A bit about Buchan, new and old

I've turned to the comfort of old-school spy stories in the form of John Buchan's Richard Hannay novels: The Thirty-Nine Steps and, next up, Greenmantle and Mr. Standfast. These novels. a century old now, can seem familiar and comfortably archaic for Hannay's bluff attitude, occasionally shocking (to today's sensibilities) social attitudes, and, at time, acute and even prescient. I'm listening to the books now; here's a post back from when I read them. 

(Buchan, who served as governor general of Canada from 1935 through 1940, will be on the program as "ghost of honor" at Bouchercon 2017 in Toronto.)

  ==========================  
Greenmantle is greatly enjoyable as it enters the homestretch. It's full of disguises, last-second escapes, hair-raising dangers, and all the other things a good thriller is made of. It also feels surprisingly up to date with its assessments of Germany's war aims and its discussions of religious revival in the Muslim world.

Its contemporary feel is all the more noticeable because the book is in so many respects a thoroughgoing product of its time. Without necessarily expressing contempt for commoners, it is shot through with the attitude that war is really a contest between those few, rare men of noble soul and exceptional ability. The German Col. von Stumm is brutal, thuggish and depraved, for example, but the kaiser is a high-minded man whose responsibility weighs heavily upon him.

Buchan is also acutely sensitive to the joys and sorrows of travel. Exhausted and depressed when he reaches Constantinople, the protagonist, Richard Hannay, finds the city "a mighty disappointment. I don't quite know what I expected -- a sort of fairyland Eastern city, all white marble and blue water, and stately Turks in surplices, and veiled houris, and roses and nightingales, and some sort of string band discoursing sweet music. I had forgotten that winter is pretty much the same everywhere. It was a drizzling day, with a south-east wind blowing, and the streets were long troughs of mud. The first part I struck looked like a dingy colonial suburb -- wooden houses and corrugated iron roofs, and endless dirty, sallow children."

Later, however, refreshed, in new clothes, and after an unexpected rescue by an unexpected colleague, Hannay makes this sage observation: "What had seemed the day before the dingiest of cities now took on a strange beauty ... A man's temper has a lot to do with his appreciation of scenery. I felt a free man once more, and could use my eyes."

And the novel's humorous touches, particularly in the form of the American, Blenkiron, are delightful. His bluff manner of speaking will awaken readers to the joys and peculiarities of Americans and the ways they talk.

© Peter Rozovsky 2007

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John Buchan

My Bouchercon 2016 panel: Michael Gilbert, plus bipartisan political vacuousness

A piece of gaseous conservative slogan-mongering in the National Review brought to mind Michael Gilbert's taking the piss out of a similar piece of gaseous liberal slogan mongering in his 1965 story "The Spoilers."  As a nonpartisan break from campaign-season brain rot, here's a post about Gilbert and politics.

=========== 

Thc occasional politically tinged passages that work their way into Michael Gilbert's stories about Mr. Calder and Mr. Behrens are not always the most subtle, the hyperbole put in the mouths of young, speechifying men of leftish inclination especially wince-making (“Freedom,” said Tabor. “You’re prepared to accept inefficiency, selfishness, slackness, lack of purpose, timidity and greed – provided you have on the other side of the scales a fictitious thing called freedom.”).

But the books appeared in an unsubtle time (1966 and 1967) at least as prone to lunatic hyperbole as political discussion is now. Besides, politics and ideology are small presences in these tightly plotted, delightfully told stories. And, since today's readers want positive news, I thought I'd share a jab as pertinent and just as delicious today it was in the mid-1960s. It's from "The Spoilers," which appears in the collection Games Without Rules:

“`We’re getting so security-minded,' said Miss Nicholson, `that we might as well be living in a totalitarian state, under the control of the Gestapo.'

“Miss Nicholson, who was an intellectual liberal, often said things like this in letters to the Press and at public meetings, possibly because she had never lived in a totalitarian state and had no experience of the Gestapo."

Now, good readers, tell me your favorite political jabs from crime stories. Be a good sport, and tell me especially about lines with whose point of view you may disagree.

