warfare is based on deception.” The levels of deception between the Chinese and Russian “allies,” between the antagonists, and arising from the inability to rely on secure communications is paranoia-inducing. Meanwhile, the roles of drones and robots escalate, which is great when they’re yours.

If you are a fan of techno-thrillers, like I am, this novel is the ultimate: fast-paced, high stakes, well-grounded, and, one may hope, consequential. International readers may be disappointed that the book is so US-centric—a casualty of “write what you know” or a realization that there’s already so much going on, we have to stop somewhere?! The book doesn’t come to a too-tidy conclusion, either, and that is also sadly realistic. The authors use it to explore in a vivid way what might happen and what we should be thinking about before it comes to pass.

*****Seveneves

Perseids, meteor shower, night

(photo: David Kingham, creative commons license)

By Neal Stephenson – All my book-reviewing predelictions are about to be revealed, when I say this is exactly a kind of book I like best! Even readers who ordinarily don’t gravitate to their book store’s science fiction section because of a severe allergy to tired genre tropes—aliens, ray-guns, and domineering robots—cardboard characters, and future visions that strain believability might like this one. It’s science, all right, but it’s all about human beings and their behavior when really put to the test. Why that is, in Stephenson’s own words.

The novel’s premise is that something (we never know what, and it doesn’t matter) penetrates the moon “like a bullet through an apple” and causes it to explode mostly into seven large and innumerable smaller pieces. Watching the fragments of the moon clank about in space becomes an interesting phenomenon until astronomer and science popularizer Dubois Harris—clearly modeled on Neil deGrasse Tyson—stops wondering about the cause of the breakup and starts worrying about its effects. Scientists around the globe quickly agree with his conclusions: the moon’s fragments—bolides—will keep banging into each other making smaller and smaller pieces whose numbers will rise exponentially.

Eventually (in about two years), enough shattered fragments will begin entering the Earth’s atmosphere to create a cloud of debris that will spread out and, as Harris explains to U.S. President Julia Flaherty, “we are going to witness an event that I am calling the White Sky.” A day or two later would begin the next phase, “the Hard Rain,” as a rapidly increasing number of fragments enter the Earth’s atmosphere and their fiery trails “merge into a dome of fire that will set aflame anything that can see it. The entire surface of the Earth is going to be sterilized. Glaciers will boil.” How long will the Hard Rain last? Harris estimates “Somewhere between five thousand and ten thousand years.”

The only hope for human survival is to gear up the International Space Station (“Izzy”) to receive many more residents and, somehow, survive long-term, growing plants for food and oxygen, and mining asteroids and even the remaining chunks of the moon for materials. But there’s no way Izzy can take on several billion or even several hundred thousand souls, and a difficult selection process will be required. International politics must be set aside and every creative mind and resource focused on the survival of a few. With Doomsday approaching, technological development must move light-years faster than previously believed possible—or safe. Yet the meat of the book is the mechanics of the human psyche when subjected to such an extreme scenario. Inevitably, some readers will find the balance between mind and emotion not to their taste, and this may not be their kind of book.

There’s a lot of science and engineering here, but it’s wrapped in such an exciting adventure tale, and presented so clearly and plausibly, that I never lost interest for a moment. The 860 [!] pages fly by, faster than you can say Bolide Fragmentation Rate. In fact, there was so much there that a few loose ends escaped me—like, what happened to the mission to Mars? I don’t believe it had more than a passing reference. What happened to the rings Earth was supposed to acquire after the Hard Rain? These are hardly worth a quibble, though, amid all this amazing content.

As Jason Sheehan said in his review of Seveneves for NPR, “The experience of reading a modern Stephenson novel is like going out drinking with 20 or 30 of the smartest people on earth.”

****Mr. Penumbra’s 24-hour Bookstore

books, bookshelves, library

(photo: PromoMadrid, creative commons license)

By Robin Sloan, read by Ari Fliakos – This book was on many “best books of 2012” lists, and it’s tremendously entertaining. The narrator, Clay Jannon, is an unemployed web marketer who finds work as the sole night shift clerk at a strange San Francisco bookstore. The store stocks little current or popular inventory and attracts few customers; however, it has masses of arcane, one-of-a-kind reading matter that is not for sale, merely borrowed. The borrowers are regulars, a “community of people who orbit the store like strange moons,” taking out volume after volume of the dusty materials. Clay has been warned not to read these texts, and any of you who recall Bluebeard’s wife know what’s coming next.

