Ian Fleming on Crime and Spy Fiction (and non-fiction!)

Dangerous Know-How
(Sunday Times, April 22, 1956)

Scarne on Cards: With a Photographic Section on Cheating at Cards. (Constable. 35s.)

By Ian Fleming

Although cheating at cards is not numbered among the cardinal sins, I suppose it is the only antisocial act that remains as heinous and as severely punished today as it was during the last century.

Card cheats still have to resign from their clubs and suffer social ostracism, and there is not a woman who reads this who would not tremble at the idea of a husband or brother being caught in the act.

Yet the polite card cheat sits at many a friendly bridge or whist table, squinting onto his neighbours’ hands, signalling to his partner with voice or expression or gesture, and in games where this is possible, fudging the score.

It is not with these humble practitioners that John Scarne deals in his Cheats’ Encyclopaedia, but with the card hustler who knows just that bit more about the game than you and I, the professional gambler who makes his living by operating games of chance, and the straight card sharp, known in the profession as a “mechanic.”

Scarne can do anything with cards. Nate Leipzig and Harry Houdini, now both in the Magicians’ Valhalla, once put their signature to the statement: “John Scarne is the most expert exponent of wonderful card effects and table work that I have ever seen in my life”; yet he uses no apparatus except ten steel-spring fingers and fifty-two playing cards. He moves up close to you. You tear the wrapper off a new pack of cards and shuffle it as much as you like. You give it to Scarne and he cuts it four times. At the aces. He counts that his greatest trick. Trick? It is a work of art on which he practiced six hours a day for several years.

During the war Scarne worked for the American War Department, writing a weekly article for “Yank” to educate the G.I. into not losing his pay to card sharps, and this book is a distillation of his knowledge not only of cheating but of strategy and other aspects of popular American card games.

This is not perhaps a book for the general public. It is expensive and, although pleasantly written, highly professional. Moreover it concentrates largely on American games such as the poker and rummy families, and—a grave fault—bridge is not mentioned; but every club and library should have a copy to be issued to the accredited card lover with the proviso “For Your Eyes Only.”

Why? Because this is a dangerous book to leave lying about.


Note: Eagle-eyed readers will recognize that the beginning of this review repeats what M tells Bond in Moonraker: “And don’t forget that cheating at cards can still smash a man. In so-called Society, it’s about the only crime that can still finish you, whoever you are.”

And Fleming fans of course know that Scarne on Cards also appears in Moonraker:

He was home in fifteen minutes. He left the car under the plane trees in the little square and let himself into the ground floor of the converted Regency house, went into the book-lined sitting-room and, after a moment’s search, pulled Scarne on Cards out of its shelf and dropped it on the ornate Empire desk near the broad window.

…Ten minutes later…he was sitting at his desk with a pack of cards in one hand and Scarne’s wonderful guide to cheating open in front of him.

For half an hour, as he ran quickly through the section on Methods, he practised the vital Mechanic’s Grip (three fingers curled round the long edge of the cards, and the index finger at the short upper edge away from him), Palming and Nullifying the Cut. His hands worked automatically at these basic manoeuvres, while his eyes read, and he was glad to find that his fingers were supple and assured and that there was no noise from the cards even with the very difficult single-handed Annulment.

At five-thirty he slapped the cards on the table and shut the book.

That’s not the only reference–here’s a quote from the Bridge game at Blades:

Scarne is also referenced in Diamonds Are Forever. Bond watches Tiffany false-deal him at blackjack in Vegas:

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The Great Riot of Istanbul
(Sunday Times, September 11, 1955)

From Ian Fleming, Special Representative of The Sunday Times at the International Police Conference.

This week’s great riot of Istanbul—the worst insurrection in the history of modern Turkey—is a reminder that Great Britain is very fortunate in being an Island nation. She has never built up those hatreds that fester between neighbours in a suburban street and lead to fisticuffs and end up in court and a shameful half column in the evening paper—the hatreds that gather and come to a head between two families or even two generations in the same house, and that sometimes end in murder—the hatreds between Arab and Jew, German and Frenchman, Pole and Russian, Turk and Greek.

