Devil May Care (The New James Bond Novel )
Devil May Care (The New James Bond Novel ) book cover

Devil May Care (The New James Bond Novel )

Hardcover – May 28, 2008

Price
$10.42
Format
Hardcover
Pages
278
Publisher
Doubleday
Publication Date
ISBN-13
978-0385524285
Dimensions
6 x 0.95 x 9.35 inches
Weight
1.05 pounds

Description

10 THINGS YOU DIDN’T KNOW ABOUT JAMES BOND & IAN FLEMING A Quiz Q: Although James Bond is regarded by many as the quintessential English hero, he is actually not English. What is his nationality in the books? A: He is half Scottish and half Swiss. He also hates that most English of drinks, tea--and describes it as 'mud'! Q: Bond has had many famous incarnations on the big screen but, prior to these, he was first played on the radio by which British actor and game show host? A: Bob Holness of Blockbusters fame Q: Which Bond villain shares a birthday with his creator? A: Ernst Stavro Blofeld. On Her Majesty's Secret Service reveals that Blofeld was born on 28 May 1908. Ian Lancaster Fleming entered the world on the same day at 7 Green Street in London. Q: Which American President was a big fan of the Fleming novels? A: President John F. Kennedy. Kennedy was known to be a big fan of Fleming and listed From Russia With Love as one of his top 10 favourite books. Bizarrely, both Kennedy and his assassin Lee Harvey Oswald are believed to have been reading Bond novels the night before Kennedy was killed. Q: Which famed children’s author helped Ian Fleming adapt his children's adventure story Chitty Chitty Bang Bang for the big screen? A: Roald Dahl Q: Where did Fleming write all his Bond books? A: At Goldeneye, his Jamaican home. Although now part of a luxurious holiday resort, the house was very basic in Fleming's time--so much so that his friend and neighbour Noel Coward referred to it as Goldeneye, Nose and Throat! Q: Although Ursula Andress wears the most famous bikini in cinema history in her iconic performance in Doctor No , in Fleming's novel of the same name the character Honeychile Rider wears even less. What does she wear? A: She is naked save for a knife-belt. Q: The first Bond novel, Casino Royale , originally had a different title when it was published in the US. Under what title was it initially published here? A: The initial title here was You Asked For It . Q: What is James Bond’s favorite meal? A: Breakfast. He has a particular penchant for scrambled eggs, and the short story 007 in New York even includes his own recipe for them. Q: Who is Miss Moneypenny named for? A: Miss Moneypenny was named after a character in an unpublished novel written by Ian Fleming's brother, the travel writer Peter Fleming. From Bookmarks Magazine Though several critics questioned the Fleming estate’s choice of author, literary novelist Sebastian Faulks does a passable job of mimicking the master and his straightforward, action-packed style. Bond, the unapologetic playboy and quintessential secret agent, still relies on wit, charm, and quick reflexes to carry the day. Bond enthusiasts will encounter old friends like M and Moneypenny, and new characters will seem strangely familiar, having been closely modeled on Fleming’s former creations. However, Faulks has made some changes. He has eliminated most of the sexual romps, one-liners, gadgets, and campy fun that made Fleming’s novels so entertaining to many, while sidestepping the depth and characterizations that made them satisfying. Fleming’s fans will have mixed reactions to Faulks’s vision, and newcomers may want to start with the original. Copyright © 2004 Phillips & Nelson Media, Inc. Sebastian Faulks's seven previous novels include the international bestseller Birdsong (1993), Charlotte Gray (2000), and most recently Engelby (2007). He lives in London, is married and has two sons and a daughter. Excerpt. © Reprinted by permission. All rights reserved. 