Lost in the shadows of the shelves, I almost fall off the ladder. I am exactly halfway up. The floor of the bookstore is far below me, the surface of a planet I’ve left behind. The tops of the shelves loom high above, and it’s dark up there — the books are packed in close, and they don’t let any light through. The air might be thinner, too. I think I see a bat.

I am holding on for dear life, one hand on the ladder, the other on the lip of a shelf, fingers pressed white. My eyes trace a line above my knuckles, searching the spines — and there, I spot it. The book I’m looking for.

The prohibited books are in code.

As he’s starting to suspect more going on than meets the eye, Clay meets Kat Potente, an expert in data visualization working for Google, and, determined to impress her, he creates a computer model of the store. When powerful computers match the book borrowing records against the store model, strange patterns appear. Together Clay and Kat embark on a quest to figure out the store’s coded secrets. They soon encounter a strange 500-year-old society of academics, the Unbroken Spine.

Against the society’s hundreds of years’ experience with OK (Google-speak for Old Knowledge) is arrayed all the creativity and computing power of the Googleplex, along with Clay’s colorful friends, and kindly Mr. Penumbra himself. The book “dexterously tackles the intersection between old technologies and new with a novel that is part love letter to books, part technological meditation, part thrilling adventure, part requiem” said Roxane Gay in The New York Times (though I disagree with her “requiem”). The plot isn’t really the point—it’s a flight of fancy—but the juxtapositions of old and new raise significant questions about the enduring power of print, about the value of the search as well as the answer.

On its journey, the novel gently skewers some of the greater pretensions of Silicon Valley and those who feverishly embrace—and reject—technology. But in a good way. Numerous times while listening, I laughed out loud. The reading by Ari Fliakos was breathless and eager, a perfect voice for the 20-something Clay. Since I listened to the audio version, I missed the clever touch that the book cover glows in the dark.

“He’s Got a Gun!”

gun, firearm, weapon

(photo: r. nial bradshaw, creative commons license)

The late Elmore Leonard advised budding crime-writers, “when your story starts to drag, have someone pull out a gun.” Maybe too many of us have been following that advice, because several recent books aim to inject more accuracy into the portrayal of guns (and other weaponry). Errors make some readers swear off a writer and, as the introduction to The Writer’s Guide to Weapons: A Practical Reference for Using Firearms and Knives in Fiction
explains, “no wrath is greater than that of firearms enthusiasts.”

According to a recent post in Jane Friedman’s excellent “Resources for Writers” blog, written by Benjamin Sobieck, who also wrote the Writer’s Guide, above, here are key points about guns that writers should keep in mind to avoid those credibility-shattering results:

  1. Clip and magazine are not the same. A clip holds cartridges that go into a magazine. Most modern firearms don’t require a clip. But it sounds good, no? Clip: Manly. Magazine: Better Homes & Gardens
  2. Bullet is not the same as shell, round, or cartridge. You never find empty bullets on the ground after a shooting. Casings, yes.
  3. The whole pumping of a shotgun or cocking the hammer of a handgun is a sound cue from the movies, intended for intimidation, but, as Sobieck says, “less to do with looking tough and more to do with being stupid.” These extra and in most cases unnecessary pumps/cocks just “dump unfired ammunition onto the ground.” Why would anyone intimidate another person with a firearm, if it weren’t ready to fire? Good question. Ask your author.
  4. While this would seem to be an “it goes without saying” kind of thing, a character should never look down the barrel of a gun to see whether it’s loaded. Who’d be that stupid? I had a clip showing a tv character actually doing this, but it has disappeared. Sorry!
  5. And, perhaps the most pervasive of all gun errors in both news and entertainment media currently, the term “assault weapon.” This actually is meaningless. ANY weapon can be used for assault. The industry doesn’t use it. Sobieck says “tactical rifle (or shotgun), machine gun, submachine gun, fully automatic rifle,” or even “gun” are more meaningful than “assault weapon.”
  6. The term “automatic weapon” is often elided to mean either a semi-automatic weapon (which shoots one time with each trigger pull) or a “fully automatic weapon” which fires many times with a single pull. The idea of “automatic” weapons needs to be well defined. Fully automatic weapons are not very accurate after the first few shots because of recoil, so long, Rambo-inspired bursts of fire are actually useless if the goal is to hit anything.