This was to have been a great week for Turkey. Obedient to the undying memory of Ataturk, she has continued to mould her destiny away from the East and towards the West, perhaps in defiance of her stars and certainly in defiance of her true personality, which is at least three-quarters oriental.

To begin with, she successfully changed her spots. She abolished the fez, the harem, her Sultans. (Only twelve eunuchs remain in the “Association of Former Eunuchs” that held its annual reunion here last Sunday. Thirty years ago there were one hundred and ninety. Fifty years ago the Sultan had four thousand.)

She turned her fabulous palaces—and they really are fabulous—into museums. She imported large quantities of French and English culture, German machinery and American taxicabs. She played her cards carefully during the last war. Then she joined N.A.T.O. She bolstered her currency with a tough exchange rate (difficult and dangerous for the operators).

The educated Turk became a carefully dressed provincial Frenchman with a Homburg and a briefcase and a ballpoint pen. Mr. Conrad Hilton, a man who considers even England a bad risk for an hotel, built the Istanbul Hilton, the most fabulous modern hotel in Europe. The International conference delegates flocked, like the quail whose season opens also this week, into the Golden Gates and this was to be the sixty-four dollar week in a record season.

This week would surely have made the recently joined member of the European Club eligible, even for the committee, for the prospect of busy modern Istanbul would surely please even those most sensitive confidential agents of the modern State—the police and the economists.

On Monday in an atmosphere of friendly efficiency began the Twenty-fourth General Assembly of the International Police Commission (Interpol), and the police chiefs of the world went into a conclave on such matters affecting the public safety as I described last Sunday. That was Monday. On Wednesday the 200 delegates to the conference of the International Monetary Fund started coming in to discuss that very delicate matter, the credit of nations—including the credit of Turkey. Between these two days the Turkish Common Man broke out from behind Turkey’s smile of welcome and reduced Istanbul to a shambles.

On Wednesday morning martial law was declared, and the official Interpol lunch arranged by the Chief of Police of Istanbul had to be cancelled as its venue, a restaurant, had been razed to the ground. That evening the heads of the police of fifty-two countries, after getting off cables to their wives, were confined for their safety to their hotels. There, with the banker economists of the International Monetary Fund, the two congresses lugubriously danced at the centre of the curfew.

The whole damage, a small fraction of which I witnessed, was done in eight hours of darkness by the peaceful light of a three-quarter moon. At six o’clock the fuse of hatred against the Greeks that had been creeping through the years reached the powder with reports that Ataturk’s birthplace at Salonika had been bombed by Greek terrorists. (In fact only a window had been broken by a bomb thrown at the Turkish consulate on Salonika. The proprietor of the leading evening paper and his editor are among the 2,000 rioters now under arrest.)

Spontaneously on both sides of the Bosphorus in every noisome alley and smart boulevard hatred erupted and ran through the streets like lava.

Several times during that night curiosity sucked me out of the safety of the Hilton Hotel and down into the city, where mobs went howling through the streets, each under its streaming red flag with the white star and sickle moon. Occasional bursts of shouting rose out of the angry murmur of the crowds, then would come the crash of plate-glass and perhaps part of a scream.

A car went out of control and charged the yelling crowd and the yells changed to screams and gesticulating hands showed briefly as the bodies went down before it. And over all there was the trill of the ambulances and the whistling howl of the new police cars imported from America.

When, nauseated, I finally got back to my hotel a muddy, tough-looking squadron of cavalry were guarding the approaches, but they never fired their 1914-18 Mausers and I think there was no shooting by either side during the riot. It was a night of the long staves and these were quickly put away at dawn when the Sherman tanks came in and the first Turkish Division got a grip of the town. For it is broken, and millions of pounds’ worth of damage was done that night. Countless businessmen are wiped out. Including several British merchants, and the Consulate and the rest of the British community are rallying to their help.

And now the normal disorder of Istanbul is being re-established and on a higher level Ankara and Athens are doing their own mopping-up. In a day or two the police chiefs and their cohorts will depart. As for Turkey, her splendid progress in the International game of snakes and ladders has suffered. She has landed on a snake and must now go back and wait patiently until she can throw a six and get back into the game again.