1. THE WATCHER WATCHED It was a wet evening in Paris. On the slate roofs of the big boulevards and on the small mansards of the Latin quarter, the rain kept up a ceaseless patter. Outside the Crillon and the George V, the doormen were whistling taxis out of the darkness, then running with umbrellas to hold over the fur-clad guests as they climbed in. The huge open space of the place de la Concorde was glimmering black and silver in the downpour.In Sarcelles, on the far northern outskirts of the city, Yusuf Hashim was sheltered by the walkway above him. This was not the gracious arch of the Pont Neuf where lovers huddled to keep dry, but a long cantilevered piece of concrete from which cheap doors with many bolts opened into grimy three-room appartements . It overlooked a busy section of the noisy N1 and was attached to an eighteen-storey tower block. Christened L'Arc en Ciel, the Rainbow, by its architect, the block was viewed, even in this infamous district, with apprehension.After six years of fighting the French in Algeria, Yusuf Hashim had finally cut and run. He had fled to Paris and found a place in L'Arc en Ciel, where he was joined in due course by his three brothers. People said that only those born in the forbidding tower could walk its airborne streets without glancing round, but Hashim feared nobody. He had been fifteen years old when, working for the Algerian nationalist movement, the FLN, he took his first life in a fire-bomb attack on a post office. No one he had ever met, in North Africa or in Paris, placed much value on a single life. The race was to the strong, and time had proved Hashim as strong as any.He stepped out into the rain, looking rapidly back and forth beneath the sodium light. His face was a greyish brown, pocked and wary, with a large, curved nose jutting out between black brows. He tapped the back pocket of his blue ouvrier's trousers, where, wrapped in a polythene bag, he carried twenty-five thousand new francs. It was the largest amount he had ever had to deal with, and even a man of his experience was right to be apprehensive.Ducking into the shadows, he glanced down for the fifth or sixth time at his watch. He never knew who he was looking out for because it was never the same man twice. That was part of the excellence of the scheme: the cut-out at each end, the endless supply of new runners. Hashim tried to keep it equally secure when he shipped the goods on. He insisted on different locations and asked for fresh contacts, but it wasn't always possible. Precautions cost money, and although Hashim's buyers were desperate, they knew the street value of what they dealt in. No one in the chain made enough money to be able to act in absolute safety: no one, that is, except some ultimate, all-powerful controller thousands of miles away from the stench of the stairwell where Hashim was now standing.Sticking a soft blue pack of Gauloises to his mouth, he wrapped his lips round a single cigarette and drew it out. As he fired his cheap disposable lighter, a voice spoke in the darkness. Hashim leaped back into the shadow, angry with himself that he'd allowed someone to observe him. His hand went to the side pocket of his trousers, where it felt the outline of the knife that had been his constant companion since his childhood in the slums of Algiers.A short figure in an army greatcoat came into the sodium light. The hat he wore looked like an old kepi of the Foreign Legion, and water ran from its peak. Hashim couldn't see the face. The man spoke in English, softly, in a rasping voice. "In Flanders fields," he said, "the poppies blow."Hashim repeated the syllables he had learned by sound alone, with no idea of what they meant: "Betveen de crosses, row on row."" Combien ?" Even that one word showed that the dealer was not French." Vingt-cinq mille ."The runner laid down a brown canvas bag on the bottom step of the stairs and stood back. He had both hands in the pockets of his coat, and Hashim had no doubt that one would be clasping a gun. From the back pocket of his blue trousers, Hashim took out the polythene-wrapped money, then stepped back. This was how it was always done: no touching, and a safe distance maintained. The man bent down and took the money. He didn't pause to count it, merely inclined his head as he stowed the package inside his coat. Then he in turn stood back and waited for Hashim to move.Hashim bent down to the step and lifted the bag. The weight felt good, heavier than he had known before, but not so heavy as to make him suspect it was bulked out with sand. He shook it up and down once and felt the contents move soundlessly, with the satisfying heft of packed dry powder. The business was concluded, and he waited for the other man to move off. That was the routine: it was safer if the supplier didn't see which way the receiver even started his onward journey, because in ignorance was security.Reluctant to move first, Hashim faced the other man. He suddenly became aware of the noise around them—the roar of the traffic, the sound of rain dripping from the walkway on to the ground.Something