Finally, in his book, Sobieck includes “Ten Golden Tips for Writing about Weapons,” which includes this advice: “If it’s in a movie or on television, it’s probably inaccurate.”

NSA Chief Speaks in Princeton

Mike Rogers, NSA, military

Adm. Mike Rogers (photo: wikipedia)

Admiral Mike Rogers—Director, National Security Agency, and Commander, U.S. Cyber Command (the military’s centralized operational command for cyberspace operations)—spoke at Princeton University yesterday, part of an ongoing effort to establish greater understanding of the NSA mission and encourage private sector partnerships .

He kept his own remarks short, describing the missions of the two agencies he heads, in order to maximize time for audience questions. A key challenge he noted is assuring that efforts to manage the nation’s cyber-threats and foreign intelligence-gathering are appropriately balanced against “the inherent right to privacy” of the American people. In the late 1960s and early 1970s (the Watergate era), revelations of government spying on U.S. citizens led to two new mechanisms for privacy protection: FISA courts (authorized under the Foreign Intelligence Surveillance Act) and congressional oversight. Unfortunately, Rogers said, the public has lost confidence in both those approaches at a time when threats have rapidly escalated.

“Would we even be having this conversation if it weren’t for the whistleblowers?” an audience member asked.

Rogers responded, “I don’t know any whistleblowers. I only know of thieves who stole government information.” He went on to say that he wished he had that information back, because the loss of it has imperiled troops overseas and many other individuals and activities, as well as entailed considerable costs. He tells his staff that, if they see any information or process of gathering it that they consider illegal, immoral, or unethical, they should raise it within the chain of command, and it isn’t up to each individual person to pick and choose which laws to obey.

In deciding how to respond to a cyber-attack, his command uses the same principle of proportionality that the military does in general. The exact means of retaliation is a policy decision, not his alone. In North Korea’s hacking attack against Sony last November, for example, he urged the President to “think more broadly,” beyond just cyber-methods, and the U.S. government response to date includes economic sanctions against Pyongyang.

A questioner asked what happens when information amassed on foreigners includes information about Americans (“incidental” information). Rogers wouldn’t speak to whether the FBI or CIA access such information but said the NSA treats it differently, as to whether and how long it is kept, than it does information on foreigners.

Another controversy raised was the NSA’s practice of bulk data storage. Rogers said that at least some bulk data storage is necessary because the agency does not know now what may be useful down the road. There are limits on how long information is retained, but these are currently “more of an art than a science,” he said. A January report by an expert panel convened by the National Academy of Sciences concluded that, at present, there are no screening methods that are a viable alternative to bulk data collection, although privacy protections can be strengthened.

Life Plus 70

copyright

(artwork: Christopher Dombres, Creative Commons license)

Copyright is a battlefield for creative types—authors, bloggers, musicians, and artists. As both a producer and a user of digitized content, I want the rights to my creative output (such as it is!) protected and strive to respect the rights of others. At the same time, I want to enrich my content with good graphics, audio and video content, and the resources of other works.

A recent Louis Menand article in The New Yorker crosses into this fraught territory, starting with a little history. Legal backing for copyright began with Britain’s 1710 Statute of Anne, and, in the United States with Article I of the Constitution, giving Congress power “to promote the Progress of Science and useful Arts by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.” In 1790, the law set that time limit at 14 years, renewable for another 14. By 1998, as a result of the Sonny Bono Copyright Term Extension Act, the time limit was extended to the author’s life plus 70 years—which some regard as a lengthy prison sentence for creative works.

Menand points out how different our attitudes about copyright are in the print versus the online worlds. “If , a year from now, someone else, without my permission, reprints my article . . . I can complain that my right to make copies is being violated.” Most people, Menand asserts, would agree with that. But if a Web site (like this one) posts an article referencing Menand’s piece and hyperlinks to it on The New Yorker website (as this one does), that seems normal in today’s world. Even a service. Courts have questioned the propriety of this, and it remains a grey area.