***

As noted above, ideology does not bulk large in these stories. The powers against whom Calder, Behrens, and their fellow intelligence officers work are referred to far more often simply as Russia or China than as communists or commies, never, that I can recall, as "evil" or "Rooskies" and only once as "reds." More typical are non-ideological barbs such as this, from "The Spoilers":

"Mr. Calder, considering the matter, was inclined to agree. He knew that in certain branches of the Security Services, sexual irregularity was considered a good deal worse than crime and nearly as bad as ideological deviation."

or jabs at features of English life that Gilbert probably wished were in a higher state than they were. From "The Cat Crackers":

“`Splendid,” said the professor. `We will sit all afternoon and talk.'

“`Not in an English pub, you won’t,' said Tabor."

or this, from "The Headmaster," which sounds more than a bit like P.G. Wodehouse:

"The Hambone Club in Carver Street is the offspring of that eccentric aristocrat, Sir Rawnsley Clayton. Having been turned out of the Athenaeum for giving dinner there to a troupe of clowns, he had founded it as a place where he could meet his more bohemian acquaintances. It was still much used by actors and writers, but had acquired a solid addition of politicians who found the Carlton too stuffy and of soldiers who found the Senior too exclusive."

Gilbert, an Englishman who died in 2006, was both a Cartier Diamond Dagger winner and a Mystery Writers of America Grand Master.  Here's Martin Edwards on Gilbert. The highest compliment of all, however, and the most pertinent to this post, may come from Joe Gores, who wrote:

"A critic once remarked that Maugham's Ashenden is the finest collection of espionage fiction ever written. That critic is wrong. The honor goes to Michael Gilbert's Game Without Rules, and to its twelve-story sequel, Mr. Calder and Mr. Behrens."

=======================

Martin Edwards accepts
his 2016 Best Critical/
Biographical Edgar
Award for The Golden
Age of Murder. Photo
by Peter Rozovsky.
========

Martin Edwards will discuss Michael Gilbert as part of a panel I'll moderate at Bouchercon 2016 in New Orleans in September. The panel is called "From Hank to Hendrix: Beyond Chandler and Hammett: Lesser Known Writers of the Pulp and Paperback Original Eras," and it happens at 9 a.m., Thursday, Sept. 15, at the Marriott, 555 Canal St., New Orleans. The room is LaGalleries 1. See you there.

See the compete Bouchercon panel schedule at http://www.bouchercon2016.com/#!schedule/c8k7
 
© Peter Rozovsky 2014, 2016

The Unfortunate Englishman: Another historical hit from John Lawton

Does John Lawton write spy novels? If so, when did espionage fiction edge over from geopolitical thrills to meditations on identity and personal and national character? Which authors and books are responsible? And does it matter?

John Lawton's Unfortunate Englishman takes thief-turned-spy Joe Wilderness to Berlin at the height of the Cold War, where he is to mediate an exchange of prisoners between Great Britain and the U.S.S.R. The title character is a schlemiel nabbed for his ineptitude as a spy for the British, and the action consists of efforts to swap him for his opposite number and of flashes back and forward between the early and the mid-1960s.

Along the way, we see the Berlin Wall rise before our eyes and Wilderness encounter Nikita Khrushchev on the Soviet leader's (imaginary) solo tour of the city. Two supporting characters in the novel are shot by the Soviets for their activities, but the executions happen off-stage and they make their presence felt through the schlemiel's brief but intense reaction to them. The reticence of the portrayal makes the executions all the more chilling.

This character-based storytelling works in a kind of alchemy with Lawton's closely observed period detail to reinforce the status Lawton built in his Frederick Troy books as quite possibly the best historical novelist we have. Fans of those novels will be happy to know that Troy and his brother Rod make brief appearances in The Unfortunate Englishman.

© Peter Rozovsky 2016

"Hell ... with a good electrician"

You know that nighttime view of Los Angeles from the Hollywood Hills that you've seen in a million movies and television shows? (At right, if your memory needs refreshing.)

Here's how the narrator of Alfred Hayes' 1958 novel My Face for the World to See assesses that view:

"Besides, she’d heard it before: I was sure she’d heard it all before . Possibly in a scene that was a close duplicate of this: the car parked in the hills, and two cigarettes, and the town below looking as hell might with a good electrician."