Commentary: Since Turkey is back in the news and in turmoil again, this seemed like a good time to share Fleming’s eyewitness report. Some background information on how he ended up in the eye of the storm:

In September 1955 Fleming accompanied joined Sir Ronald Howe, Assistant Commissioner of Scotland Yard, to Istanbul for the International Police (Interpol) Conference.
Bond fans might remember that Howe had appeared in Moonraker as Superintendent Ronnie Vallance (the surname was that of Fleming’s accountant, Vallance Lodge). After From Russia With Love was published, Howe glowingly reviewed it for the Sunday Times and called Fleming was called “the most readable and highly polished writer of adventure stories to have appeared since the war.” But, Andrew Lycett revealed decades later, Howe’s review was actually written by John Pearson–who had recently graduated from Cambridge before joining the paper.

Like James Bond in From Russia With Love, Fleming flew to Istanbul with a copy of Eric Ambler’s The Mask of Dimitrios on his knee. Unlike Bond, he avoided the dingy Pera Palace and stayed in the luxurious Hilton. The Interpol conference turned out to be dull and Fleming wrote to Admiral Godfrey ‘The trouble with these policemen is that they have no idea what is really interesting in their jobs and regard criminal matters as really a great bore.’ But on Tuesday, September 6, as the policemen met in the Chalet of Yildiz Palace, the seeds of the riot were germinating.

As Pearson so aptly put it:

Here at last then, in Istanbul, we have Fleming confronted with that face of violence which had haunted and fascinated him since boyhood. Here in reality was what he had written about so many times from his imagination – the smell of death and the tumult of danger – bloodshed, chaos and carnage. And how did he react? He was, he wrote, ‘nauseated’ by what he had seen. …Fleming the symmetrist had seen real violence at last. Fascinated yet appalled by it, he had retreated gratefully to the side of order and tranquillity. For the riot brought out in him the strange quality which was at the root of all his fantasies and all his books – that ‘threat of doom’, that ‘atmosphere of suspense married to horrible acts’ – which he had thrilled to at Eton in the stories of Robert Louis Stevenson and Edgar Allan Poe and which was really the thrill and horror with which the obsessively ordered mind reacts to apprehensions of chaos.
There is in fact a touch of supreme irony about these few days of his in Istanbul. He had come prepared to gather material for an imaginary act of violence and cruelty. Instead he found the real thing…

The riot played an important role in the making of From Russia With Love, because it introduced Fleming to Nazim Kalkavan, the Oxford-educated shipowner who became the model for Darko Kerim, “one of those rare characters whom Fleming’s hero respects and admires as a fellow spirit," as Pearson notes. The pro-British Kalkavan was horrified by the impression the riot made on foreigners and called at the Hilton the morning after to invite the conference goers to his villa on the Bosphorus. Fleming accepted and the two men quickly became good friends.

“I have rarely met anyone in my life,” Kalkavan said of Fleming, "with so much warmth and with a personality so full of life, an alertness encompassing all. He was always inquiring; we used to have endless talks mooching about the city.” Over the course of several days Kalkavan showed Fleming across town. What they saw was incorporated into From Russia With Love, and Fleming even wrote down his friend’s words to give them to Darko Kerim. The following dialogue by Kalkavan will sound familiar to anyone who’s read the novel:

“I have always smoked and drunk and loved too much. In fact I have lived not too long but too much. One day the Iron Crab will get me. Then I shall have died of living too much. Like all people who have known poverty, my chief pleasures are the best food, the best servants and changing my underclothes every day.”

Perhaps Fleming knew the Iron Crab would get him too.

One last note. I have an additional reason for posting this article–next week I’m flying to Istanbul. Posts in this thread will resume in mid-September.

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Fascinating reading as ever. Thank you for this intriguing piece and bon voyage!

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Excellent post! I’ve always wanted to read this particular article, knowing how instrumental IF’s visit to Istanbul was to the development of FRWL. Your added insights enhanced it further. Have a great trip - we look forward to hearing your own reflections on Istanbul on your return.