Meanwhile, billions of files are being downloaded—perhaps 40 billion a year—and an estimated 94% of these downloads are illegal and unmonetized, to the tune of $552 billion so far this year, according to Stamford, Conn.-based Tru Optik (“Game of Thrones” has the dubious distinction of being the world’s most illegally downloaded TV series).

Despite the uncertainties, various bibliographic initiatives worldwide are attempting to digitize the content of written works. Most visible in this country is Google’s effort to scan all known existing 129,864,880 books by 2020, an effort that has been plagued by numerous lawsuits. Google settled with publishers in 2012, and authors plan to appeal a negative ruling a year ago that deemed Google’s efforts “fair use,” since only “snippets” of text are provided for works under copyright protection, unless the copyright owner has granted permission for a more expansive view. However, the status of copyright protection is not always clear, as many potential rights-holders are unknown. (Google Books is a boon to genealogists, I can tell you.)

These disagreements arise in part because of a fundamental conflict in people’s understanding of the purpose of copyright. On one hand are those who think that, as Menand put it, “individual rights are intended to promote public goods.” These are the people, like the framers of the U.S. Constitution, who want to see works moved into the public domain for sharing, education, and entertainment. Historian Peter Baldwin characterizes them as “Silicon Valley.” On the other hand are those who believe the right to control one’s works “is not a political right. It’s a moral right.” These are people who want to maintain absolute control—Hollywood and the music industry.

The latter view comports more closely with European than Anglo-American views on the matter. My literary hero Charles Dickens conducted several popular speaking tours in the United States, in 1842 and thereafter, in which he read from his works. They added to his fame here, but his purpose was as much to fight for U.S. copyright protection for his and other foreign works, something that didn’t happen until the early 1890s.

The “moral rights” view is what gives the Broadway producers of Urinetown the ability to sue Akron’s Carousel Dinner Theatre for using “significant aspects” of the original Broadway production—direction, choreography, and design—beyond the script and songs for which the Ohio theater had a license. At the other end of the control spectrum, Menand says Samuel Beckett and his estate were well known for requiring theater companies wanting the rights to produce his plays to comply literally with Beckett’s stage directions. (Perhaps this is why all productions of Waiting for Godot look so bleakly similar—in form as well as content.)

On the Web, the problems and opportunities for misuse of others’ content are multiplied. It’s temptingly easy to obtain words, pictures, film, and music files to repost. The perils of doing so are described here and here. While one might think the sea of website postings offers virtual invisibility for a tiny misuse or sloppy repost, technology works against the user, through imbedded code that might as well put a flashing red light on an unauthorized use and search engines that patrol the web looking for them.

When I started my blog two years ago, I was clumsy in attempts to find good pictures for my posts and used a couple that were found and taken down and replaced with flashing warnings. Embarrassing, to say the least. Now, I check the “labeled for reuse” status in Google Images, have a slight preference for Creative Commons licensed pictures, or use one of my own. I also like the free and low-cost options at Imgembed, and while I can use those purchased photos on my website, I haven’t yet solved the problem of using them in the related social media promotion.

Yesterday, I posted a lighthearted exchange about Eminem and M&Ms, and found a trove of photos linking the two. Most appealing—and found with a second search under “labeled for reuse”—was a graphic portrait of the star created out of the candy. Perfect! I looked at the source website, which is an aggregator of cartoons and images that has lots of rights information for submitters but no information for reusers. I posted the photo, then, working on this article, pulled it down and sent the aggregator a permission request, returned to me as undeliverable. I know somebody “created” that artwork and should have credit. Absolutely not worth it to use it.

In one of my novels, I want to refer to lines from “Burnt Norton,” the wonderful T. S. Eliot poem. I’ve heard his estate is prickly about granting usage rights, even though a “Burnt Norton” Google search generates some 2.87 million results. I’ll work around it. There’s only so much time to write, and none at all to sit in endless conferences with intellectual property lawyers.

Additional Resources:
The Copyright Wars – by Peter Baldwin, 2014.
Stanford University Libraries Copyright and Fair Use Center – helpful advice, including for Web usages

Ed Snowden: Hero or Traitor?