That ought to be enough to persuade anyone that the book, which appeared when disillusion with Hollywood was becoming a staple of American popular culture, is a good deal more that just another self-pitying rant. Even at his most morose and detached, the narrator can crack wise in even better than the best hard-boiled style. And, while the novel is not crime, it is hard-boiled, noir, even.

Elsewhere, I've picked up Brian Garfield's Checkpoint Charlie, a collection of spy stories, hard-boiled but with a touch of the British-style eccentric detective to its protagonist, somewhat in the manner of Frank McAuliffe's wonderful Augustus Mandrell or Michael Gilbert's equally wonderful Mr. Calder and Mr. Behrens.  Garfield's creation is not quite up that level, but I like very much the author's description of the character in the volume's introduction (highlighting mine.)::

"He really enjoys only two things: eating, and practicing his trade."

Eating--rather than the more delicate food or, the even delicater fine dining--lets the readers know that their just may be an edge to this Charlie.

© Peter Rozovsky 2014

Augustus Mandrell is as American as hamburger

I'm rereading Shoot the President, Are You Mad?, Frank McAuliffe's long-awaited fourth book Augustus Mandrell. How long awaited? The book appeared in 2010, twenty-four years after the author died and following collections of Mandrell "commissions" (he's an international hit man) that had appeared in 1965, 1968, and 1971.  Here a post I made back when I first read Shoot the President, Are You Mad? When I'm done with it (the book, not the post), I just may reread the first three Augustus Mandrell books. They're that good.

================

I've mentioned the bracing mix of British manners and American sensibilities in Frank McAuliffe's books about Augustus Mandrell. McAuliffe, an American, made Mandrell a kind of outsider, apparently British. This gave him the luxury of observing American ways with amused detachment. Here are some examples from Shoot the President, Are You Mad?:

"There was certain to be some grumbling regarding the issue of `conspiracy' since the American people, despite their impressive history of individual action, appear rather keen on attributing dramatic events, particularly those of an anti-social nature, to shadowy groups."

and

"[A]s the days passed with still no apprehension of the despicable manufacturer of air conditioners, the president, now enjoying the role of spiritual leader to the electorate ... "

and

"`But no class, Man, no class,' the Doctor objected. `They underbid each other. "If Tony will do-a da job for 300 bucks, I'll tell-a you wot. I'll do it for 250, if you buy da bullets." How you going to get class when you're shopping around for the lowest bidder?'

"`My dear Doctor, are you questioning the "free enterprise" system? The very cornerstone of America's greatness?"

McAuliffe also pokes delicious fun at insecure Americans' worship of culinary luxury, having Mandrell issue elaborate instructions to a chef that include "a quarter pound of lean Argentine beef. You chop it into an even consistency and form into into a patty. Fry, over a natural gas flame for eleven seconds per side ... A folded leaf of California lettuce ... place just under the top bun a slice of Bermuda onion, one sliced within the past 12 hours."

"`Clifford,' says Mandrell's puzzled companion, `that concoction you ordered, do you know what it sounded like? One of those dreadful hamburgers the Americans are always eating in their backyards.'

"`Of course, my dear,' I smiled. `I've been dying for one all day. I was but attempting to spare the man the embarrassment of writing `hamburger, with the trimmings' on his pad. He'd have been the laughing stock of the kitchen.'"

=============

Historical notes: It has been reported that McAuliffe submitted the manuscript of Shoot the President, Are You Mad? to his publisher just before John F. Kennedy's assassination in 1963 and that the unfortunate coincidence was responsible for the decades-long delay in the book's appearance. But an afterword from McAuliffe's daughter says McAuliffe wrote the book in 1975. Even then, she wrote, "the mutual consensus was that the American people ... were not ready to make light of the demise of an individual who held possession of the highest office in the land."

=============

The third Mandrell book, For Murder I Charge More, won an Edgar Award from the Mystery Writers of America for best paperback original in 1972. A second award would not be out of place in 2011.

© Peter Rozovsky 2010, 2014

The English, they are a funny race

I've been reading three Englishmen in recent days, and, without purporting to analyze English character, I will say that each of these examples shows considerable wit, and that the wit cuts deeper than mere jokes.