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Thanks very much! I’m delighted to know folks are enjoying the articles, and many more are to come. I’ve been to Istanbul several times (I have family over there), and it will certainly be interesting to see what the national mood is like this time…

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Birth-pangs of a Thriller

(W. H. Smith’s Trade News, March 31, 1956)

By Ian Fleming

I can remember more or less why I started to write thrillers. I was on holiday in Jamaica in January 1951—I built a house there after the war and I go there every year—and my mental hands were empty. I had finished organizing a foreign service for Kemsley Newspapers and that side of my life was free-wheeling.

My daily occupation in Jamaica is spear-fishing and underwater exploring, but, after five years of it, I didn’t want to kill any more fish except barracudas and the occasional monster fish, and I knew my own underwater terrain like the back of my hand. Above all, after being a bachelor for 44 years, I was on the edge of marrying and the prospect was so horrifying that I was in urgent need of some activity to take my mind off it.

So, as I say, my mental hands were empty, and although I am as lazy as most Englishmen are, I have a Puritanical dislike of idleness and a natural love of action. I decided to write a book.

It had to be a thriller because that was all to be a thriller because that was I had time for in my two months’ holiday, and I knew there would be no room in my London life for writing books. The atmosphere of casinos and gambling fascinates me and I know enough about spies to write about them. I am also interested in things, in gadgetry of all kinds, and it occurred to me that an accurate and factual framework would help the reader to swallow the wildest improbabilities of my plot.

Dare Not Look Back

Writing about 2,000 words in three hours every morning, Casino Royale dutifully reproduced itself. I re-wrote nothing and made no corrections until the book was finished. If I had looked back at what I had written the day before I might have despaired (and how right I was) at the mistakes in grammar and style, the repetitions and the crudities. I obstinately closed my mind to self-mockery and “what will my friends say?”, savagely hammering on until the proud day when the last page was done. The last line in the book “The bitch is dead now” was just what I felt. I had killed the job.

Then I started to read it. And I was appalled. How could I have written this bilge? What a fool the hero is. The heroine is the purest cardboard. The villain is out of pantomime. The sex is too sexy. And the writing! Six “terribles” on one page. Sentences of screaming banality. I groaned and stubbornly started correcting.

When I got back to London, I did nothing with the manuscript. I was too ashamed of it. No publisher would want it and, if one did, I would not have the face to see it in print. Even under a pseudonym, someone would leak the ghastly fact that it was I who had written this adolescent tripe. There would be one of those sly paragraphs in the Londoner’s Diary! Shame! Disgrace! Disaster! Resign from my clubs. Leave the country.

One day I had lunch at the Ivy with an old friend and literary idol of mine, William Plomer of Jonathan Cape’s, and I asked him how you get cigarette smoke out of a woman once you’ve got it in. “All right,” I said. “This woman inhales, takes a deep lungful of smoke, draws deeply on her cigarette—anything you like. That’s easy. But how do you get it out of her again? ‘Exhales’ is a hopeless word. ‘Puffs it out’ is silly. What can you make her do?”

William looked at me sharply. “You’ve written a book.”

I laughed. I was pleased that he had guessed, but embarrassed. “It’s not really a book,” I said, only a sort of boys’ magazine story. But the point is,” I hurried on, “I filled my heroine full of smoke half way through and she’s still got it in her. How can I get it out?”

A new identity!

I needed only slight pressure from William. He was a friend and would tell me the horrible truth about the book without condemning me or being scornful or giving away my secret. I sent him the manuscript. He forced Cape’s to publish it. The reviews, from The Times Literary Supplement down, were staggeringly favourable. People were entertained, excited, amused. I wrote “Author” instead of Journalist in a new passport.

And so it went on. I took Michael Arlen’s advice: “Write your second book before you see the reviews of your first. Casino Royale is good, but the reviewers may damn it and take the heart out of you.”

More adventures

In 1953, in Jamaica, I wrote Live And Let Die; in 1954, Moonraker, and then, last year, Diamonds Are Forever.

When I sent the manuscript of Diamonds Are Forever to William Plomer, I said: “I’ve put everything into this except the kitchen sink. Can you think of a plot about a kitchen sink for the next one? Otherwise I am lost.”

This time William couldn’t help me.

Now I am off to Jamaica again with a spare typewriter-ribbon and a load of desperately blank foolscap through which James Bond must somehow shoot his way during the next eight weeks.


