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Devil May Care Sebastian Faulks , Rodrigo Corral (Designer) , Mark Stutzman (Illustrator)
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Devil May Care
Sebastian Faulks , Rodrigo Corral (Designer) , Mark Stutzman (Illustrator)
Devil May Care Sebastian Faulks , Rodrigo Corral (Designer) , Mark Stutzman (Illustrator) Bond is back. With a vengeance. "Devil May Care" is a masterful continuation of the James Bond legacy-an electrifying new chapter in the life of the most iconic spy of literature and film, written to celebrate the centenary of Ian Fleming's birth on May 28, 1908. An Algerian drug runner is savagely executed in the desolate outskirts of Paris. This seemingly isolated event leads to the recall of Agent 007 from his sabbatical in Rome and his return to the world of intrigue and danger where he is most at home. The head of MI6, M, assigns him to shadow the mysterious Dr. Julius Gorner, a power-crazed pharmaceutical magnate, whose wealth is exceeded only by his greed. Gorner has lately taken a disquieting interest in opiate derivatives, both legal and illegal, and this urgently bears looking into. Bond finds a willing accomplice in the shape of a glamorous Parisian named Scarlett Papava. He will need her help in a life-and-death struggle with his most dangerous adversary yet, as a chain of events threaten to lead to global catastrophe. A British airliner goes missing over Iraq. The thunder of a coming war echoes in the Middle East. And a tide of lethal narcotics threatens to engulf a Great Britain in the throes of the social upheavals of the late sixties. Picking up where Fleming left off, Sebastian Faulks takes Bond back to the height of the Cold War in a story of almost unbearable pace and tension. "Devil May Care" not only captures the very essence of Fleming's original novels but also shows Bond facing dangers with a powerful relevance to our own times.
Devil May Care Details
Date : Published June 5th 2008 by Doubleday Books (first published 2008) ISBN : 9780385524285 Author : Sebastian Faulks , Rodrigo Corral (Designer) , Mark Stutzman (Illustrator) Format : Hardcover 278 pages Genre : Fiction, Thriller, Spy Thriller, Espionage
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From Reader Review Devil May Care for online ebook
Alice says
Penguin's selection of Sebastian Faulks, author of Birdsong and Charlotte Gray, to write a sequel to Ian Fleming's James Bond novels for the centenary of their creator's birth was perhaps an unusual one, but made the project much more interesting than if it had been given to some modern-day equivalent of the chain- smoking old hack.
Devil May Care is set soon after The Man With The Golden Gun. In this, Fleming's last Bond novel, our hero returns brainwashed from Russia with instructions to kill M and, once foiled, bounces straight back on the trail of eccentric yet sinister villains.
Faulks gives Bond a little time out to recover from his amnesia and subsequent Soviet indoctrination, not to mention the death of his new bride way back in On Her Majesty's Secret Service, and the start of the novel finds him bored and restless in France as the end of his enforced convalescence approaches.
A beautiful woman with the unlikely name of Scarlett Papava appears on the scene and begs Bond to liberate her twin sister Poppy from the shadowy Dr. Julius Gorner (who shares his first name and qualification with that other doctor, No - homage or slip?). Handily, he is then summoned by M to investigate Gorner's part in the international narcotics trade.
The mission takes him to Persia and follows the time-honoured path of snooping around, capture, torture, villain's plan revealed and explosive climax, with a few dinners and changes of clothes along the way. He meets old friends Mathis, head of the Deuxième Bureau, and ex-CIA pal Felix Leiter, as well as new characters like the charismatic Darius Alizadeh (our man in Persia) and the comic yet trusty taxi driver with his 'bootbrush moustache'.
One Fleming set piece is the contest between Bond and the villain in which the latter's nasty nature is revealed, as exemplified by the golf game with Auric Goldfinger; in Devil May Care it's tennis, and thrillingly handled. The clothing and equipment necessary for the match is also described in all the loving, elitist detail you would expect. The villain himself is a worthy successor to Drax, Blofeld and the rest: nursing a deformity and a grudge against Britain, and accompanied by a sadistic henchman.
The choice of subject matter is also a tribute to Fleming, who came up with the storyline for trippy anti-drug film Poppies Are Also Flowers.
