The James Bond Bedside Companion (7 page)

Most critics lauded Fleming's writing style and descriptive passages, but complained that the dialogue and characters were weak. The
Birmingham Post
,
however, called it "the best thriller of the season," and Raymond Chandler particularly praised Fleming's descriptions of America. It was around this time that through Eric Ambler, Fleming
was introduced to literary agent Peter Janson-Smith. Fleming was disappointed with James Bond's performance in the international market, and Ambler suggested that the author meet his agent. Janson-Smith was successful in obtaining a Dutch publisher for the existing Bond novels on the very first day of working for Fleming. From then on the agent handled all of the author's literary negotiations for the world (excluding the United States), being appointed to the board of directors of Glidrose in 1964. He is still a director.

Also around this time, Fleming visited a health clinic called Enton Hall. His sciatica was bothering him, and the ten-day treatment not only helped that but revitalized him. He would one day use the experience in a Bond adventure called THUNDERBALL. But Fleming didn't take his doctor's advice upon returning from the clinic. Told to cut down his intake of alcohol and tobacco, Fleming showed only minute signs of cooperation. Already, his doctor wrote, Fleming's heart was going.

During this period of ill health, Fleming became disenchanted with James Bond again. He wrote to Raymond Chandler on April 27 that he personally didn't think very highly of his own books, and should perhaps take them more seriously. On May 1, Chandler replied that Fleming didn't do himself justice with Bond, and should try something of higher quality. Chandler admitted to feeling that CASINO ROYALE was still Fleming's best book. On June 22, Fleming replied, saying that he was weary with Bond and it wasn't easy guiding the character through his "tricks" in FROM RUSSIA, WITH LOVE, which he was still revising at the time. It was probably during these few weeks that Fleming decided to have Rosa Klebb kick Bond with a poison-tipped shoe at the end of the novel, leaving the reader to wonder if the secret agent was dead or not. Fleming may have wanted to do away with Bond altogether, killing him with a jarring, cynical ending. Or he might have done it with tongue in cheek, knowing full well that a resurrection was indeed possible and it would be great fun to pull such a joke on his readers. Indeed, when one fan wrote to him after the novel was published, Fleming replied, saying not to worry; if and when Bond "goes," he will do it with a "bang."

In May of 1956, a curious friendship began between Fleming and a gun expert and writer, Geoffrey Boothroyd. Boothroyd wrote to Fleming out of the blue, first explaining how much he liked the Bond books. But then he went on to complain about Bond's use of a .25 Beretta, saying that in reality it was a "lady's gun, and not a really nice lady at that." He suggested that Bond be armed with a revolver, in particular, a Smith and Wesson .38 Centennial Airweight. Boothroyd then described his own model, which had a barrel sawed-off to 2-3/4 inches and a cutaway trigger guard for quicker shooting. He went on to suggest a Smith and Wesson .357 Magnum for long-range work, and a Berns-Martin triple-draw holster instead of Bond's chamois shoulder holster.

Fleming welcomed the criticism and suggestions, and throughout the summer of 1956, he corresponded with Boothroyd, who lived in Glasgow. Several types of guns were discussed, and Fleming was delighted at having an entirely new source for the kind of detail he loved to write into the Bond books. What he finally did was create a character called "Major Boothroyd," the Armourer, who, on M's orders, recommends that James Bond change his guns. This happens at the beginning of DOCTOR NO, after Bond has recovered from Rosa Klebb's near-lethal kick. Bond is armed with Fleming's preference, a Walther PPK in a Berns-Martin triple-draw holster, and a Smith & Wesson .38 Centennial Airweight for long-range. But Fleming must have mixed up his notes—a Berns-Martin triple-draw holster is made only for revolvers and a Walther PPK would slip out. And it was the .357 Magnum that was for long range, not the .38 Centennial model. Fleming jokingly passed the letters of complaint as to accuracy he received on to the expert from that day forward.