Notes:

The original manuscript of this article (titled “Bang Bang, Kiss Kiss—How I Came to Write Casino Royale”) is reprinted in Talk of the Devil, a book less easy to find than the holy grail.

In case you’re interested in what word Fleming decided on for emitting cigarette smoke, here’s a passage from Casino Royale:, here’s a passage from Casino Royale:

“She accepted one of Bond’s cigarettes, examined it and then smoked it appreciatively and without affectation, drawing the smoke deeply into her lungs with a little sigh and then exhaling it casually through her lips and nostrils.”

I guess “exhale” wasn’t so hopeless after all!

In an article published shortly after Fleming’s death (“Ian Fleming Remembered,” Encounter, January 1965), William Plomer quoted Fleming’s article and confirmed the cigarette story. He also added some interesting details:

Once during the War, when some of its worst phases were past, we were feeding alone together and found time to speak of what we intended to do when it was over. With a diffidence that came surprisingly from so buoyant a man, he said he had a wish to write a thriller. He may not have used exactly that word, but made it quite plain that he had in mind some exciting story of espionage and sudden death. I at once made it equally plain how strongly I believed in his ability to write such a book, and in its probable originality. “But,” I said, “it’s no good writing just one. With that sort of book, you must become regular in your habits. You must hit the nail again and again with the same hammer until it’s driven into the thick head of your potential public.” He gave me a long and thoughtful look.

…It did please him to pretend that I was a sort of only begetter of his books, which was nonsense. Or was it just an indication of his characteristic capacity for gratitude? As somebody who knew him well reminded me lately, “Ian always said thank you.” Some of the inscriptions in the copies of his books he gave me repeated the unearned but recurrent compliment—for example, in my copy of Goldfinger, “To William, who started these balls rolling.”

In fact I used to be the first person to whom his books were shown, partly for professional reasons. When I found things to praise, he seemed pleased; when I suggested emendations, he was attentive—sometimes too attentive. I once said to him, just after reading a new James Bond typescript, that although the persons in it often made exclamatory remarks, these were never followed by a point of exclamation. I said this half-teasingly, but he took it so seriously that when the book came out, the New York Times took him to task for peppering his pages, like a schoolgirl, with exclamation marks.

…The best and most entertaining analysis of his thrillers ever likely to be written is to be found in Kingsley Amis’ forthcoming book. My own summary view of them is that they are brilliant, romantic fairy-tales in which a dragon-slaying maiden-rescuing hero wins battle after battle against devilish forces of destruction, and yet is indestructible himself: an ancient kind of myth skillfully re-created in a modern idiom. They are, like life, sexy and violent, but I have never thought them corrupting. Compared with some of the nasty stuff that gets into print, they have a sort of boyish innocence.

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It’s kind of odd to see the normally so self assured Fleming have the same thoughts about his work as I do when writing something. These articles are fantastic, thanks so much for sharing them.

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You’re very welcome Orion. More is to come!

A question to the moderators: I used to be able to edit my very first post, in order to list new posts to this thread, but now I no longer can. Is there a way to make the first post permanently editable? Since this is going to become a very long thread, it will be useful to have a continually updated index in the first post.

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Adventure in the Haggard-Buchan School (The Bookman, Nov. 1960)

The Pass Beyond Kashmir by Berkely Mather
Reviewer: Ian Fleming

The Achilles Affair, Berkely Mather’s first book, was one of the best thrillers of 1959. The Pass Beyond Kashmir takes the author triumphantly over the hump of the ‘second book’ and into the small category of those adventure writers whose works I, for one, will in future buy ‘sight unseen’.

The author belongs to the Haggard-Buchan school, or at any rate to its Search/Chase subdivision, in which English writers are supreme. The essential requirement in the contemporary craftsmen in this idiom is that they should be truthful and accurate reporters, for nowadays we know the world, and the scenery and background over and against which the hero journeys must not only hold the attention but be credible. Berkely Mather’s India seems to me totally so. I believe every word of his local knowledge and I greatly admire the art with which he informs one of sects, secret police, smells, language, dust, mud and flies without overdoing the expertise—a weakness into which Hammond Innes, for instance, occasionally lapses. With Berkely Mather one never feels ‘crammed’, or irritated by ‘knowingness’. The background unrolls, as we follow the cheap but likable private investigator on the way from Bombay to the foothills of the Himalayas, with a truly remarkable narrative ease. And what a ghastly trek we take in search of those secret oil surveys! Fights and muggings in the stews of Bombay—ghastly encounters with police and rivals (with every man’s hand against us!) all the way up to Kashmir and there—the last straw—the damnable Chinks to cope with! And the going! Hard! Nothing to eat, torrents of rain, mud, stench, filth, every foot of the way!