This post is not going to settle that question for you, and it’s not one I thought I’d be writing about, a recent resurgence in coverage of Snowden has made me think more deeply about him, now that the original panic and dismay have subsided. Most of the coverage is prompted by reporter James Bamford’s recent article, published in Wired. Bamford conducted the longest set of in-person interviews with Snowden since he went to ground in Russia a year ago. I’ve also been studying Stuart Taylor, Jr.’s, essay, published by Brookings, “The Big Snoop: Life, Liberty, and the Pursuit of Terrorists.”

Who Is Ed Snowden?

Ed Snowden, NSA, privacy, security, TED talk

Ed Snowden’s TED talk (photo: wikimedia.org)

Snowden’s position from the beginning has been that he is a patriot and a whistleblower, “bent on saving his country from becoming an Orwellian security state,” as Taylor puts it. Others have recorded his ambition, his highly visible, well-polished initial announcements and PowerPoints, and his more recent TED talk, which may suggest more complex and troubling motivations. Washington Post reporter and author David Ignatius (whose novel about a rogue CIA cyber-expert is reviewed on my home page) has said, “Snowden looks these days more like an intelligence defector, seeking haven in a country hostile to the United States, than a whistleblower.”

Ironically, given the current fractured state of U.S.-Russia relations, Snowden was offered asylum there only if he stopped his work aimed “at harming our American partners,” Russian President Putin stipulated. Snowden first withdrew his asylum application, but ultimately agreed not to release more intelligence secrets. The stolen National Security Agency (NSA) documents are no longer in his hands.

Security vs. Privacy

You will recall that in Snowden’s jobs, he accumulated evidence that the NSA was collecting and storing phone records, emails, and other private Internet activity of a great many American citizens, not just those suspected of terrorism, associating with terrorists, or even remotely connected to any—we “ordinary Americans.” This revelation led to retired NSA director Keith Alexander’s famous haystack analogy: If you want to find a needle in a haystack, you need the whole haystack.

In polls, the majority of Americans oppose this wholesale domestic spying, and the government has damaged its credibility as a result. Yet, Snowden worries the public will become inured to disclosures of mass surveillance, as the PBS News Hour reported. Our acceptance may be in part because Ordinary Americans feel privacy is already hopelessly lost, in part because we believe we are helpless to stop the spying, and in part because people tend to become numb to successive outrages and risks

By spying on foreign citizens and leaders, NSA also has damaged relationships abroad. What the public has heard most about, however, is the spying on German Chancellor Angela Merkel’s cell phone calls, while “the violation of 80 million Germans is a nonstory,” Snowden says.

A fundamental and inevitable tension Taylor explores is between national security and individual privacy and the irony that a security apparatus is needed in order to protect privacy. He covers, in a readable way, the basic tenets of relevant U.S. law going back to the Bill of Rights, in which the Fourth Amendment obligates the U.S. government to ensure that citizens “be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures.” Before the telegraph, before the telephone, before the Internet, securing one’s “papers and effects” was relatively simple.

Snowden Fallout

Today, we must entrust the transmission and disposition of our communications to third parties that may or may not have an interest in protecting them or be able to do so when the NSA comes calling. However, the bad publicity Snowden’s revelations generated for the telephone companies and Internet giants has prompted a rethinking of corporate policies and strengthening of encryption practices.

Those steps haven’t come cheap. Tech companies have been hit by both substantial additional expenses and loss of income, as foreign clients become wary of their products—a potential $180 billion revenue loss, according to Forrester Research analysts.

In addition, the State Department says Snowden has not only damaged U.S. intelligence-gathering, but also potentially endangered U.S. agents abroad, without citing specifics.

Evolution of Law

After Watergate, Fourth Amendment protections were purportedly strengthened by the Foreign Intelligence Surveillance Act (FISA), which put a layer of judicial review between U.S. citizens (or permanent resident aliens) and the intelligence agencies that want to spy on them. But post-9/11, the Senate outflanked the FISA mechanism, in the hurriedly adopted Patriot Act. That new law widened the government’s authority to conduct surveillance and investigations.

Although critics predictably labeled the sweeping reforms President Obama proposed last spring as “going too far” and “not going far enough,” the changes may have begun to move the needle. And, the US House of Representatives overwhelmingly voted to halt the NSA’s practice of conducting warrantless searches of its database containing millions of Americans’ emails and phone calls—“one of many proposed reforms that never would have happened had it not been for Snowden,” Bamford claims.