The first is from a short story by Michael Gilbert:

"Mr. Behrens said, raising his voice a little, `If I were to lift my right hand a very well-trained dog, who has been approaching you quietly from the rear while we were talking, would have jumped for your throat.' 

 "The colonel smiled. `Your imagination does you credit. What happens if you lift your left hand? Does a genie appear from a bottle and carry me off?' 

"`If I raise my left hand,' said Mr. Behrens, `you will be shot dead.'  

 "And so saying, he raised it."

— "The Road to Damascus" 

The second is from a novel by John Lawton:

 "Interned, released, enlisted, trained and promoted all in less than three months. The insignia of rank barely tacked onto his sleeve. If the next promotion were as swift as the first he’d be a Flight Lieutenant by the end of the month. This had baffled Rod. He had tried to explain it to his father some time ago. ‘I said the obvious thing. “Are you sure I’m ready for this?” Sort of expecting the genial “Of course, old chap” by way of answer – and they said “Ready? Of course you’re not ready. Ready’s got bugger all to do with it. You’re thirty-three, man, you’ve held a pilot’s licence for ten years. We need people who can fly, people who can command a bit of authority, people who might look as though they know what they’re doing even if they don’t. You couldn’t grow a moustache, could you?’” 

— Bluffing Mr. Churchill 

The third is from a poem by Philip Larkin:

"Ah, were I courageous enough
To shout Stuff your pension!
But I know, all too well, that’s the stuff
That dreams are made on:"

— "Toads" 

Aren't those fun?

© Peter Rozovsky 2013

A spy novel with a fairy-tale ending ...

... Well, except for the people who died. Still, who'd have thunk it?

A few last thoughts about David Ignatius' Bloodmoney (previously discussed here and here), whose action centers on Pakistan, and whose main players are the CIA, an organization within the CIA, Pakistan's ISI agency, and various figures attached more closely or less to those intelligence services:

• The book strikes a nice balance between geopolitics and human interest. I cared about the characters, but always for reasons related to their roles in the main action.
• Ignatius has characters muse a time or two on the ubiquity of American power. These musings are never obtrusive.
• Ignatius manages the impressive feat of eliciting sympathy and goodwill toward a billionaire who, furthermore, made his money in high finance. Read the book, report back to this space, and we'll discuss this character.  
• I found two small typographical errors in the novel, though nothing like the mistakes one friend of DBB found in one of Ignatius' previous books. That reviewer, though, called Ignatius a "gifted and intelligent" thriller writer. He was right.

© Peter Rozovsky 2011

How to build pace into a thriller

Bloodmoney progresses apace, and its pace is one of the things I like about David Ignatius' tale of espionage in Pakistan.

CIA operatives are disappearing, and the head of their unit needs to find out who's killing them. Two agents have vanished, and Ignatius quickens the pace nicely from the first disappearance to the second.

We meet the first agent over the course of three chapters, gradually coming to know his mission, his cover story, and the personal insecurities that let us know all may not go well with him.  Here's how we meet the second agent: "Alan Frankel had every reason to think he was safe."

With an introduction like that, you know this guy's life insurance had better be paid up. Moreover, it's a nice example of building momentum. Compressing the narration is a neat way to quicken the pace and to avoid monotony when relating a succession of similar events. And pace, it seems to this inexperienced reader of thrillers, is precisely what a thriller must master.

What are your favorite examples of well-paced thrillers or crime stories? How do they achieve their good pacing?

© Peter Rozovsky 2011

Fear in Pakistan, or Who says the spy novel is dead?

David Ignatius' novel Bloodmoney is ripped straight from today's headlines — in fact, it anticpates some of them — and its opening chapters do a better job than those headlines in illuminating just how scary Pakistan must be for those compelled to work there.

Ignatius is a journalist turned novel writer who, unlike some members of that breed, can incorporate a telling detail without shouting out its importance. Here's a CIA operative on his way to a rendezvous in Karachi:

"They wouldn't like that neighborhood. It skirted Ittehad Town, the districts where migrants from the tribal areas had settled."

