Licence Expired: The Unauthorized James Bond No 2015 by ChiZine Publications
Cover artwork No 2015 by Erik Mohr
Cover and interior design No 2015 by Samantha Beiko
Additional typesetting No 2015 by Jared Shapiro
All Rights Reserved.
This book is a work of fiction. Names, characters, places, and incidents are either a product of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.
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Library and Archives Canada Cataloguing in Publication
Licence expired : the unauthorized James Bond / Madeline
Ashby and David Nickle, editors.
ISBN 978-1-77148-374-2 (paperback) ISBN 978-1-77148-000-0
1. Bond, James (Fictitious character)--Fiction. 2. Spy stories.
I. Nickle, David, 1964-, editor II. Ashby, Madeline, editor
PS8323.S64L53 2015 C813’.087208 C2015-906453-8
CHIDUNNIT
An imprint of ChiZine Publications
Toronto, Canada
www.chidunnit.com
info@chizinepub.com
Edited by Madeline Ashby and David Nickle
Copyedited and proofread by Samantha Beiko and Sandra Kasturi
We acknowledge the support of the Canada Council for the Arts which last year invested $20.1 million in writing and publishing throughout Canada.
Published with the generous assistance of the Ontario Arts Council.
Contents
Introduction by Matt Sherman
The Bitch is Dead Now by David Nickle
One Is Sorrow by Jacqueline Baker
The Gales of the World by Robert J. Wiersema
Red Indians by Richard Lee Byers
The Gladiator Lie by Kelly Robson
Half the Sky by E. L. Chen
In Havana by Jeffrey Ford
Mastering the Art of French Killing by Michael Skeet
A Dirty Business by Iain McLaughlin
Sorrow’s Spy by Catherine MacLeod
Mosaic by Karl Schroeder
The Spy Who Remembered Me by James Alan Gardner
Daedalus by Jamie Mason
Through Your Eyes Only by A. M. Dellamonica
Two Graves by Ian Rogers
No, Mr. Bond! by Charles Stross
The Man with the Beholden Gun: an e-pistol-ary story by some other Ian Fleming by Kathryn Kuitenbrouwer
The Cyclorama by Laird Barron
You Never Love Once by Claude Lalumière
Not an Honourable Disease by Corey Redekop
Afterword by Madeline Ashby
Introduction
Matt Sherman
What accounts for the enduring popularity of Secret Agent 007? As a devoted fan, Bondiana collector and a gatherer of other fans to dozens of magnet events featuring Bond experts, I can say with confidence James Bond will remain in our zeitgeist for the foreseeable future.
Bond stretches across collective memories to our grandparents’ day. Ian Fleming’s Bond is young enough to have had to lie about his age to enter WWII and was thus born near WWI, Casino Royale introducing Bond to the public in 1953, and Dr. No, the first big screen 007 epic, first aired for enthusiastic moviegoers in 1962. And Bond goes on, boldly. The Fleming books and continuation novels remain in print in over a dozen languages now, there are new Bond novels and Bond comics planned, there is a fifth Daniel Craig Bond film planned to follow this year’s release of Spectre, and what other 1960s films are aired somewhere in the world virtually every day of the year?
Bond’s iconic appeal rests partly in the simplicity of who he is and what he represents, an enduring man’s man who keeps the British end up. Whether Fleming’s original creation or the virile star of many movies, Bond delivers a near-perfect representation of idealized maleness. He dresses smartly, speaks prudently, and holds great stores of strength in reserve. His cologne, clothes, and cars are always right and never affected. He endures under torture, keeps his country’s secrets, saves the day always, wins the girls and blasts all the baddies out of existence. He isn’t a superhuman, but when he does err, he balances his errors and the ledgers of justice. He’s really a bit of all right, isn’t he, though you’d prefer him as your rescuer than as a mere acquaintance, since he’d as soon seduce your spouse as not.
Fleming’s Bond, a charming projection of the very gallant and charming Fleming, isn’t entirely wrapped in a Union Jack, but his world is and we fans appreciate Bond all the more for it. Fleming regularly bestowed negatives on anything less than fabulous or veddy British. “007 in New York,” a Fleming short story describing one secret mission, devotes most of its space to Bond’s very negative take on the state of American food and hygiene. Jacques Stewart, in his analysis of Fleming’s Bond, “The 007th Chapter,” comments regarding Goldfinger that even before its first chapters have concluded, Fleming has taken potshots at Koreans, Mexicans, Chinese, Italians, Jews who conceal their identity, “zoo” smells, slow drivers, teetotallers, short people, overweight people and the obscenely wealthy. This type of slanderous uptake is subtly couched in Fleming’s opulent language like, “Over all hung the neutral smell of air-conditioned air and the heavy, grave atmosphere of immense riches,” so that anglophile readers remain pleased while the politically correct can take a hike.