From his 21st-century vantage point, Faulks extends Bond's world, yoinking him firmly out of postwar austerity and into the Swinging '60s. He is of course practised in writing historical fiction and does it well, although some of the detail he picks out might not have been selected by an author writing at the time.
He has obviously pored over the Bond canon, but he reveals a little too much of his research, referring too often and too specifically to past missions. Take a tip from J. K. Rowling: know your characters' backgrounds and histories but don't wave them in your readers' faces. And why, being otherwise faithful and accurate, does he write 'SMERSH' when it's an abbreviation, not an acronym?
Sometimes Faulks's prose reads like pure Fleming; at others it jumps out of the groove. I loved the line about Bond's Paris hotel being 'a typical Moneypenny booking', but moments later he's casually mentioning Moneypenny's name to a total stranger.
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Part of the problem, I think, is the impossibility of ignoring the film Bond and his slightly different habits. Scenes between 007, M and Moneypenny in particular seem written for the screen more than the page; permissive '60s notwithstanding, I can't see Fleming's Bond getting away with threatening to spank his boss's secretary.
Then there are moments when Faulks simply tries too hard to write like Fleming, and the writing is so excessively perfect as to be off-putting and unlikeable - like Goldfinger's golfing tweeds or the Windsor knot in Red Grant's tie.
Sebastian Faulks does not pull off his predecessor's style half as well as Kingsley Amis does in Colonel Sun (under the pseudonym of 'Robert Markham). But the task he faced was far harder: moving Bond forward in time while setting his work in the past; undoing four decades of Bond's screen evolution without completely losing sight of the changes made; explaining the Cold War and Vietnam to a new generation without being too expository, and making us care about these wars long over and this leftover spy.
Grace Tjan says
First, I have a confession to make: I’ve never read anything by Ian Fleming, or anything by Sebastian Faulks, for that matter. All I know about “the name is Bond, James Bond” I learned from the movies, specifically the ones starring Messrs. Dalton, Brosnan and Craig --- and a couple of half-remembered early 80’s Moore films. It’s not that I’m a particularly ardent fan, but somehow, over the years, I have managed to see more than a half dozen of them (having action-starved boys/men in the house certainly helped). I have no idea whether Faulks’ Bond is faithful to Fleming’s or whether this book is a typical Faulks oeuvre. That said, this Bond is a different beast from his cinematic counterpart: a. he is not a cruel, hairy-chested chauvinist/ womanizer (1); b. he is not a middle-aged man in safari suit who gasps and wheezes while chasing the bad guy up the hill (2); c. he is not a ridiculously good-looking man who looks dashing in a tuxedo and drives an invisible car (3); and d. he is not a thuggish Blondie who thinks nothing of parading around the beach in a mankini(4).
The villain, as they are wont to do in any Bond movie worth its multimillion-dollar budget, has a flashy underground lair crammed with every world-destroying apparatuses illicit money could buy. And yes, HE WANTS TO DESTROY THE WESTERN WORLD --- by flooding it with cheap narcotics and turn its young people into dope addicts. But he’s also history literate enough to point out to Bond that the British Empire that he serves had been the first and “greatest drug cartel the world has ever seen” way back in the 19th century when it flooded China with Indian opium. An ironic statement that apparently is not wholly lost on Faulks’ Bond.