wasn't right. Hashim began to move along the wall, furtive, like a lizard, edging towards the freedom of the night. In two strides the man was on him, his arm across Hashim's throat. Then the unpainted wall smashed into his face, flattening the curved nose into a formless pulp. Hashim felt himself thrown face down on the concrete floor, and heard the click of a safety catch being released as a gun barrel pressed behind his ear. With his free hand, and with practised dexterity, the man pulled Hashim's arms behind his back and handcuffed them together. Police, thought Hashim. But how could they…Next, he was on his back, and the man dragged him to the foot of the stairwell, where he propped him up. From his coat pocket, he drew out a wooden wedge, about four inches at its deepest. He smacked it into Hashim's mouth with the heel of his hand, then hammered it home with the stock of his gun, to the sound of breaking teeth. From his coat pocket, he took out a large pair of pliers.He leaned over Hashim, and his yellowish face became momentarily visible. "This," he said, in his bad French, "is what we do to people who talk."He thrust the pliers into Hashim's mouth, and clamped them on his tongue.***René Mathis was having dinner with his mistress in a small restaurant near the place de Vosges. The net curtains on their brass rail obscured the lower half of the view from the window, but through the upper light Mathis could see a corner of the square with its red brick above the colonnades, and the rain still running from the eaves.It was Friday, and he was following a much-loved routine. After leaving work at the Deuxième, he took the Metro to St. Paul and made for his mistress's small apartment in the Marais. He walked past the kosher butchers and the bookshops with their scriptures and seven-branched candelabra, till he came to a battered blue porte-cochère where, after instinctively checking that he had not been followed, he tugged the ancient bell-pull.How easy it was for a secret agent to be a successful adulterer, he reflected happily as he glanced up and down the street. He heard footsteps on the other side of the door. Madame Bouin, the stocky concierge, opened up and let him in. Behind her thick glasses, her eyes gave their usual mixed signal of conspiracy and distaste. It was time he gave her another box of those violet-scented chocolates, thought Mathis, as he crossed the courtyard and climbed to Sylvie's door.Sylvie took his wet coat and shook it out. She had prepared, as usual, a bottle of Ricard, two glasses, a carafe of water and a plate of small toasts from a packet spread with tinned foie gras . First, they made love in her bedroom, a hot bower of floral curtains, floral cushion-covers and flower prints on the walls. Sylvie was a good-looking widow in her forties, with dyed blond hair, who had kept her figure well. In the bedroom, she was skilful and accommodating, a real poule de luxe , as Mathis sometimes affectionately called her. Next—following the bathroom, a change of clothes for her and the apéritif for him—it was out to dinner.It always amused Mathis that so soon after the abandon of the bedroom, Sylvie liked a proper conversation, about her family in Clermont-Ferrand, her sons and daughter, or about President de Gaulle, whom she idolized. Dinner was almost over, and Sylvie was finishing a fruity clafoutis, when Pierre, the slim head waiter, came regretfully to the table."Monsieur, I'm sorry to disturb you. The telephone."Mathis always left numbers at his office, but people knew that Friday nights were, if possible, sacrosanct. He wiped his mouth and apologized to Sylvie, then crossed the crowded restaurant to the wooden bar and the little lobby beyond, next to the door marked WC. The phone was off the hook."Yes." His eyes travelled up and down over the printed notice concerning public drunkenness. Répression de l'Ivresse Publique. Protection des Mineurs .No names were exchanged in the course of the conversation, but Mathis recognized the voice as that of the deputy section head."A killing in the banlieue ," he said."What are the police for?" said Mathis."I know. But there are some…worrying aspects.""Are the police there?""Yes. They're concerned. There's been a spate of these killings.""I know.""You're going to have to take a look.""Now?""Yes. I'm sending a car.""Tell the driver to come to the St. Paul Métro."Oh, well, thought Mathis, as he gathered his damp raincoat and hat from the hook, i... Read more