Bond’s simple appeal—he is ageless, a champion of right and Britain and the male icon of choice—belies the rich complexity his persona offers to those who look further. The James Bond of the films can be by turns sensual, capricious, heroic, selfish, amoral, uplifting, brilliant and juvenile. Despite his many trials, this ultimate antihero saves the free world (nowadays, the not-so-free world, too) leaving countless corpses in his wake, while contriving to enjoy himself always and immensely. Well, perhaps he doesn’t enjoy killing others that much, it’s just his career arc, but he eats well, drives exotic cars and travels to exotic locations to kill exotic people. How Bond can fill ten graveyards with residents yet almost ever keep on the sunny side of life intrigues the amateur psychologist in all of us.
Contrasting with his movie ego, the Bond of the novels and short stories is often introspective, brooding, moralizing, superstitious, and, as mentioned, censorious of anything un-British. And the book Bond smartly balances third-person narrative with the exotic sensations lived inside Bond, the original novels showcasing Fleming’s creativity as both tour guide and wish fulfillment as Fleming projecting inside Bond. Bond sports a Caribbean tan in an era when most had never flown on an airplane, eats caviar when even avocados were rationed in Britain, and uses near-blank cheques to draw against Her Majesty’s Service’s coffers. 007 rhapsodizes over brands and breeds, and Fleming and the Bond continuation authors are masterful at imagining and revealing the amazing world just beneath the one where you and I live, teeming with the very best of everything from the smartest mad geniuses, the most beguiling women and the finest, most sumptuous meals. Bond explores the limits of human endurance even as he pushes the limits of gambling stakes and the limits of the chefs de cuisine in attendance (the book Bond fantasizes far more often about food and drink than about women).
Fleming’s word choices are highly sensual to the palate, his books to be devoured. Villains have cauliflower ears, brandish black sausage silencers, and wear cream shirts over café-au-lait tans. In Bond’s world, otherwise pedestrian cargo trucks and floor rugs are hardly ever merely brown or yellow or red but chocolate, lemon, and wine. Casinos aren’t just money mills but living entities that drink the blood of their victims, hide their dining and entertainment behind their enchanting machines and fuel entire town economies. Nothing is left ordinary. Bond’s boss is a bulwark wielding power over life and death, his housekeeper is a treasure, his cars are among his most longstanding, fervent relationships. And of course, as our fantasy surrogate, Bond is a winner in every sense, even if he must often undergo a Hegelian synthesis via torture, battle, and death to get his job done.
007’s broad fan appeal was driven home to me years ago, beginning with a dinner with Russell MacKenzie, a top Bond collector visiting from Atlanta. As a fellow collector I was jealous to hear of a Fleming biography MacKenzie had just secured, an ultra-rare title with only two copies extant worldwide. After a wonderful meal we pondered how to gather all our fellow collectors together in one place. We knew only a handful of avid Florida and Georgia Bond collectors and could recall when a fledgling eBay bore only twenty-five to fifty James Bond items for sale (today it boasts nearly fifty thousand Bond items, most days). I suggested it might take a film screening or actor appearance to cement fan commitment. We soon showed a classic Bond film on the big screen. To my amazement, fans flocked to near my home in Gainesville, Florida from as far as Kansas, New Jersey, and California to watch the film and to trade hundreds of collectibles amongst themselves. Momentum running high, I’ve since had the pleasure of hosting dozens of the Bond actors, authors, and film production members at events bringing them to meet their many fans. Bond fans at my events include young and old, men and women, people of all economic levels, and even intelligence officers from the CIA, FBI, and NSA, first intrigued by Bond and his imitators as children. And the circle is completed by the many Bond film and book creators who began as Bond fans themselves.