To make the hardened reader feel these things, really to put him through the wringer, is the art of the writer of thrillers. Mr. Mather has this ability, backed by a quiet, unemphatic prose style, a contemporary eye, and, most important, a heart.


Note: I’m going to be charitable and assume that Fleming was echoing the author’s language when he wrote that racial epithet…

Berkely Mather himself is an overlooked and important figure in the history of James Bond. Fleming was a genuine fan of novels and recommended Mather to Broccoli and Saltzman as a screenwriter for the Bond films, starting with Dr. No. Mather’s obituary in The Independent adds “In fact a script was already in existence, and Mather lightened it considerably…Although offered a percentage of the take for his work on the script, Mather disastrously opted for a flat fee.” His work on Dr. No, included his drafts and detailed notes, was later auctioned off.

Mather also co-scripted From Russia With Love and contributed an uncredited rewrite of Goldfinger. So he had a hand in the all of the classic three Bond films and the exact nature of his contributions deserves further study.

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“James Bond film producers Albert R. Broccoli and Harry Saltzman purchased the film rights to The Pass Beyond Kashmir for Columbia Pictures in 1963. Sean Connery and Honor Blackman were to star. Production was to have begun in late 1964 in Britain and on location in the Far East.”

Not according to google book’s snippet view. “Chink/chinks” appears at least three times all in the sense “a narrow opening or crack, typically one that admits light.”

A Connery film of The Pass Beyond Kashmir certainly would have been a treat.
In my experience Google Books–including its snippet view–doesn’t always search every part of a book. There have been multiple cases where a term popped up far more often than the search suggested. So the issue remains open, though I’m willing to admit that Fleming was an equal-opportunity racist.

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Did you go to Eton with my chums? Well, you may as well be from the colonies darling

Closer to how some people look at the world than I’d like…

I’m aware of Google Books’ limitations, so I checked two separate editions. Nada. But the slur does appear in several other novels Mather wrote. Alongside a number of other racial slurs…

I skimmed the book (UK paperback), paying particular attention to the final forty-five pages where Chinese troops do appear. One character refers to them by an archaic slur starting with the letter “P”, four words. The more generic “Chinaman” appears several times.

I’ve since discovered that the two editions I consulted through Google Books’ snippet view are American editions. But I’m skimming the British paperback. I’ve already spotted one racial slur variant between the US/UK editions. The British/Australian generic slur for non-white people appears only in the UK edition.

So all in all I’d say this one is almost certainly Fleming’s fault.

The Thriller Trend (Sunday Times, Sept. 20, 1959)

A Twist of Sand. By Geoffrey Jenkins (Collins. 15s.)

By Ian Fleming

I think the art, or craft, of writing thrillers has come to be despised because the great American thriller writers, Dashiell Hammett and Raymond Chandler, led the practitioners off into a cul-de-sac. Poe, Stevenson, Buchan, Rider Haggard, Oppenheimer, Edgar Wallace and, of course, Eric Ambler, in their different ways wrote thrillers of originality and distinction. But, then came the American school of the private eye and the millionaire’s nymphomaniac daughter, the Syndicate and Mr. Big in his nightclub, and suddenly, on both sides of the Atlantic, everyone was doing it.

That vein, until we move on to the Teamster Union boss with the daughter at Vassar, is almost extinct. The reader of thrillers has got tired of the office bottle, the kick to the groin, and the beautiful girl beside the swimming pool. One has turned to true-life thrillers about the war or to strange tales which seem true, like The Long Walk. But still, occasionally, for an aeroplane or a train journey one is tempted by a recommendation and buys their teen shillings’ worth of teenage pillow-fantasy beginning in a drab Soho and ending in a drab Tangier—badly documented, illiterate, but worse, naive.