Here's that operative reflecting on his boss's advice about carrying out a mission:

"Gertz loved to say it: Safety first, brother. If it feels wrong, it is wrong. Bail out. But he didn't mean it. If you aborted too many meetings, people began to suspect you were getting the shakes. ... Which meant it was time to send out someone younger, who hadn't lost the protective shell of stupidity that allows you to believe, in strange city. that you have vanished into thin air."

Ignatius has extensive experience writing about espionage; the magazine where I first read about him said his columns are eagerly read at CIA headquarters in Langley, Virginia. His novel Penetration received a new title when Ridley Scott adopted it into the movie Body of Lies.

© Peter Rozovsky 2011

Fresh spies

The pace of geopolitical change must make thriller writers tear their hair out. The Soviet Union is gone, and terrorism, as wise commentators point out, is not a country. What does the fight against it mean, and what is a fictional spy to do in this multipolar world?

Lots, according to Olen Steinhauer's The Tourist, in whose world the collapse of the Other Side has given birth to a range of Other Sides: Chinese industrialists, Russian mafias, Islamic insurgents among them.

This fractured geopolitical scorecard is just one of the things that make The Tourist seem new, at least to this infrequent reader of thrillers. Here are a few more:

1) Frequent mention of characters' ages, many of those characters in their twenties or early thirties. This has an internal purpose, but I suspect it's also Steinhauer's way of reminding the reader that the international thriller is alive, well and still a young man's and woman's game two decades after the U.S.S.R.'s collapse.

2) An occasional wryly mocking attitude:

"Milo decided that while his coworkers devoted themselves to finding the Most Famous Muslim in the World somewhere in Afghanistan, he would spend his time on terrorism's more surgical arms."

3) An amusing poke at one of the dumbest songs of the last thirty years:

"`Why `the Tiger'?'

"`Precisely! However, the truth is a disappointment. I have no idea. Someone, somewhere, first used it. Maybe a journalist, I don't know. I guess that, after the Jackal, they needed an animal name.' He shrugged—again it looked painful. `I suppose I should be pleased they didn't choose a vulture—or a hedgehog. And no—before you think to ask, let me assure you I wasn't named after the Survivor song.'"

Do political and spy thrillers have a shorter shelf life thanks to events such as the end of the Soviet Union and the attacks of Sept. 11, 2001? What does it take to keep such a story fresh? What are your favorite classic spy stories?

© Peter Rozovsky 2010

"Modesty Blaise," the movie, or, something from the '60s that really sucked

1966, and Batman was on the air, Fellini had turned surreal, and James Bond was all the rage. Joseph Losey's movie version of Modesty Blaise has affinities with all three, combining the worst of each in a pretentious and weirdly dated period piece.

I'm no expert on the Modesty Blaise comic strip and novels, but I did appreciate the first book's low-key humor, its aching portrayal of Willie Garvin's devotion to and chaste love for Modesty, and its occasional touches of chilling cruelty and cold, nocturnal ambiance. Among other things, these features made the novel, Modesty Blaise, something more than a sex-and-gadgets spy caper.

Losey and screenwriter Evan Jones jettison almost all of that and exaggerate the rest. Where author Peter O'Donnell sharpened the humor by applying it sparingly, mostly in the person of a fastidious but irrepressibly wise-cracking assistant to the villain of the piece, the movie hits us over the head with a ha-ha, hilariously clueless government minister, too. Where O'Donnell gives the villains a Bondian hideout in an isolated monastery, Losey turns the sinister fortress into a cheap, swinging-London-style outtake from Blow-Up, a rather better movie released the same year. (A more accurate comparison, though anachronistic by two years, might be a Rowan & Martin's Laugh-In sketch, but without the humor.)

Plot? Modesty is a mysterious character, a war orphan who has retired from a lucrative criminal career until called in by the British government to foil a diamond robbery. But she pulls some tricks of her own. Forget all that, though. It's probably not the main reason you'd enjoy the novel, and you won't be able to make much of it in the mess of a movie.

Four decades on, the most puzzling aspect of this film is that so many big names and, apparently, an at least adequate budget were involved. Amsterdam's streets and canal houses are gorgeously photographed, and just look at some of the people involved in the movie: Losey as director. Monica Vitti as Modesty. Terence Stamp as Willie Garvin. Dirk Bogarde as the villain Gabriel in a role that one might regard as an amusingly camp deviation from O'Donnell's original if it were in the least amusing.