And we fans never run out of shop talk. How could we amongst the bewildering array of items available? Imagine collecting from over two dozen Star Wars films and you’ll still come short of understanding the scope of 007 movie collectibles. Bond has certainly gotten his Aston Martin in gear for toy manufacturers, with the Corgi brand of toys now selling their Goldfinger model car into the millions, continually for over fifty years, and Corgi and others also selling thousands of other types of die-cast, plastic and wood Bond models worldwide. Movie fans spend countless hours pursuing these toys and also thousands of real and replica Bond film props and clothing items, plus an array of posters, lobby cards, lithographs, press kits, games, colognes and perfumes, watches, pens and cufflinks, music and soundtracks, beer cans, glasses and liquor bottles—anything you can imagine as a film collectible has likely been made for Bond. And literary fans have magazines and comics to chase besides valuable first editions, foreign editions in two dozen languages, paperbacks and pulps, totalling literally thousands of different covers to collect. Yes, thousands. My computer holds gigabytes of images of some of these many items I’m yet to collect or don’t have the money and shelf space to house. But what I do have is enthusiastically received by the public at museum, concert, and library presentations. Even the locations of the Bond books and films have become a bit of a craze in recent years, and like-minded fans and I spend hundreds of hours a year tracking down and visiting real-world Bond locations.
But above all, we fans hunger for more Bond adventures. James Bond will cease to exist unless new stories of his adventures come to the fore. David Nickle and Madeline Ashby have answered the call and tasked some of the finest writers in Canada and the rest of Bond’s free world to give us what we want inside this volume. A wide variety of Bond missions, treasures all, await within. The reader is encouraged to dig in and to savour them, the way Bond savours the good life.
The Bitch is Dead Now
David Nickle
“The bitch is dead now.”
Those, for the uninitiated, are the shockingly harsh final words that James Bond utters at the close of his first appearance, in Ian Fleming’s 1952 novel Casino Royale.
To be fair, the boozy, world-weary secret agent had had a bad time of it—a card-sharping mission in Monaco had ended in a Pyrrhic victory, with brutal torture and the death of his lover, who confessed in her suicide note to having long been a double agent for the Russians.
Taken on its own, a last line like that might simply be understood as a dramatic note: a sublimation of profound hurt, spoken by a man unaccustomed to unravelling the complexity of his own feelings. But of course, James Bond’s epithet of Casino Royale does not exist on its own. Earlier in the novel, Bond speculates about the very-much-alive Vesper Linde and his feelings toward her in this way:
“And now he knew that she was profoundly, excitingly sensual, but that the conquest of her body, because of the central privacy in her, would each time have the sweet tang of rape.”
Elsewhere, he expresses his frustration at having to deal with Vesper’s kidnapping, just so:
“These blithering women who thought they could do a man’s work. Why the hell couldn’t they stay at home and mind their pots and pans and stick to their frocks and gossip and leave men’s work to the men.”
No two ways about it: Ian Fleming wrote novels about a pretty creepy misogynist. And looking back on it now, I have to say—my mom had a point when she refused to let me read any of Fleming’s fourteen James Bond books.
v
Of course, I read Fleming’s fourteen James Bond books—all of them, before I made it to Grade 7.
When my parents split up, my summer visits with my dad always included visits to the public library in the little Ontario town of Gravenhurst, where they would let 11-year-old me take out as many of their well-worn Fleming hardcovers as I could lay hands on: Thunderball and You Only Live Twice, For Your Eyes Only and The Man With The Golden Gun. Goldfinger, Dr. No, Live and Let Die: those I bought in paperback, the last of which was the film edition, with an oddly black-haired Roger Moore on the cover posing menacingly in front of a fan of sexy Tarot cards, kinetic motor boats, explosions, and enormous gun-barrels.
I took a lot of lessons from those books—many of which, thankfully, I never put into practice.
I did not, for instance, attempt to persuade any of my queer women friends to become straight, as James Bond did Pussy Galore, by being what she called “a real man.” I did not pop Benzedrine tablets to help me on a long midnight swim across a barracuda-infested bay to try and sink a wealthy Harlem crime-lord’s boat and steal his girlfriend, as James Bond did that first time he visited Jamaica. I don’t say or even think those awful things about women. And I think at this point that I have un-learned all the lessons Ian Fleming taught me about race, and class. Allergies saw to it that his lessons about chain-smoking never had a chance to take.
The lessons that did take didn’t come from the character, but his creator. There are certainly writers out there who know how to move a story along—but Fleming had a knack for turbo-charging a narrative like nobody else—for injecting exposition that should dull the sharpest reader but goes down like a spoonful of caviar . . . for invoking an intense range of sensual detail that could bring the pulpiest, most unbelievable story to a hyper-attenuated kind of life.
Is it any wonder that James Bond has become, in the fifty years past Fleming’s too-early death, such a far-reaching cultural phenomenon? Star Wars, Indiana Jones, The Lord of the Rings . . . nothing can match the steady procession of James Bond in film and publication and other media—never mind the camp-following super-spy films and stories that have tried with varying levels of success to soak up some of the jet fuel.