Set at the height of the Cold War in the 60’s, Faulks’ book is a brisk, action-filled spy thriller that feels modern but still manages to include all the requisite elements in the Bond formula: exotic locales (Paris, Iran, Afghanistan, the USSR), scantily-clad women (though thankfully, there are no galore of --- ahem --- Pussys in this one), car chases, shootouts, crashing planes, and even a scene involving lots of naked girls that must delight the 13-year old inside every man (It’s set in pre-Islamic Revolution Iran and Bond’s libertine Persian host dubs it a preview of heaven. Yes, that same heaven with the 72 virgins that suicide bombers think
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3.5 stars (a half star deducted for minor plot implausibility/ inconsistency)
Other Random Observations
Number of anatomically deformed villains: 1
Number of henchmen with (surgery-induced, instead of congenital) analgesia: 1
Number of scenes involving naked girls, gratuitous or otherwise: 4
Number of Martini units consumed by the protagonist: 5
Number of product placement: 1(Bentley)*
*Product placement should be a particularly lucrative part of bestselling novels. If Pierce Brosnan and Daniel Craig make millions extolling the virtues of BMW, VISA and Omega watches, Stieg Larsson should receive similar amounts from IKEA, Apple, Mace and the maker of those Jura Impressa coffee machines. ------
(1) Sean Connery (2) Roger Moore (3) Pierce Brosnan (4) Daniel Craig
Tony says
A few years ago I read about half of the original Ian Fleming 007 series and generally found them quite enjoyable and different than I had expected based on the film franchise. Don't get me wrong, they're not great literature, but they are ripping yarns that reflect their era and are much darker than one might expect. Since Fleming's death, there have been several writers authorized to continue the franchise (including Kingsley Amis!), but I'd never been that interested in trying any of them. However, the involvement of a non-thriller writer like Sebastian Faulks -- whom I've never read, but have heard many good things about -- intrigued me enough to pick this up and give it a whirl.
The first good thing is that the book follows the chronology just of the original Fleming books, taking place after the last one, in 1967. It opens with Bond on extended physical and mental convalescent leave, seriously considering whether or not he's had enough of working in the field and is ready to settle down to the quiet life of a desk agent. M calls him away from this break to help out a new 004, by "talking to" a curious businessman named Dr. Gorner, a Lithuanian who just might be the world's foremost heroin dealer. (This set up is a little odd, unless "talk to" is supposed to be a dry euphemism for "kill" or something like that.) In any event, soon enough, Bond is off to Paris to sniff around Gorner, and the stage is set for a classic Bond adventure. And, it has to be said, that it all feels very much like a blend of the original books and some of the better elements from the films:
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* The villain is diabolical and deformed (he has a monkey paw for one hand!) * Bond and he go mano-a-mano in their first meeting (on a tennis court) * The story takes Bond to an exotic locale (Iran), * The villain has crazy military vehicle called an Ekranoplan (which is entirely real and historically accurate, right down to its nickname) * Bond has a suave, likable local ally on the ground a la Darko Karim. * Felix Leiter and Rene Mathis both have supporting roles * There are two beautiful women (twins!) * The window-dressing is all in place (plenty of descriptions of food, booze, cigarettes, clothing, etc.) * There's plenty of action, including gunplay, hand-to-hand combat, a car chase, and an exciting action sequence in an airplane.
Indeed, the book struck me as a rather effective imitation of the classic Bond novels from its structure down to the various details. I know some Bond fanatics feel like the Fleming style isn't there, but quite honestly, I don't recall Fleming having much style to begin with. There are some minor missteps in terms of continuity with the Fleming books (likely only to bother the trainspotters among the readership), a few bad Roger Mooreish puns creep in, and rather disappointingly, the villain delivers an extended monologue to the captured Bond explaining his master plan in enough detail to give Bond all the info he needs to thwart it. There's also a "big twist" at the very end concerning the identity of one of the major characters which is unlikely to surprise most readers (even Bond admits that he had worked it out early on).
One final aspect of the book that's worth mentioning is how Faulks, as Fleming did in many of the original books, takes an issue contemporary to the time (the rise of heroin) and uses it as the catalyst for the adventure. And although the villain's plan is as insane and grandiose as any Bond villain's, he weaves in quite a number of historical British colonial atrocities as justification (Opium War, Potato Famine, the Malay and Mau Mau rebellions), which Bond has no response to. All in all, a completely satisfying return to the 1960s, when Bond had to save the world without the help of computers and cell phones!
Debbie says
I first met James Bond as a young teenager recently graduated from children's books and starting to explore the wide world of adult fiction. And of course I fell in love. Who doesn't at 14? Bond became the benchmark by which all heroes should be measured and I lapped up every adventure Ian Fleming had written.
As my literary tastes matured over the years (not to mention my feminist awareness) I began to read more widely, more deeply and more intelligently. Sebastian Faulks' Birdsong was one of many beautifully written books I read, and yet my Bond books remained on my bookshelf and '007' remained carved on a part of my heart.
These books have a special place in my life, so it was with some distaste that I heard that Sebastian Faulks was writing a new James Bond novel. I don't like books written as spin-offs of another author's character, even fully sanctioned spin-offs. Sebastian Faulks' writing was the cheese to Ian Fleming's chalk. This could never work and I wasn't going to betray James Bond by reading this presumptious book.