Boothroyd's services came in handy again when the jacket for FROM RUSSIA, WITH LOVE was devised that summer. Fleming wanted a
trompe l'oeil
style painting, and Cape hired the excellent artist, Richard Chopping. Fleming asked Boothroyd to lend him his Smith & Wesson with the sawed-off barrel so that Chopping could use it for a model. Boothroyd sent the gun, and Fleming delivered it to the painter's studio in Essex. About that time, a multiple murder took place in Glasgow, which would later become known as "the Burnside Murders." The bullets recovered from the three corpses were .38 caliber. Boothroyd, whose Smith & Wesson was registered, was visited by the police. He worriedly explained that Fleming had the gun in London and a few hours later, Fleming himself was visited by Scotland Yard. Not wanting the police to disturb the artist at work, Fleming produced his correspondence with Boothroyd and explained the situation. The police granted Fleming's request to allow Chopping to keep the gun until the painting was finished. As it happened, Chopping finished the painting the next day and promptly returned the gun. Needless to say, Boothroyd's revolver was not the murder weapon.

In June, Ivar Bryce sold his share of NANA, as he and Ernest Cuneo were planning to acquire some independent American television stations. Fleming was invited to join them. The project was eventually dropped, but Fleming continued his interests in American television when NBC producer Henry Morgenthau III approached him about collaborating on a series provisionally called "Commander Jamaica." It was to be an adventure series filmed in the Caribbean. Fleming worked on a script, which featured a character named James Gunn. The plot involved Gunn investigating an island fortress in the Caribbean where a group of criminals were believed to be deflecting missiles from Cape Canaveral from their course. The project fell apart, but Fleming later used the basic plot for DOCTOR NO.

In October, DIAMONDS ARE FOREVER came out in America. Anthony Boucher was kinder this time, saying that Fleming's "handling of America and Americans is well above the British average; as before he writes excellently about gambling; and he contrives picturesque incidents and a moderately believable love story." But Boucher went on to say that the "narrative is loose-jointed and weakly resolved. . ." In America the works of Ian Fleming were still enjoyed by only a small group.

But in November an event occurred that placed Ian Fleming's name more prominently in the press. The Prime Minister, Sir Anthony Eden, was suffering from severe exhaustion; on the advice of his doctors, he was looking for a spot to enjoy a "restful holiday." It was most likely Lady Eden, an old friend of Anne Fleming and godmother to Caspar Fleming, who suggested Goldeneye, and Fleming was eventually approached on the matter by the Secretary of State for Colonial Affairs, Mr. Alan Lennox-Boyd. On November 24, Goldeneye received its distinguished guests, but the Edens did not enjoy the peace and quiet they expected. The governor of Jamaica at the time had inspected Goldeneye and had decided that it did not befit a Prime Minister. As a result, additional servants were called into the house, despite the protests of Violet the cook. A telephone was installed, and the area was provided police protection. Anthony Eden's "private" visit was anything but private. Goldeneye was beseiged by reporters who caused Fleming some embarrassment when the
Evening Standard
revealed that Goldeneye had rat trouble. But the Prime Minister seemed to enjoy his stay anyway, and wrote to Fleming later saying so.

After Eden's visit, the sales of Fleming's books rose.

The publicity in a way foreshadowed the publicity and increased sales that resulted when another political figure, President Kennedy, in 1961, said that FROM RUSSIA, WITH LOVE was one of his ten favorite books. Late in the fall of 1956, the
Daily Express
bought the serial rights to the yet unpublished novel, and the James Bond snowball began to increase in speed and size.

T
he January-February stint in 1957 produced DOCTOR NO; and an examination of the original manuscript suggests it was a much easier novel for Fleming to write than FROM RUSSIA, WITH LOVE. Two hundred and six pages long, it contained less revisions than its predecessors. The first chapter was originally titled "The Quick, Neat Job," rather than "Hear You Loud and Clear," and Honey's last line was changed from "Do what I tell you," to "Do as you're told."