Features & Highlights

  • Bond is back. With a vengeance.
  • Devil May Care
  • is a masterful continuation of the James Bond legacy–an electrifying new chapter in the life of the most iconic spy of literature and film, written to celebrate the centenary of Ian Fleming’s birth on May 28, 1908.An Algerian drug runner is savagely executed in the desolate outskirts of Paris. This seemingly isolated event leads to the recall of Agent 007 from his sabbatical in Rome and his return to the world of intrigue and danger where he is most at home. The head of MI6, M, assigns him to shadow the mysterious Dr. Julius Gorner, a power-crazed pharmaceutical magnate, whose wealth is exceeded only by his greed. Gorner has lately taken a disquieting interest in opiate derivatives, both legal and illegal, and this urgently bears looking into. Bond finds a willing accomplice in the shape of a glamorous Parisian named Scarlett Papava. He will need her help in a life-and-death struggle with his most dangerous adversary yet, as a chain of events threaten to lead to global catastrophe. A British airliner goes missing over Iraq. The thunder of a coming war echoes in the Middle East. And a tide of lethal narcotics threatens to engulf a Great Britain in the throes of the social upheavals of the late sixties. Picking up where Fleming left off, Sebastian Faulks takes Bond back to the height of the Cold War in a story of almost unbearable pace and tension.
  • Devil May Care
  • not only captures the very essence of Fleming’s original novels but also shows Bond facing dangers with a powerful relevance to our own times.

Customer Reviews

Rating Breakdown

★★★★★
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(346)
★★★★
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★★★
15%
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★★
7%
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23%
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Most Helpful Reviews

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A James Bond Thriller Without Thrills

If someone had told me that the new James Bond novel had been written by a food and fashion critic rather than a novelist, I would have believed it.

In honor of the 100th anniversary of 007 creator Ian Fleming's birth, a new Bond novel was commissioned by his estate and Ian Fleming Publications (his literary business) and it's the first published in six years. Sebastian Faulks was chosen--a curious choice, as he is known mostly for "literature" and not thrillers. It's now apparent why he appeared to be a good selection, because he has the ability to mimic Fleming's style... but unfortunately he is not able to reproduce Fleming's flair for storytelling. The cover legend "Sebastian Faulks writing as Ian Fleming" turns out to be a joke, really, because DEVIL MAY CARE straddles the fine line between pastiche and parody. It was as if Faulks sat down with a checklist of "Bondian Stuff" and proceeded to make sure every page was full of it--so much so that the work becomes annoying and, frankly, laughable. Fleming was often accused of "sex, sadism, and snobbery," but in Faulks' book, only the snobbery is apparent. There is way too much brand-name-dropping and food description. Fleming did this but he made it an art and used it sparingly. Here, there seems to be a meal or a drink or clothing described in painstaking detail in every sequence--all to the detriment of plot and characterization.

Hardcore Fleming fans will be quick to point out the various errors Faulks has made with regard to the Bond canon, but these are minor and can be forgiven. After all, other continuation authors have made mistakes as well, and even Fleming committed the occasional factual error. What is more problematic is that Faulks has written a by-the-numbers Bond story that feels more like a treatment for an unproduced Roger Moore-style Bond movie. The tone and attitude in the book is too flippant and light. One can feel the author winking at us, as if to say, "See what I'm doing? I'm writing a *James Bond novel*!"

The plot is silly. There is no good reason why M sends 007 out to shadow the villain (who has what the author must have thought was a Fleming-esque deformity--a monkey's paw--but that really is parodic!). Events happen without cause and effect. Bond is suddenly a tennis champ but there is no evidence in the 007 canon that Bond ever played tennis. He walks blindly into suspicious scenarios as if he had the brains of a rookie (he's probably thinking about what he's going to wear and what he's going to have for dinner!). The villain, Dr. Julius Gorner (couldn't the author have come up with a better first name, since we've already had a "Dr. Julius"--Dr. Julius No?), is ineffectual and provides no real threat that we, as readers, can feel. Fleming, known for his "Fleming Effect," could write a story that compelled readers to keep turning the pages. Faulks fails miserably in that regard. There is no suspense whatsoever.

