I’ve been reflecting recently on my deep appreciation for Benson’s efforts, and I think a large part of that may boil down to Benson not overstaying his welcome. TMWTRT is one of my favorites of his (maybe second to the clear frontrunner: HTTK), meaning that he left on a real high (I say the same about Craig with NTTD). Had Gardner stopped after, say, Scorpius (another favorite of mine), I’m sure I’d look at his era more fondly, as the majority of his first seven or so were actually quite good. But as it stands, the subpar quality of his 90s efforts really brings down his era.
I’m anticipating that my thoughts on Benson will carry over to Horowitz: his first two were great, and if WAMTK can be of similar quality, then he is getting out at the right time.
It really is. His first two aren’t bad but are the foundation of what was to come. The Facts of Death strengthens the connection between Bond and the new M which was necessary going forward, especially when The Union began framing Bond of murder. She didn’t believe the accusations but put provisions in place, as anyone would be expected to.
I do think Benson created some of the best villains from the continuation novels. Roland Marquis is introduced early and used often, which helps a great deal in terms of development. He’s possibly 1% better than Bond, but ultimately let down by his allegiance and personality.
Domingo Espada being a matador, duelling traitors in a bullring in full costume is theatrical and bizarre. It’s a genius idea and works well. Margareta Piel is very much in the Volpe and Onatopp mould and equally enjoyable to read with the mix of sex and horror.
I agree with that. I think the Gardner era is good for the most part, and I became engrossed in the particular universe he established: James Boldman, Predator, Q’ute, Captain Bond, and the like. As you say, it’s towards the end where enthusiasm begins to wane. I would probably draw the line at Death Is Forever, which is a better version of No Deals, Mr Bond. There’s something cinematic about that one that clicked with me, from the train sequence or the sequences in Venice.
I agree with you sharpshooter on almost all fronts. Good pickup on Bond and M’s relationship in The Facts Of Death. Roland Marquis, Domingo Espada, and Margareta Piel are all great characters and worthy villains/henchwomen of the series. Raymond Benson’s plots are also well constructed and original.
As for John Gardner, I too really liked his call sign Predator and the character of Q’ute, the James Boldman alias was also good, though I wasn’t as wild about Captain Bond. Yes, Bond had certainly earned a promotion at some point, but it just doesn’t sound as good or look as right as Commander Bond. And as for his novels, I think Gardner is great up through Win, Lose Or Die and then he begins tailing off in quality. Easily the best of the bunch post-Win, Lose Or Die is Death Is Forever, which is a return to solid form, but unfortunately, it wouldn’t quite last. I liked what he tried to do with Never Send Flowers but it doesn’t quite work.
There’s also good flow on continuity that seems to be cleanly planned - which is something the films could apply before setting out on an arc. Not just the building of trust between Bond and the new M, but the Bond/Helena romance that was subtly introduced before becoming a much larger deal later on, and the way Goro Yoshida segues in to the final book.
Le Gerant’s gimmick of blindness is also a good one. A man of authority having a perceived weakness but it actually being something of a superpower. I appreciate how Benson understood the flair that separates the Bond universe from other spy franchises.
I also prefer the rank of Commander, but also like that Gardner was willing to push the envelope and try something else. In the context of his universe I’m happy to go along with it. Benson does have Bond use the Predator codename at one point, and references some of the Gardner Bond girls, which was a good touch. It creates a nice bubble of ‘Continuation Bond’.
This is a great point which I had overlooked. Heck, Benson was better than Fleming at this. It’s bizarre that, almost sixty years later, we’re finally getting a resolution to the events at the beginning of TMWTGG. A part of me wonders if Fleming was ever planning on addressing that, as the quick “back to normal” of the main plot of TMWTGG leaves me craving for what could have been.
I’d argue that while the Fleming novels were largely standalone, there was an element of continuity between them. Most of the books started with a brief recap of the events of the previous book. From Russia with Love’s plot was kicked off by SMERSH wanting revenge for Bond taking down Le Chiffre and Mr. Big. Dr. No followed from from FRWL. You have the SPECTRE trilogy of course, and The Man with the Golden Gun serving as a coda of sorts to that, while also ‘resetting’ the Bond character to status quo after the upheaval of the last few books. And its possible that Fleming might have addressed the long-term ramifications of Bond being brainwashed in future novels had he not passed away.
Benson also gave codas to both OHMSS and YOLT with Never Dream of Dying (Draco) and Blast From The Past (Bunt and his son). Despite what people think of the content, they’re dynamite hooks to have.
Having finished Never Dream of Dying, I think the previous two books are superior but I’m again impressed with the structure and the ideas at play - namely Bond dating a famous model against the backdrop of a film production. Just The Man With The Red Tattoo left, and then it’s time for Horowitz’s last.