I can't entirely blame the makers and participants of Modesty Blaise. 1966 was probably a heady time, with producers willing to throw money after this and other hip, glamorously decadent projects. I wonder how long it took all involved to regard the movie as they would a bad hangover.

© Peter Rozovsky 2007

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The man who came in from reading Fred Vargas

The Oz Mystery Readers group is discussing John Le Carré's The Spy Who Came in from the Cold, a classic espionage novel and an occasion for some lessons in history.

You know the history I mean, don't you? The history of the fictional spy, which meant, at that time, James Bond. Le Carré's protagonist, Alec Leamas, is an anti-Bond. His life, according to the article to which I link above, "is far from the glamour of James Bond's world: he has a love affair with a lonely, unpaid librarian, not with a fashion model."

Then there's that other history, that of the Cold War, of us vs. them, with its harsh symbol of division, the Berlin Wall. And us vs. them, Le Carré tells us, is decidedly not good vs. evil. It was probably easy to call the book a classic back in 1963, and the dust jacket of my handsome old hardback edition trots out a lineup of superstar blurbsters: Daphne du Maurier, Alec Waugh, J.B. Priestley and Graham Greene, the last of whom called the book "the best spy story I have ever read."

But that was then; this is now. How does the book's laying bare of the amorality of espionage hold up today? Pretty well, even when the prose seems tendentious by current standards:

"Ashe, Kiever, Peters; that was a progression on quality, in authority, which to Leamas was axiomatic of the hierarchy of an intelligence network. It was also, he suspected, a progression in ideology. Ashe the mercenary, Kiever the fellow traveler, and now Peters, for whom the ends and the means were identical."

I'll report back later on a bit of plot manipulation that just might be shocking or even offensive, depending on the next thirty or so pages. In the meantime, sit back and reflect on the vanished days of the rivalry between Russia and the West, that golden era of international spying.

Say, who was that Alexander Litvinenko guy, anyway?

© Peter Rozovsky 2007

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John Buchan

Having just seen the weird stage production of The Thirty-nine Steps, I thought I'd look into one of John Buchan's later novels. Greenmantle, published in 1916, a year after The Thirty-nine Steps, again throws Major Richard Hannay into wartime intrigue.

The opening pages set a pleasantly bluff, breezy tone, but I make this comment because of Buchan's politics. One character -- one of the good guys -- offers less than flattering opinions about two groups against whom Germany took rather firm action in the war after the one during which this novel is set. The same character, though, offers an assessment of the Ottoman Empire that seems fresher than one might expect in a novel written more than ninety years ago: "The ordinary man again will answer that Islam in Turkey is becoming a back number, and that Krupp guns are the new gods. Yet -- I don't know. I do not quite believe in Islam becoming a back number."

Islam, the character says, just might be a force in world politics. He just might be right.

© Peter Rozovsky 2007

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The 39 Steps on stage

The 39 Steps has been a novel, three movies and now, as winner of a Laurence Olivier Award for best new comedy, a farce.

The current production, at London's Criterion Theatre, offers clever staging, deft character and costume changes on the fly from the cast of four, and a lead actor whose mustache is strikingly similar to Robert Donat's in Alfred Hitchcock's great 1935 film version.

It also offers a corpse that keeps waving one of its arms, Scottish and other accents milked for laughs, gay and straight sexual winking and nudging, and an old man running around in boxer shorts. What it does not offer is any but the slightest hint of the suspense that marked either John Buchan's 1915 novel or Hitchcock's very different movie. (I haven't seen either the 1959 or the 1978 movie versions.)

The show, crafted with apparent affection from the important bits of the Hitchcock, turns those bits into a long Benny Hill sketch. The mix works, to judge from the explosive horselaughs and deep, rich and rasping snorts of merriment from the two men who sat right behind me. But it has little to do with crime fiction despite the influential novel and superb movie from which it borrows its name.

=======

An essay in the play's program proposes Buchan's hero, Richard Hannay, as one of the most enduring and influential heroes from the Golden Age of the thriller. Hannay, according to the article, "formed the blueprint for a whole gallery of similar characters," including Bulldog Drummond, the Saint, and, as the type mutated, James Bond, Len Deighton's unnamed hero and John Le Carre's disillusioned protagonists.