That spring, against the advice of his friend and reader William Plomer, Fleming sold the rights for the
Daily Express
to turn James Bond into a cartoon strip. For £1,500 a novel, Fleming went for the deal, but kept a strong hand in approval of the strip for publication. CASINO ROYALE was the first book to be featured, followed by LIVE AND LET DIE, DIAMONDS ARE FOREVER, and others. The cartoon strip was enormously successful and managed, as well, to retain a level of quality faithful to Fleming's writing.

April brought another opportunity for adventure. Sir Percy Sillitoe, former head of the International Diamond Security Organization, decided to have a book written about the organization's efforts in combating illicit diamond trade. He commissioned one of his own men, an English solicitor named John Collard, to write the story. The piece that Collard wrote was shown to Denis Hamilton at the
Sunday Times,
who was impressed but thought it could use some flair. Hamilton, of course, knew Ian Fleming, and arranged for the two men to meet. A series of articles for the
Sunday Times
concerning diamond smuggling was the result, all told to Fleming by Collard (who was using a pseudonym of John Blaize).

Fleming flew to Tangier to meet Collard, and the two men spent two weeks in a hotel room fleshing out the manuscript. The articles involved the IDSO's solving of several smuggling cases. Fleming's talents as a thriller writer added that extra touch of drama to the facts which made the articles a success.

The British and American editions of FROM RUSSIA, WITH LOVE were published within weeks of each other that spring. It was an immediate success, and Richard Chopping's jacket design received special attention. Featuring Geoffrey Boothroyd's Smith & Wesson with the sawed-off barrel and a rose, the jacket won several prizes. Chopping would design the jackets for all but one of the remaining Bond books. FROM RUSSIA, WITH LOVE received tremendous critical support as well. The
London Times
called it "Mr. Fleming's tautest, most exciting and most brilliant tale." Anthony Hartley in
Spectator
said that "Mr. Ian Fleming's latest thriller will be another shot in the arm for addicts. . ." In America,
James Sandoe of the
New York Herald Tribune Book
Review
wrote that it was "the best thriller we have had since whatever you may admire most of the admirable Ambler." Only Anthony Boucher of the
New York Times
was not enthusiastic, referring to it as "a halfguinea dreadful." FROM RUSSIA, WITH LOVE, though, is easily one of Fleming's best novels, and is still cited today as a favorite among fans.

Richard Chopping's award-winning dust jacket cover to FROM RUSSIA, WITH LOVE, published by Jonathan Cape, Ltd. in 1957. (Photo courtesy of Lilly Library, Indiana University, Bloomington, Indiana. Reprinted by permission of Jonathan Cape, Ltd.)

That summer, Fleming was invited to compete in the Bowmaker Professional-Amateur golf tournament at the Berkshire Golf Club. He had loved golf most of his life, and was an avid player. He partnered the three-time Open champion Peter Thomson at the tournament, and was pleased with his performance. Fleming also frequented the Royal St George's golf course at Sandwich, an exclusive club whose members included royalty. It was from here that Fleming pulled the background for the famous golf match between James Bond and Auric Goldfinger, that he would use in his next novel.

The diamond smuggling articles ran in the
Sunday Times
that autumn. They were published in book form by Jonathan Cape in November under the title THE DIAMOND SMUGGLERS. Fleming said that he personally felt it was a good story until all the possible libelous material was cut out. There had nearly been an injunction brought against him and the
Times
by De Beers. The book received mixed reviews on both sides of the Atlantic. Most critics lauded Fleming's skill with words, but found the book "sketchy." Nevertheless, it proved to Ian Fleming that he could write something besides James Bond. And with the sales of his books beginning to skyrocket, Ian Fleming found that the Bond phenomenon was now snowballing on its own—he no longer had to push it himself.