Then it started getting good reviews. Reviews from people who love Ian Fleming's Bond. A frisson of curiosity started to undermine my resistance. Then, a few weeks ago, there it was, in the library where I work. Just asking to be picked up and taken home and read. Who am I to resist the clarion call of a lonely book? I started it yesterday.
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And finished it today. And loved it! Sebastian Faulks has captured the very essence of Ian Fleming's writing and he has written this book with love. All the little nuances that brought Fleming's novels to life are here alongside the main plot themes. The detailed description of food, clothing, place. A deformed villain and high technology. A plot of gargantuan proportions. A beautiful woman and fast cars. Pain and torture and death. And Faulks has very cleverly added a twentieth century sensibility to this novel, even though it takes place immediately after the last of Fleming's novels ends. The villain holds a grudge against Britain, and the litany of imperialistic wrongs he despises Britain for are not invented. Thus Faulks's book is not a black and white case of good vs evil, but the moral greyness is very subtle and enhances rather than detracts from the story.
In the words of M himself, "Come in 007, it's good to see you back."
Glen says
Supposedly, a James bond novel, but James Bond is wholly absent from this novel. I don't know who this guy calling himself James Bond is, but he is definitely not Ian Fleming's creation.
I got so mad, I quit at page 50.
F.R. says
Reading this directly after Kingsley Amis’s ‘Colonel Sun’, really does show up the flaws in this other ‘literary’ Bond novel. For a start, Faulks does not get anywhere near as close to Fleming’s voice as Amis did. Whereas ‘Colonel Sun’ could have been mistaken for an actual Ian Fleming novel, this stands about as much chance as Anthony Horowitz’s ‘House of Silk’ does to being mistaken for an actual Conan-Doyle. And part of that might be that whereas Faulks is writing historical fiction (this book, like ‘Colonel Sun’ is set directly after the events in ‘The Man with the Golden Gun’), Amis was writing about the time in which he lived. So while Faulks feels the need to slip in references to The Rolling Stones, the 1966 World Cup Final (something I don’t think Ian Fleming would have cared that much about) and to put historical lectures into the mouths of his characters, Amis is just far more comfortable with the world around him.
Another problem is that Faulks as a writer keeps peeking through. I wrote in my review of ‘Colonel Sun’ that Amis and Fleming were much the same type of Englishman. Faulks on the other hand is unashamedly a man of the left. This does lead to a rather amusing aside basically implying that Rupert Murdoch is some kind of James Bond villain (which does gain more bite with events since publication), but other more Twenty First Century and – to use a dread phrase, PC – attitudes find themselves creeping in and that just isn’t Bond.
But the biggest problem – the most crucial by far problem – is that it just isn’t exciting enough. Yes there’s the mad super villain, the dastardly plan, the beautiful woman and the torture scene – yet where it should be exciting, it just tends to be a bit perfunctory. These are thrillers and as such they’re supposed to grab the reader and not let him or her go, but instead this reader found himself going ‘ho-hum’.
Just for the sake of clarity, I won’t be reading the Jeffrey Deaver book as it’s set in modern times, and surely
PDF File: Devil May Care... 7 Read and Download Ebook Devil May Care... if we want a James Bond in today’s world we can just watch the films. That’s what they’re there for, right? However I will be back on board for the William Boyd version which has just been announced.
Tom Tischler says
Once again 007 is called out of retirement by M. A Dr. Julius Gorner a powerful crazed pharmaceutical magnate whose wealth is exceeded only by his greed has taken a disquieting interest in opiate derivatives both legal and illegal. A shapely accomplice by the name of Scarlett Papava shows up to help 007 and he is going to need her in a struggle with his most dangerous adversary yet as a chain of events threatens to lead to a global catastrophe. This is book 36 in the James Bond Series and it's a typical Ian Fleming novel. I gave it a 3.75.
