Trigger Happy

So back to Trigger Mortis. The question was: Is the cover superior to the content of the new Bond book by Anthony Horowitz? I ended up reading it as a double bill with Fleming’s own rocket book Moonraker. So that’s this one, set in 1957 and published in 2015:

versus this one, set in 1955 (I think)  and published in 1955:

Somehow Trigger Mortis fails to capture the essence of Bond – it lacks his hard brutality and the underlying S&M going on in Fleming’s books. The cover wins out in the end. Though even the cover loses out to echt Fleming. The flame cover of the Jonathan Cape 1st edition of April 1955 was conceived by the author. The Pan ones are charming version after version.

This is the edition I read, picked up at Black Gull Books, East Finchley. A nice phallic rocket and a slightly naughty underwear shot (resonant of the beach skinnydipping scene with Gala Brand under the virgin white cliffs of the Kent coast).

For anyone else who embarks on Trigger Mortis, and don’t get me wrong it’s an entertaining enough read, there are a couple of fine machines towards the climax which are worth following up. First of all the Triumph Thunderbird 650cc on which Bond and the heroine Jeopardy Lane chase the baddie into the centre of New York City.

Triumph 6T 650 cc Thunderbird (1950)

Triumph Thunderbird (1962)

The baddie meanwhile is hurtling along on the R-11 subway train, the so-called ‘Million Dollar Train’. As Horowitz explains, “they had caught the spirit and dynamism of the (post-war) age.”

Bond is a world of style and glittering surfaces, the right motorcycle and subway carriages as much as car, watch or booze.

Human Bonds

So I’m on the underground yesterday, reading the new hardback I’d bought the day before. Then this burn-out walks on and I have that feeling – I know he’s going to sit next to me. He’s very tall, lanky, drug thin. His fingernails are dirty. The driver has to warn passengers to stay clear of the closing doors. The burn-out calls them “fucking idiots” in the expected loud cockney voice. I shift rightwards in my seat, hope he isn’t going to smell too bad (which he doesn’t as far as my hopeless sense of smell can tell), carry on reading.

“Is that the new Bond novel?” he asks me gently, having glanced down at the page I was on. The book only came out the day before. The open page had few clues as to what it was.

“Yes, it is.”

“Do you think the film they’re making of it will be good?”

“I think it’s based on a different story.”

“So is that written by Fleming?”

What do I take from the unexpected exchange? You can’t judge the book by the cover I guess is the obvious one we (certainly I) can’t be reminded of often enough. You can tell the price (but not the value). What I most took away was the Simple Pleasure that I had enjoyed the conversation and contact and there was real warmth in those human bonds.

The new Bond book is entitled ‘Devil May Care’ and has been written by Sebastian Faulks (of ‘Birdsong’ fame) in the style of Fleming. I’ve only ever read a couple of Bond books, but remember really enjoying ‘Casino Royale’ (the first Bond novel) for the surprising brutality of the man I had only encountered through the movies. The publication of a new Bond book felt like a bit of an event (I was one when Fleming died) so I bought a copy of this in advance on-line through Hatchards website and picked it up on the day of publication on the way to a meeting at BAFTA with Rob Bevan of XPT- we were working on the forthcoming website for 4IP, the new Channel 4-led fund for public service interactive media, announced at Next on 4 back in March and coming on-stream over the summer. Hatchards in Piccadilly – a book shop dating back to 1797 as it says on its rich green bags the colour of Bond’s customised Bentley with its Arnott supercharger – is one of London’s great treasures. It makes me feel guilty every time I buy from Amazon and I try to make amends by pulling by whenever I’m at the Academy at 195 Piccadilly and picking up a signed volume.

After having a satisfying creative session with Rob, my old collaborator from MindGym, I hooked up with Ivo Gormley of ThinkPublic to talk about his forthcoming documentary about the internet and democracy. We walked back Channel4wards through St James’s and St James’s’ Park where I had the pleasure of demoing Big Art Mob in its mobile incarnation [WAP site] to him in a small alley where we found a superb bas relief of Anthony and Cleopatra, which looks like it may once have adorned a theatre in the area but is now built into a wall opposite an old public house, and on a remixed sculpture which seems to have once lost its head in the park. Ivo’s dad, Antony, who he closely resembles, is one of the most popular artists on Big Art Mob, third only to Henry Moore and Banksy. I wonder what the ‘burn-out’ thinks about public art? what his favourites around the city are? Something to talk about next time…