This year, apart from good old reliable Simenon, I have read only one thriller which I could unreservedly recommend to my friends, The Achilles Affair, by Berkely Mather (Collins). But now, with A Twist of Sand, by Geoffrey Jenkins, I think we have a writer who, with encouragement and self-discipline, may become a thriller writer on whom we can rely.

**

Geoffrey Jenkins has the prime gift of originality. Above all, his setting is original—and how important the background is in these books! He writes about the Skeleton Coast, one of the last truly secret places in the world, that dreadful stretch of South West Africa where the rich alluvial diamonds are mined by De Beers and where the survivors from the Dunedin Star acted out one of the great survival epics of all time. Against this roasting, sand-blasted backdrop, Jenkins tells the story of Geoffrey Peace, D.S.O. and two bars, a court-martialled English submarine commander.

Peace is bequeathed a lost island off this coast by a Buchan-ish uncle. It was here that, under secret orders from the Chief (Director, Mr. Jenkins!) of Naval Intelligence he sank Germany’s prototype atomic U-boat. He sank it by firing a recognition flare into the pool of oil while it was cleaning its fuel tanks. He then shot down the survivors—all but one! He was alone on the bridge when he did these things. Under his vow of secrecy, he could not tell even his second-in-command what he was doing in these suicidal waters, so he was dismissed [from] the Service for hazarding his ship.

Lured back by his inheritance arid his memories, he earns a living fishing off the Skeleton Coast. Until a certain Dr. Stein appears. Stein knows about Peace through the sole survivor of the U-boat and he blackmails him into taking his trawler to land on the forbidden coast, ostensibly in search of a rare beetle—onymacris. The half-crazed U-boat mariner comes too, out for Peace’s blood, and the desirable Anne-with-a-crumpled-eyelid, a Swedish entomologist who alone can recognise the beetle.

Stein tricks Peace ashore with the party arid they set off through the desert into the sinister mass of the Hartmannberge.

There follows a desperate journey, the climax of the book, in the course of which the reader is dealt such a series of highly expert jolts to the solar plexus in the Geoffrey Household style that he reaches the last page panting.

**

Now, this is a badly organized book. Geoffrey Jenkins tries to cram in too much—the plot, the Skeleton Coast, excellent snatches of natural history, sex, and whole chapters, exciting though they are, of Peace’s wartime experiences. The D.S.O. and two bars are thrust too often down our throats, the court martial chapter should have been cut in toto, and Anne, she of the crumpled eyelid, talks with a peach stone in her mouth.

But these are small criticisms of a literate, imaginative first novel in the tradition of high and original adventure.


Note: Geoffrey Jenkins is best-known nowadays for his lost Bond novel Per Fine Ounce. Two of its surviving pages have been posted by MI6-HQ.com.

Further information from wikipedia:

"After Ian Fleming’s death, Glidrose Productions commissioned Jenkins to write a James Bond novel in 1966. Jenkins claimed in the late 1950s he had discussed the idea of a James Bond novel set in South Africa with Fleming, and even written a synopsis of it, which Fleming had very much liked. Jenkins’ synopsis, found by John Pearson in Fleming’s papers, featured gold bicycle chains, baobab tree coffins and the magical Lake Fundudzi. Fleming had said he would come to South Africa to research the book, but he died before this happened.

"Jenkins finished the manuscript for Glidrose entitled Per Fine Ounce, but it was rejected. Peter Janson-Smith later recalled that he thought it was badly written, although he admitted that Glidrose may have been ‘stricter in those days.’

“The novel is believed lost, except for 18 pages now in the hands of Jenkins’ son David.
In them we learn that the Double-O Section has been closed down and James Bond defies M on a matter of principle, resigning from MI6 to pursue his mission in South Africa alone.”

Next week I’ll post Fleming’s second review of a Jenkins novel.

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Two other pages also exist although the website that hosted them is now defunct.

Further information from wikipedia:

I thought it was the other way around. Jenkins kept urging Fleming to visit South Africa. I’ve also heard that Fleming considered Jenkins’ outline overloaded.