It is sad that this poor excuse of a Bond novel was chosen to celebrate Fleming's centenary. What is more remarkable is the amount of money spent to promote it. The former authors--Kingsley Amis, John Gardner, and Raymond Benson--never benefitted from this kind of promotion. This book is simply not worth the hoopla. Raymond Benson came up with infinitely better plots and villains; John Gardner captured the page-turning sweep of Fleming's storytelling; and Kingsley Amis was a better imitator of Fleming's style. But no one can top Fleming himself.

The worst sin that Faulks has committed, though, is producing a "James Bond thriller" that has no thrills. And that is unforgivable.
57 people found this helpful
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"Come in, 007. It's good to see you back."

Ian Fleming's immortal spy has continued to thrill us since the author's death in 1964, in the famous film series and in "tribute" novels by a succession of writers, notably the late John Gardner. For the 100th anniversary of Fleming's birth, his estate commissioned noted British author Sebastian Faulks to take up where Fleming left off. And that is precisely what he's done--DEVIL MAY CARE is set in the 1960s, right after the events of Fleming's final works.

The plot is just what I hoped it would be: Bond is saving the world from a nefarious villain, with action and girls and martinis, not to mention "M" and Moneypenny. There are even a few nifty hindsight jokes thrown in for the benefit of readers in 2008. More than any previous "tribute" novels, this one is scrupulously faithful to the style and intent of the original artist. And that's as it should be--after all, this is supposed to be a celebration of Fleming himself.

I'm glad they found a writer of this caliber to carry on the Bond tradition. I hope Faulks intends to continue the series, but I suspect that will depend on how DEVIL MAY CARE is received by the critics and the public. But if you're a lifelong 007 fan like me, you'll feel compelled to read this one. I don't think you'll be disappointed. Recommended.
41 people found this helpful
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Fleming's Bond is back

Faulks does really capture the essence of Fleming's Bond and the cold war era. I read this in one sitting and it was like going back in time to when I first discovered the written Bond. Having recently re-read the old Fleming novels, this was an exact fit it both style and atmosphere. A gritty but world weary Bond mixed with entertaining bad guys and stunning women. Also nice to see it in the low tech era of the 60's where Bond needs a coin for a phone call!
A nostalgic romp that captures Fleming's work very well. I hope this is not a one off!
29 people found this helpful
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Mr. Faulks is no Ian Fleming..! A sad pastiche for new 007 book

The problem, I suppose, is that when one is writing "as Ian Fleming", one is expected to write like Ian Fleming.

Devil May Care, the new `adult' James Bond novel (as opposed to the `young' Bond book series by Charlie Higson) is written by Sebastian Faulks. Now, I've read Ian Fleming, and Mr. Faulks is no Ian Fleming.
There is next to no of the so called "Fleming sweep" that picks you up and carries you through the book. Part of the reason why is every time the story starts to sweep you along, Mr. Faulks cuts away to somewhere else.

The first half of the book also suffers from mischaracterizations of familiar characters from the Bond canon. Bond's housekeeper May is the first causality. If you had read Fleming, you would know how see addresses Bond. They way Faulks does it I found to be jarring. We expect familiar reactions from familiar characters. Bonds' boss M. suffers the same fate. Who is this person? Certainly not the man who sent Bond on all those dangerous missions. Can you picxture that M., aka Sir Miles Messervy, asking Bond to bring him chocolates on his way back from Paris? What the Devil is going on here?