Nick Duretta says
This sticks a little too close to the Bond formula at times (nasty villain intent on world domination, improbably narrow escapes, sexy female companion), but mostly it's a very satisfying read. I admire Faulks' other novels and he does a fine job with this one; very much an homage to Ian Fleming. I like the fact that it is set in the same timeframe (early 1960s) as the classic Fleming novels; the Cold War tensions provide a nice background, and the Russian scenes are particularly effective. The great twist at the end is a bit anachronistic, but it brought a big smile to my face.
David says
Do you remember that classic line from "Goldfinger?"
Bond: Do You expect me to talk?
Goldfinger: No, Mister Bond, I expect you to die!
This novel captured the feel of the old original Ian Fleming "cold war" bond that other writers have attempted to capture without much success. John Gardner's "License Renewed" came close, but in subsequent novels Gardner seemed to rejoice not in true Bond action, but rather in Bond's sexual escapades, turning Bond into something of a sexual gymnast rather than a super-spy who is often seduced or seducing beautiful women.
This writer, Faulks, managed to create the feel of the older Fleming novels. While the plot had many weak points, it was more like a REAL spy novel than some of the others.
I take issue with the name of the book, however. I think "Monkey's Paw" would have been a much better title. The main villain, suffered from a deformity that made one of his hands shaped (and haired) like a monkey's paw, with a non-opposable thumb.
Bond here is a superman. He is highly resourceful, but the reader never gets the idea that Bond is unstoppable. He is easily captured and held prisoner, but also difficult to kill. He's a hero.
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Bond is not presented as an asexual creature, but neither is he a sexual acrobat. He has tender feelings for women (marked in his SMERSH dossier) as a weakness to be used against him. He also has sexual desire, but the author treats his affair as an affair of the heart rather than as if he is simply a male dog jumping on any female remotely receptive. By offering this view of Bond, we can see he is something of a romantic-- which is something that the latest theatrical incarnation of Bond (with Daniel Craig) has sought to use to balance his cold use of violence. There's a good balance achieved here and fans of the original Bond novels will be thrilled with the revival of this older style and acting in a more reserved and matured manner.
Supratim says
This James Bond novel has been penned by Sebastian Faulks. I had heard about his literary novels and was curious to see his version of the iconic British spy. I can’t claim to be a die- hard fan of the James Bond series, but I do enjoy watching the movies and reading the novels.
It is the swinging sixties. Industrialist Dr. Julius Gorner, consumed by his hatred for Britain, is flooding it with narcotics. But, his animus won’t stop at that. He has something more devastating in his mind (he has to! Otherwise how can we have a jolly good adventure?)
Bond would travel exotic locales all around the world – fight a lot of bad guys, face certain death situations, kill a lot of bad guys, prevent World War III and thwart the villain’s plans, and get the girl at the end. I particularly liked two things - a tennis match between Bond and Gorner, and the visit to Tehran of the sixties. Not saying anything more!!
Evil genius plotting his twisted schemes, a psychotic henchman, mysterious and attractive women, exotic locales, intense action – all the tropes of Bond stories are there. The story is well-written – a page-turner that can be read very quickly.
It was fun read, but I was expecting something more you know. Maybe because I had heard about Faulk’s literary novels – I thought there would be a bit more complex characterization or more clever twists.
I am not saying the book was bad – it was a thriller after all, and Faulks did try to write a decent Bond novel. Anyway, I would recommend this book to Bond aficionados who don’t mind the authorized novels.
Turi says
From the way the cover is worded, "Sebastian Faulks writing as Ian Fleming", I assume that Faulks was trying to write a real, Fleming-style Bond book. I think he succeeded - he definitely did his homework. The whole book is peppered with references to Fleming's books, from Bond's wardrobe preference to workout routines to cars to scrambled eggs. The overall plot structure felt pretty authentic, too - he even ends the book similarly to Fleming's. I thought it was thouroughly enjoyable - I'm glad someone is back writing Bond books, and Faulks seems like a great choice.
I can't compare this to any of Faulks other writing; I haven't read any of it. I did notice, though, that one of his previous books was a "collection of literary parodies," which might be interesting - and probably served him well when trying to write like Fleming...
