Tag: William Boyd


Tuesday, 26 November, 2013 0 Comments

In William Boyd’s Solo, the latest iteration of the James Bond saga, 007 gets into a spot of bother in Africa, which leads to a spell in an intensive care unit at a sanatorium on a British Army base to the south of Edinburgh. There, he is attended to by Nurse Sheila McRae and such is the quality of her care that Bond begins to meditate on the heroic nature of her profession:

“She helped Bond on with his dressing gown after he’d dried himself and Bond reflected on the curious, intimate non-intimacy that existed between nurse and patient. You could be standing there, naked, as your bedpan was emptied or a catheter was inserted in your penis, chatting to the nurse about her package holiday in Tenerife as if you were passing time at a bus stop waiting for your bus to arrive. They had seen everything, these nurses, Bond realised. Words like prudish, embarrassed, shocked, disgusted or ashamed simply weren’t in their vocabulary. Perhaps that was why people — why men — found them so attractive.”

That James Bond. Along with being such an effective killer, he’s so wise when it comes to matters of the human heart. Nurses are, indeed, astonishing people and they deserve far more recognition and reward from society than they currently get.

Bond interrupted

Friday, 15 November, 2013 0 Comments

Following a forced and painful interruption, we’re ready to recommence reading Solo, the new James Bond thriller by William Boyd. At the end of the first chapter, 007 is at the Café Picasso in Chelsea in London. He orders a glass of Valpolicella and a portion of lasagne. This is followed by another glass of wine and an espresso. Now, note what follows: “He threw down a pound note and some coins to cover his bill and a tip, stepped out into the King’s Road and hailed a taxi.” Given London prices today, William Boyd is dealing clearly with a distant past in Solo.

Here’s the cover of the fourth Ian Fleming 007 story, Diamonds are Forever, which was published in March 1956 in Britain by Jonathan Cape. The creator of the cover art is to be credited with making an effort to match the author’s attitude.

“Before a man’s forty, girls cost nothing. After that you have to pay money, or tell a story. Of the two, it’s the story that hurts most. Anyway I’m not forty yet.” Ian Fleming, Diamonds are Forever

Diamonds are Forever

Peeking into Bond

Friday, 1 November, 2013 0 Comments

Amazon has delivered and once some upcoming unpleasantness has been successfully weathered, we’ll be enjoying Solo, the new James Bond thriller by William Boyd. Can’t resist a quick peek at the first sentence, though. Here goes: “James Bond was dreaming.” Hmmm. Sounds, er, promising. Meanwhile, here’s the cover of the third Ian Fleming 007 story, Moonraker, which was published in April 1955 in Britain by Jonathan Cape. The cover art, if one can call it that, marks one of the low points in the history of design. Between the covers, though, the author was splendidly un-PC.

“Unless she married soon, Bond thought for the hundredth time, or had a lover, her cool air of authority might easily become spinsterish and she would join the army of women who had married a career.” Ian Fleming, Moonraker



Wednesday, 30 October, 2013 0 Comments

One would think that in these dramatic days of data mining the old-style espionage thriller would find it hard to compete, but the opposite is the case. Three new novels suggest that there’s a lot of life left in the genre yet:

An Officer and a Spy by Robert Harris explores the Dreyfus Affair through the eyes and ears of Colonel Georges Picquart who, as head of the Statistical Section, a clandestine intelligence unit, gains access to the secret evidence used against Dreyfus. Parallels between the resolution of the Dreyfus Affair in 1906 and recent events revealing the power that intelligence agencies wield is not coincidental.

Solo by William Boyd is a continuation of the James Bond saga. M sends 007 to a West African state split by civil war over oil reserves with the mission of destabilizing the rebel movement under the cover of a journalist for a French press agency (France, unsurprisingly, supports the insurgents). So, in 1969, Bond departs for the Dark Continent equipped with Graham Greene’s The Heart of the Matter and some toiletries. “He who travels lightest, travels furthest, Bond supposed, and that included weaponry. Into a war zone with a can of talcum powder and some aftershave.”

Sweet Tooth by Ian McEwan deals with the experiences of its protagonist, Serena Frome, during the early 1970s, when Britain is being torn apart by industrial unrest and terrorism. After graduating from Cambridge she is recruited by MI5, and is sent out to combat communism in the intellectual world. But Cupid strikes and Serena is forced to abandon the first rule of espionage — trust no one.

Reading all three will take some time, but they’re on the list. That same list has been reduced by one with the recent completion of Paranoia by Joseph Finder. Although it was published in 2004, the theme of industrial espionage is as relevant as ever. The problem with the book, however, is that it has aged radically, although it’s less than a decade old. The pace of technological change is so relentless now that a story where LexisNexis is the cutting-edge search engine sounds absurd to our ears. Joseph Finder cannot be faulted for this, but there is a lesson here for would-be novelists and over-reliance on communication gadgets as plot drivers. Robert Harris, Ian McEwan and William Boyd cleverly fix their recent spy stories in the 20th century, which allows them to look back — cynically, humourously, skeptically — at what was once considered the acme of progress and sophistication.

Joseph Finder’s Paranoia was given the opportunity to refresh itself recently via a Hollywood adaptation but the reviews have been universally awful. Describing it as “a ho-hum thriller about corporate spying in the high-tech world,” SF Gate says it “comes off as a lot more preposterous than paranoid, and it takes no more than a few frames for the eye rolling to commence.” Much of the blame lies with the vapid Liam Hemsworth, who was dreadfully miscast as Adam Cassidy, the mischievous, brilliant, vulnerable narrator of the yarn, but the inclusion of Gary Oldman as the villain, Nick Wyatt, is another serious blow to the credibility of Finder’s original. “He had a deep tan, shoe polish-black hair gelled and combed straight back. His teeth were perfectly even and Vegas-white. He was fifty-six but didn’t look it, whatever fifty-six is supposed to look like.” That’s very not Gary Oldman and an over-egged London accent does not make him a convincing corporate shark, either. Ah, well. Solo is sure to be better when it is filmed.

Waiting for Bond

Friday, 18 October, 2013 0 Comments

The order has been placed with Amazon and the delivery van will soon be on the way carrying Solo. We’re talking the new James Bond thriller by William Boyd. While we wait, impatiently, let’s enjoy the cover art of the first 007 adventure, Casino Royale. By the way, all the Bond books were published in Britain by Jonathan Cape between April 1953 and June 1966 and the cover art ranged from classic to catastrophic. Snippet:

“There’s a Good Book about goodness and how to be good and so forth, but there’s no Evil Book about how to be evil and how to be bad. The Devil had no prophets to write his Ten Commandments, and no team of authors to write his biography. His case has gone completely by default. We know nothing about him but a lot of fairy stories from our parents and schoolmasters. He has no book from which we can learn the nature of evil in all its forms, with parables about evil people, proverbs about evil people, folklore about evil people. All we have is the living example of people who are least good, or our own intuition.” Ian Fleming, Casino Royale

Casino Royale