And then we have the mission. Summer,1967: M. has a feeling that someone is up to no good and wants Bond to find out what it is.
That's it. That's all the reason Bond is sent on a mission. A feeling. All that's needed, I suppose.
The fact that the person really is up to something doesn't matter.
Plus, as it turns out, M. is not being truthful to Bond. Sends him out without the full and truthful information that Bond may need to survive. "Not quite cricket", as the villain would (and does) say in this book.
By the time the nefarious plot of the villain is revealed, we are more than halfway into the book. And then it turns out to be a revenge plot against England. But what about the whole setup about drug running? Oh, all this and World War III? And the British non-involvement in Viet Nam....?
The Devil May Care about this book, but I really don't. It's second rate Bond, ranking alongside the worst of the Gardner books (Don't get me wrong, I only consider one or two of Gardner books really bad). Muddled villain reasonings, characters who appear then vanish (Bond's once and future secretary, brought back for no reason at all after leaving the service OVER FIVE YEARS BEFORE THE STORY BEGINS). Badly characterization of familiar figures, and familiar figures who are brought into the story just to be brought into the story (Felix Leiter, although I'm always glad to see him, really didn't need to be in this book).

To be a second rate Fleming could be forgiven. To give us a second rate adult Bond after all this time....unforgivable.
14 people found this helpful
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Return to the past

New Bond author Sebastian Faulks returns the British agent to mid nineteen-sixties England, immediately after the close of the final Ian Fleming entry in the original series. Faulk creates a period piece in which the character, writing style and environment are returned to their roots.

The plot resembles that of Goldfinger. There is a minimum of mayhem in the first half of the book; especially as compared to the movie series and modern adventure fiction. Bond bests villian Dr. Julius Gorner in tennis rather than golf, helps a woman whose sister was compromised (the Masters sisters in Goldfinger), breaks in to Gorner's stronghold, is captured and held captive at a desert hideaway (a horsefarm in the prior book.)

Bond is once again a two packs of cigarettes a day athlete who consumes martinis more often than he does pushups, while eschewing technical aides or "gadgets." The "sex, sadism, snobbery" mantra of the early books is again in evidence except that the sex is treated lightly compared to current fiction.

Faulks portrays Bond as a "citizen of eternity." 007 is an agent with a moral compass which enables him to make quick decisions rather than think through "ten shades of gray." He possesses the certainty associated with the black and white world of the Cold War.

The book is a nostalgic tour of a low tech past: pre-revolution Iran, padlocks as security, circumspection in Bond's maiming and killing. The story's adherence to period integrity makes it even more interesting when Faulks has the iconic Cold Warrior react to facts unknown at the time. When Gorner tells Bond that the CIA flies cargoes of opium out of Southeast Asia, Bond replies "That's absurd."

Although the feel of the book is dated, that is part of its charm. I did not feel, though, it carried the book much beyond the level of a pot-boiler.

Nostalgia for the Cold War is an interesting appetite. It can be fed by this newest entry into the 007 canon.
8 people found this helpful
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Fleming Flameout

I picked this book up at the airport, tried to read it on the plane, and finally abandoned it for the inflight magazine. This book is so bad I didn't even skip ahead to find out what happens. With such tepid characters, who cares?

I won't even begin to go into what a mockery this book makes of Fleming's brilliant, spare, and sometimes poetic style. I only wish Fleming were around to express his outrage properly. Do yourself a favor, and re-read From Russia With Love this summer. Devil May Care is no tribute -- it's a travesty.
7 people found this helpful
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A nice return for Bond

Faulks appears to have done justice to Ian Fleming and his James Bond. The first chapter hooks you and its a nice ride from there. I'm half-way through and its proving to be a good read. I've always been a big fan of the films (shamefully before reading the novels by Fleming). That being said, I have not read any Bond novels by other authors so I can't compare Faulks with them.
7 people found this helpful
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Yes, this indeed Flemming

This is indeed a perfect James Bond novel. It is as exactly the piece of bad writing we would have expected from Ian Fleming. Do you remember how bad these original novels were? I read them again a few years ago and was amazed about how shallow they were. Never-the-less, I love the James Bond legacy and this book fits the mold exactly. If you love Ian Fleming then read it. Don't expect great literature or believable action - it's just not the style of Bond, but it is what we love.
6 people found this helpful
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An Authentic Fleming

[[ASIN:159800915X If There Wasn't Death]]