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Bandit says
Some things in life are meant to be experienced in specific formats. For James Bond stories that format is cinematic, at least in this day and age. Meaning that when the original books came out, they must have been great fun, but this pastiche mostly comes across as hopelessly dated. It's only fun to a point to listen to action, it really must be seen. Bond as suave and capable as he is, in audio book form just comes across as a snobbish arrogant dandy with alcoholic tendencies. The book does have all the elements of a good Bond film, deformed megalomaniacal villain with apocalyptical aspirations, hot ladies, exotic (though distinctly third world) locales, action, action, more action. But it just doesn't really engage and barely entertains, even the surprise twist at the end is utterly predictable. It's short enough at 7 discs, but never rises above average and it nowhere near as much fun as a Bond movie.
Ron Irwin says
What can one say? A book that was hyped up beyond belief, a book we all waited for and hoped for, is pretty much a B- if you feel generous, but it is really a C. Yes, lots of good period pieces and it is good to have James back, but the architecture is a mess, the plot lurches back and forth like Bentley needing oil, and certain transgressions have been made here that will have Fleming flip flopping in his grave. Right off the bat: pitchers of martinis (which have to be stirred)? Bonking a 004? M doing Yoga? A damsel in distress named Poppy held captive by a heroin kingpin?
Penguin? Hello? Edit much?
Granted, the past books were pretty flimsy but still, I would have to say that hitchhiking out of the Urals is a pretty tall order for Bond, and the main villain's uncanny ability to find him on--wait for it--a riverboat named The Huckleberry Finn in Paris, is simply impossible. Never mind the Oddjob knockoff who, despite not being able to feel pain, "bellows" in pain when Bond breaks his little finger.
I'm a very, very soft audience for this stuff, but even I have to wonder how Faulks thinks we'll react when we have Bond smoking dope and drinking scotch naked with some other naked "virgin" nubiles in an opium den/unisex bathhouse in Tehran called Paradise.
Other problems crop up in the last 35 pages or so as Faulks tries to move his characters across vast distances in minimal time restricted by the technology of 1969 and trusting them to the good faith of utter strangers. But things really fall apart when Bond and the love interest finally make it back to Paris free and clear only to separate to pull themselves together after the long trip--Bond retires to a seedy Gare du Nord hotel while the woman he has jumped out of a plane with and traveled across Eastern Europe with disappears into the night looking longingly at him through the taxi cab glass. Um, hello? Ritz? Place du Concorde? Bollinger? But of course we have to have James alone so he can decide to take the ill fated steamboat ride rather than get ridden by ...oh, forget about it. If anyone wants to but a slightly thumbed and furiously tossed version of this book, email me.
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Ângela says
This book was... ok.
I am a fan of James Bond films, but I had never read any of Ian Fleming books, so I can compare Sebastian Faulks writing with Fleming´s.
With the films I´m used to an ongoing- craizy- thrilling- action, with a lot of going on in the backstage and a cohese story. This book was quite boring sometimes, there were some action, but not enough to make me love it.
Richard Barnes says
Sebastian Faulks does Fleming by numbers. Deformed supervillain, grotesque henchman, exotic locations, lots of detail about high-end wining, dining and dressing, beautiful girl and Bond, James Bond.
At the start I loved this - Faulks writes it as a straight follow up to Fleming's last Bond novel, The Man with the Golden Gun. Faulks writes very much as Fleming did and it was great fun to go back to that style and enjoy Bond the literary character as opposed to the movie version (which I also love, but the two are different beasts).
Where Faulks went wrong was in churning out a Bond novel made up of other Bond novels. While there was always glamour, thrilling locations and girls in Fleming's novels, story-wise they were not so formulaic. Casino Royale is largely a hard spy romance, From Russia with Love has nearly three quarters of the book without Bond in it at all, The Spy who loved me is a first person narrative about a stranded girl and mean gangsters. Devil May Care, on the other hand, lifts its scenes from the earlier Bonds - a tennis match between Bond and the villain is almost a straight copy of the golf match with Goldfinger, Darius in Tehran is Darko Kerim in Istanbul, there is even a fight on a train and the girl has a secret only revealed at the very end.
The Iranian setting provides some novelty, but the villain's evil scheme suffers a sudden change of direction just so we can have a big dramatic fight. I was close to giving this two stars, but the big fight is a great piece of action writing.
So ultimately, it's a fun enough piece, but one would have hoped that getting a serious writer of literary fiction like Faulks to write it would have produced something far more original. Or frankly, just a little bit original.
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