Evolution of Technology

The “exponential leap” in authority under the Patriot Act coincided with greatly increased technical ability to collect, store, and monitor electronic communications data, a combination that, in Taylor’s words, has “run roughshod over laws, standards of conduct, and international norms,” jeopardizing the desired balance between national security and individual privacy contained in the Fourth Amendment.

NSA’s new million-square-foot data storage facility in Bluffdale, Utah, potentially can hold “upwards of a yottabyte of data, some 500 quintillion pages of text,” Bamford says. Every hour, billions of phone calls, faxes, emails, computer-to-computer data transfers, and text messages from around the world flow through this facility. “Some flow right through, some are kept briefly, and some are held forever.”

Then, there are the leaks. And, as Bamford points out, evidence suggests that Snowden is not the only leaker, because some media reports cite documents that apparently did not come from him. This put NSA in a real bind: “accused of rogue behavior in its snooping,” Taylor says, “and of incompetence in protecting the information it had collected.” Snowden says NSA cannot seem to tell which documents he just electronically “touched” and those he actually stole, though he says he left digital clues to enable them to be differentiated. “I figured they would have a hard time,” he told Bamford. “I didn’t figure they would be completely incapable.”

Solutions?

A second major tension, is “the severe limit on the degree to which transparency can be reconciled with functions of government that must be opaque — that is, secret — in order to be effective,” Taylor says. Certainly, the solutions Snowden himself suggests do nothing to reconcile that tension. In Bamford’s article, he suggests, for example, “making encryption a universal standard—where all communications are encrypted by default.” Regarding future leaks, he says, “The question for us is not what new story will come out next. The question is, what are we going to do about it?”

Further Information

Check out the upper left corner of the Brookings article to see what its computers are tracking about you, as you read.

NSA surveillance capabilities allow it to map your movements by monitoring the unique identifiers emitted by your cell phone, computer, and other electronic devices. You can get the flavor of this by checking out what Google can do, unless your device has this feature turned off (how to turn it off).

Read about the MonsterMind, a real? program designed to counter international electronic threats. It poses two dangers: the ability to wage autonomous retaliatory attacks that have unanticipated consequences; and, to the privacy point, the system’s need to monitor virtually all communication between people in the United States and those overseas, as Snowden says, “without a warrant, without probable cause or even a suspicion of wrongdoing. For everyone, all the time.”

Experts’ views on the future of the Internet, in light of a range of security concerns, reported in July 2014 by the Pew Internet & American Life Project.

*** The Director

Robin Hood

“Robin Hood’s Band Made Merry by Killing the King’s Deer” (photo: c1.staticflickr.com)

By David Ignatius (narrated by George Guidall). This thriller is set in the bowels of the nation’s national security apparatus, at the time a new CIA director is appointed who is not a Beltway insider, but plucked from the corporate world. The new director, Graham Weber, is pitted against the puppeteers of competing security agencies and (this is not a spoiler) a computer wizard inside the Agency who has gone rogue, James Morris.

How much readers like the book seems to depend on how excited they were by the electronic shenanigans of Morris, though there didn’t seem to be a lot new there—not for readers of Wired, anyway. Still, while Morris and his network were entertaining, the old-school-tie boys on Weber’s other flank were palpably less convincing. The women in the story fell into their respective stereotypes. A flimsy seduction scene is best ignored.

But the bigger problem—and where this book diverges from the best writing of, say, Neal Stephenson—is that, while it has the geeky stuff down, it has no social science sense. “Rob from the banks of the rich countries and give to the poor ones?” Really? Which poor countries would that be? Zimbabwe? North Korea? Myanmar? Uganda? Many of the world’s poorest countries stay that way because the leadership class steals everything they can get their hands on. Sending them “free” cash makes no sense. I didn’t want to read a lecture on political science and economics, but needed some acknowledgement that such sophisticated technologists thought deeper than a Robin Hood fantasy. Unfortunately, this gap undercuts their whole motivation for the crime.

If you can ignore that problem, and if you, like me, worry about our growing electronic vulnerabilities, you may like this book! And, you’ll notice the similarities in supposed high-mindedness between Morris and real-life cyber-spy Ed Snowden.