Not true. Jenkins chose not to write a novel based on his diamond smuggling outline. I believe he mentions this in his correspondence circa 1966. He instead chose to create an entirely different story which would become the basis for PFO. His original outline and PFO have little, if anything, in common, other than both are set in South Africa.

I’ve heard conflicting reports about this. Others claim only four pages exist.

Fleming reviews Jenkins’ third novel “A Grue of Ice”.

Looking forward to it!

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A Thundering Yarn (Sunday Times, Aug. 26, 1962)

By Ian Fleming

A Grue of Ice. By Geoffrey Jenkins. (Collins. 16s.)

I greatly enjoyed Geoffrey Jenkins’s first thriller A Twist of Sand, but I got bogged down in his second, The Watering Place of Good Peace, which suffered from turgidity and a kind of almost hysterical hypertension. The “Grue” in the title of his latest book gave me a moment of unease. I need not have worried. This is fully up to, the standard of Mr. Jenkins’s first book and is in every respect in the highest tradition of the Buchan-Household-Hammond Innes school of adventure story.

Once the characters have been introduced—fashionably, at Tristan da Cunha—the plot hurtles into a positive maelstrom of action and suspense centering on the mysterious and illusive Thompson Island in Antarctica. Wetherby and his Man Friday, Sailhardy, are likeable heroes, the villain and his cohorts are suitably villainous (there is an admirable sub-villain, the radio operator Pirow, “The Man with the Immaculate Hand”), and Helen reminded me, with a pang, of Leni Riefenstahl in her heyday.

But what will make the book memorable, particularly for those who like myself are sea-struck, is the vivid expertise of the oceanographic background to the story—the Blue Whales, plankton, ice-floes; that solidity of stage and props which gives integrity to the fantastic (though I wonder if an albatross really would attack a sea-leopard!).

A note of caution for the worldly reader. This a thundering good yarn, with all that the phrase connotes. Geoffrey Jenkins must beware of the yarnish streak in his prose that produces “Dear God! There has been enough violence already! What are we to do?” and similar fumed-oak passages. That having been said, one can welcome Geoffrey Jenkins’s return to the ranks of the great adventure writers.

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Thanks for going to the trouble of digging these pieces out, @Revelator; much appreciated. I wonder what Fleming made of Alistair MacLean? He always struck me as a writer whose œuvre would have interested Fleming on various levels.

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You’re very welcome! I’m very happy to share Fleming’s journalism, since it remains publicly inaccessible (unless you’re a millionaire who owns Talk of the Devil). Off the top of my head, I can’t remember Fleming referencing to Alistair MacLean, but I think you’re right about his potential interest.

MacLean despised Bond, Fleming’s books, and Fleming himself. “Sex, sadism and snobbery.” MacLean considered Fleming every bit as bad and trashy a writer as Harold Robbins.

When MacLean was having tax problems, his lawyer advised him to consider a tax deal like what many authors had done and would do with Booker McConnell. MacLean was willing to consider it until the lawyer made the fatal mistake of mentioning that this was what Fleming had done. With that, MacLean firmly rejected the proposal. He would have nothing to do with Fleming, not even doing what Fleming himself had done. Talk about cutting off your nose to spite your face.

These mannerisms are common in Jenkins’ books. Many of his books have a manic, feverish quality, verging at times on the hysterical.

Let me quote scholar and university lecturer John Fraser (who is quite the fan of thrillers and has a lot to say about them on his website): “…there was a creepy fascination to the slightly manic Geoffrey Jenkins and his eye for strange locations and physical phenomena.”

Interesting to learn that Fleming did not like Jenkins’ second novel “The Watering Place of Good Peace” (1960). “…Good Peace” has a very curious history and exists in two versions. I seem to recall that the hardcover has a lengthy midsection set 100 years before the events of the main part of the book. This historical sub-plot involves the protagonist’s and villain’s great-grandfathers who also did battle and have the same names as their great-grandsons. This version ends tragically in modern times with the hero’s girlfriend dead in his arms. No paperback appeared until 1974 which Jenkins had radically overhauled. This version has a happy ending. Also seem to recall that the historical sub-plot got cut and instead contained new modern-day episodes. Been decades since I read it…

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