Raymond Chandler once said of James Bond: “Every man wants to be James Bond and every woman wants to be with him.”
I’m tempted to add a corollary: “Every writer wants to tell his story.” But of course it’s only true insofar as is Chandler’s hyperbole about all those men and women. It is fair to say that a lot of writers of my acquaintance have been itching for a chance to take James Bond’s old Bentley out on the motorway, open up the throttle and see what it can do. Some of them have a life-long love of the character and the wild stories he inhabits; some have things to say about the way that James Bond exists alongside the colonialism and sexism and snobbery that formed much of Fleming’s world; some who just want to play in this sand box of tropes and characters and notions that have until very recently been everywhere off-limits.
Which brings us to the book you’re holding in your hands.
v
Licence Expired: The Unauthorized James Bond exists thanks to a legal peculiarity in international copyright law. In most of the world, Ian Fleming’s novels about James Bond are safe from unauthorized re-interpretation and homage for another nineteen years. But here in Canada, it’s a different story. January of 2015 marked the fiftieth anniversary of Ian Fleming’s death, and that put Fleming’s novels into the public domain—in Canada and a few other countries, which held to the Berne Convention on copyright, when other countries (including the United States, Fleming’s own United Kingdom and Europe) agreed to extend the fifty-year time limit to seventy years.
Canada might one day join its neighbours in this long, dark night of the takedown notice, but as I write this (and if you are reading this) it hasn’t yet.
And so we are able to present these nineteen unauthorized stories about Secret Agent 007 getting up to things, I think, that you’ve not quite seen before. There are some very strict rules that the authors have had to follow. The stories can only reference characters and incidents in Fleming’s own stories. Nothing that has appeared in the movies can be referenced, as Eon Productions still holds the copyright on those. So herein you will find no groin-splitting laser beams, no cat-stroking Blofelds . . . James Bond does not say “of course you are” when a young woman named Plenty O’Toole introduces herself.
ChiZine Publications and its affiliates also cannot sell the book outside of Canada—which is frustrating from a commercial point of view, because here in the relatively small Canadian market it won’t be the money-maker that it would be with worldwide distribution.
That’s too bad but also okay. Licence Expired is appearing in the country where Ian Fleming learned his spy-craft, at the now-notorious Camp X on the shores of Lake Ontario. It gives voice to nineteen authors who approached this project with enthusiasm, skill and a thoughtful twenty-first century eye.
And it is going to give you, who are lucky enough to have it in hand, the ride of your life.
—David Nickle, August 2015
One Is Sorrow
Jacqueline Baker
“Don’t dawdle,” cried Mrs. Pottswallow bustling in, all vinegar and key rings.
Charlotte started back from the window and snapped the shutters closed on the scene unfolding in the garden, quickly running the feather duster across the polished slats with artificial care.
“Mind you sweep lengthwise,” the head maid went on, “then crosswise, then lengthwise again. Newness is no excuse for carelessness, not at Eton, not under my watch—turn around when I’m speaking to you.”
Charlotte turned. Mrs. Pottswallow, with her heavy manner and heavy skirts, might have stepped from the pages of a gothic romance. In fact, Charlotte often felt at the school as if she’d slipped back in time. Mrs. Pottswallow gave her the once-over, eyeing with apparent distaste the neat white collar and the ill-fitting calf-length black dress that Mrs. Pottswallow must, herself, have approved, and none too recently, dated as even they were.
“How old are you?”
“Fifteen, ma’am.”
“Yes,” Mrs. Pottswallow agreed, as if she’d suspected as much. Then, “I dare say I’ve heard a bit about you.”
The emphasis on you was not lost on Charlotte, who stood waiting.
“Well don’t just stand there. Get to work.”
Charlotte bit her lips and turned back to the shutters, her hand itching to open them again.
“Don’t beat at it so—feathers, look, all over the carpet, sweep those up as well, more under your shoe—oh, give it to me.”
Mrs. Pottswallow snapped the duster from Charlotte’s hand, and swiped at the slats in wide, determined strokes, wafting a foul odour of acid and rust, the backs of her knuckles puckered and raw as a plucked chicken. Charlotte felt the smooth skin of her own hands. She must remember to rub a bit of milk into them when she got the chance. Her mother, whose hands were still smooth after a lifetime of labour, swore by it. She thought of the boys’ hands in the mist of the garden beyond the window, ghostly, pale as cream.
“Like so. See? You’re—don’t stand wringing your hands like you’re daft, look here—Lottie, is it?”