Please note that I said authentic Fleming but not authentic Bond. It is not possible to recreate a legend. Even Markham's (the very good writer, Kingsley Amis)Colonel Sun did not come near the hero of Fleming, but oh, so much better than the dreadful John Gardner's anemical Bond books.
So Mr. Sebastian Faulks, bless him, although I had not heard of him before this, manages a very creditable Fleming book without falling into the pastiche category. The title correctly identifies him writing as Ian Fleming.
Yes, it is crisp like a toast, violent like a cutthroat on the street and the sex scenes are short and provoking.
Violence: plenty of it, all in the traditional Fleming manner of not lingering too much on the details. Mathis lifted Hashim's clenched fist. There was a bloody piece of meat sticking out of it.
'It's his tongue.'
The villain is nicely vicious, and very anti-British, and although no Goldfinger, is very believable. Yes, he suffers from main de singe, or monkey's hand.
But Bond!
He's still not over his wife's death (read the Moneypenny Diaries), and is not sure he'd ever go back to active service. But he does. He drinks Johnny Walker Black with ice and club soda or Bourbon (where did he get a taste of the sour mash?)with water.
Not too many funny lines but Felix Leiter on learning where Bond was exclaims, 'And just where the Hell is Tehran?' (It is the 70s).
And one of the best throw away lines comes from Gorner the villain, ordering poached egg, bacon, coffee. Bond says, 'I should like black pepper on mine, cracked not ground.' Gorner says, 'Remember the starving Irish, a cup of water for you.'
Yes, Bond is back. Unfortunately the influence of film is written all over it, but it does not sound like a screenplay turned novel but a novel that would make a good screenplay.
Bravo, Mr. Faulks!
Ah, I nearly forgot, watch out for agent 004. Does M really want 007 to work with another or even replace him?
Hugely entertaining
Really enjoyable.
6 people found this helpful
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A good attempt at a literary relaunch for 007.

There is good and bad in the new Bond novel. It is great to see 007 back in print and back in his own era. The 1967 setting harkens back to the best of Bond, both in print and on screen. Fleming's novels of the 50's and 60's have never been surpassed by any of the continuation authors and the film series varies in quality after Thunderball, the fourth and final movie to adapt Fleming's work faithfully.
So what's good about Sebastian Faulk's novel? The story picks up after the events of "The Man with the Golden Gun", which gives a sense of continuity which is present in the best of Fleming's books. We see that Bond is still recovering from the beatings he received in the last two novels, where he was humiliated by being brainwashed by the Soviets and was almost responsible for the assassination of M.
The books final confrontation aboard an airliner is also handled extremely well by Faulks. He created the same sense of dread in the face of overwhelming odds that I felt reading Dr. No, Moonraker and Live and Let Die. Bond's foray through the Soviet Union in the aftermath of the show down with the bad guys is a fun read too; with Bond trying to remain undercover in hostile enemy territory.
As for the bad of the book?
Setting much of the story in Pre-revolutionary Iran may not have been such a great idea. The activities of the US and UK in that country during the reign of the Shah were villainous, no two ways about it. The UK was looting Iran's oil and the Shah, as their puppet, brutally kept the locals in check while they did so. Compared to this, it is hard to take fictional villain Dr. Gorner seriously. This also means that Bond is aiding his government in doing some very dirty and underhanded work, a common theme in some of the Fleming books, but never so overt.
I also found this book to be a little too long. I think the page count could have been kept under 200, rather than 300 pages. The story just doesn't warrant the length and the book sags in the middle as a result. Julius Gorner isn't much of a villain; he is a little flat and uninteresting, although Faulks gives him a good reason for being who he is.
Faulks also slips a few times; I found some of the references to Goldfinger and other Bond adventures unnecessary and distracting, since they were only dropped to tie in better with the Fleming books, and served no purpose story wise, but that's a small gripe.
If Mr. Faulks or another author of quality choose to continue with this new series I would certainly be interested, but I hope that we can see something with a little more punch. Perhaps we can see Mr. Sebastian Faulks writing as Sebastian Faulks next time.
5 people found this helpful