It's a stimulating article that may interest readers of my recent comment about the most influential crime writer ever.

© Peter Rozovsky 2007

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Meet the real Modesty Blaise

Crime Time, source of that excellent interview with translators that I've cited before and will keep citing every chance I get, offers this interview with Modesty Blaise's creator, Peter O'Donnell. In it, O'Donnell recounts his memorable meeting with the child who became his model for that memorable ex-criminal and supremely talented operative, Modesty Blaise.

© Peter Rozovsky 2007

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Augustus Mandrell vs. Modesty Blaise

Back in the days when this blog had readers, I posted a comment about Modesty Blaise, Peter O'Donnell's gadget-toting 1960s super spy. More recently, I've been discussing Frank McAuliffe's books about that non-gadget-toting 1960s super hit man, Augustus Mandrell.

At the time of my Modesty Blaise post, a reader commented that Blaise, James Bond and other popular spy/caper heroes of the time were products of pure wish fulfillment. "I think readers were a lot more naive then, and the heroes and plots of these books impossibly suave," my intelligent correspondent wrote. The first Modesty Blaise novel and the first Augustus Mandrell collection appeared the same year, 1965. Each in its own way seems both a reaction to James Bond and an illustration of my reader's point about wish fulfillment. The differences between the two heroes are at least as interesting as the similarities.

Both are projections of fantasy. Modesty Blaise is impossibly rich, impossibly fit, impossibly talented and impossibly accomplished. Her impossible dexterity in martial arts is supplemented by impossibly elaborate, impossibly miniaturized gadgets cooked up by her assistant, Willie Garvin.

Augustus Mandrell, on the other hand, has impossible sang-froid and an improbable skill with disguises (though the running comments he offers on the practice and the psychological effects of disguise render him a more accessible and less remote hero than is Modesty Blaise. He lets the reader in on his thinking). Mandrell gets by on guts and guile; Modesty Blaise's currency is raw skill.

Blaise works for the forces of good; Mandrell, though his sympathies are usually in the right place, works for the forces of money. Blaise has all the luxury goods that an upwardly aspiring reader in the consumer culture of the mid-1960s could wish for. Her apartment is decorated expensively but with taste, and her liquor is the best. At the age of thirty, having made her pile in ways only hinted at, she has risen above the need to work for mere money.

Augustus Mandrell cheerfully embraces the quest for cash, and his difficulty collecting the fees he charges for his "commissions" are a delightful running theme of all the stories. Could these contrasting attitudes toward money be due in part to the authors' nationalities? O'Donnell was British, McAuliffe American.

And then there's sex. Had Modesty Blaise and Augustus Mandrell ever wound up in the same story, they'd likely have been adversaries who eventually wind up cooperating. They also would have wound up in bed, where both would have performed extremely well. For her, the sex would have been a release of tension, fully enjoyed, expertly accomplished, leaving her prepared to resume her work. For him, it would have been a romp. They'd both have derived pleasure from it, but Mandrell would have experiened more joy.

© Peter Rozovsky 2006

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What's a crime novel? (Modesty Blaise)

Among my haul at Murder One was Modesty Blaise (the novel, not the comic strip). The book is full of evil villains, 1960s-style sex (You know, lots of it, but no dirty words), fiendishly clever secret weapons, and humor. But what made it interesting was a blurb on the back cover.

No, the blurb does not compare author Peter O'Donnell to Ian Rankin. But it does call the Modesty Blaise series "seminal British crime novels." And the blurb comes from Crime Time, so it was not written by some know-nothing reviewer.

I'd have considered Modesty Blaise a thriller rather than a crime novel, so let's call this one more of those salutary reminders that one should not be a stickler for categories. Besides, I am not the only crime/detective-fiction reader who regards Modesty Blaise as a guilty pleasure. A reviewer in Mystery Guide writes: "It's a good thing I don't belong to any mystery fans' associations, because they'd probably kick me out for admitting that I have a secret weakness for Modesty Blaise."

© Peter Rozovsky 2006