NB: linked in this Friday's Forgotten Books roundup.
Over the past few months I've been unearthing graphic novels – more accurately unboxing, I suppose; for the most part they've been sitting in cardboard boxes in the loft – that I've owned for years but for whatever reason haven't got round to reading until now(ish). I have a vague plan, hatched in this post last month on three graphic novels from 2014 and destined, no doubt, like other vague plans before it, to be abandoned before it amounts to much of anything, to group some of them together in configurations which strike me as likely to prompt a few thoughts, arbitrary and asinine though those configurations – and thoughts – may be. This configuration being a case in point:
Girl Stories by Lauren R. Weinstein, published in paperback by Henry Holt in 2006, and One Hundred Demons by Lynda Barry, published in hardback by Sasquatch Books in 2002. Aha! I hear you cry. He's grouped these two graphic novels together because they're both by women. Oho! I rejoin. That is only part of the reason. In fact my major rationale for grouping the two books together is even more prosaic than that: when I retrieved them from the loft it struck me that they're both in a landscape format, and almost exactly the same TPS – about 150mm by 240mm.
Slightly more interestingly, both books are episodically autobiographical in nature and deal with similarly formative periods in their authors' lives, so despite my facile comparisons they do share more in common than just gender and size.
Of the two, I liked Girl Stories the best. Why it took me nearly ten years to finally read the damn thing I've no idea; I've long loved Weinstein's idiosyncratic, unpredictable Inside Vineyland (Alternative Comics, 2003), and though Girl Stories isn't quite as demented as that debut, it has the same zip and energy, just directed to keenly felt, scratchily rendered vignettes of school life and suburban home life (instead of stories about lovelorn robots and depressed dogs), with meditations on the perils of social climbing, the trouble with boyfriends and the problem of body fascism.
It's taken me even longer to get round to One Hundred Demons – over a dozen years, which is ridiculous really. I mean, what's the point in even owning a book if it's just going sit there unread for a dozen years? He types, looking round guiltily at the hundreds of books sitting on his shelves unread for half a dozen years. But anyway: Barry's comics are as honest and raw as Weinstein's – rawer even: there are allusions in One Hundred Demons to a very dark and painful episode in Barry's childhood. As a cartoonist, though, Barry prefers to tell rather than show, to the extent that the words in her panels frequently overwhelm and crowd out the pictures. That said, she may lack Weinstein's light touch, but there's a reflective strength, and consequently an affecting depth, to a story like "Cicadas".
Showing posts with label autobiography. Show all posts
Showing posts with label autobiography. Show all posts
Friday, 20 March 2015
Friday, 14 February 2014
Donald E. Westlake Non-Fiction Anthology The Getaway Car (University of Chicago Press, 2014): Table of Contents and More Details Revealed
NB: A version of this post also appears at The Violent World of Parker.
With Violent World of Parker proprietor Trent currently otherwise engaged – literally – it falls to me to provide an update on the Donald E. Westlake non-fiction anthology Trent and I blogged about back in April of last year. Edited by University of Chicago Press' Levi Stahl, and due for publication by UCP in September, the anthology has now gained both a title and a sub-title: The Getaway Car: A Donald Westlake Nonfiction Miscellany. The full table of contents is available to view on the UCP site, but Levi has kindly agreed for it to be reproduced on VWoP and Existential Ennui:
CONTENTS
Foreword by Lawrence Block
Editor’s Introduction
1 My Second Life: Fragments from an Autobiography
2 Donald E. Westlake, a.k.a. . . .
Hearing Voices in My Head: Tucker Coe, Timothy J. Culver, Richard Stark and Donald E. Westlake
Living with a Mystery Writer, by Abby Adams
Writers on Writing: A Pseudonym Returns From an Alter-Ego Trip, With New Tales to Tell
3 So Tell Me about This Job We’re Gonna Pull: On Genre
The Hardboiled Dicks
Introduction to Murderous Schemes
Introduction to The Best American Mystery Stories, 2000
Don’t Call Us, We’ll Call You
4 Ten Most Wanted: Ten Favorite Mystery Books
5 Returning to the Scene of the Crime: On His Own Work
Introduction to Levine
Tangled Webs for Sale: Best Offer
Introduction to Kahawa
Light
Hooked
Letter to Howard B. Gotlieb, Boston University Libraries
6 Lunch Break: May’s Famous Tuna Casserole
7 The Other Guys in the String: Peers, Favorites, and Influences
Lawrence Block: First Sighting
On Peter Rabe
Playing Politics with a Master of Dialogue: On George V. Higgins
On Rex Stout
Introduction to Jack Ritchie’s A New Leaf and Other Stories
Foreword to Thurber on Crime
Introduction to Charles Willeford’s The Way We Die Now
On Stephen Frears
John D. MacDonald: A Remembrance
8 Coffee Break: Letter to Ray Broekel
9 Anything You Say May Be Used against You: Interviews
An Inside Look at Donald Westlake, by Albert Nussbaum, 81332-132
The Worst Happens: From an Interview by Patrick McGilligan
10 Midnight Snack: Gustatory Notes from All Over
11 Side Jobs: Prison Breaks, Movie Mobsters, and Radio Comedy
Break-Out
Love Stuff, Cops-and-Robbers Style
Send In the Goons
12 Signed Confessions: Letters
To Judy ?
To Peter Gruber
To James Hale
To Stephen and Tabitha King
To Brian Garfield
To David Ramus
To Pam Vesey
To Gary Salt
To Henry Morrison
To Jon L. Breen
13 Jobs Never Pulled: Title Ideas
Crime Titles
Comic Crime Titles
14 Death Row (Or, The Happily Ever Afterlife): Letter to Ralph L. Woods
Acknowledgments
Credits
Name Index
Editor’s Introduction
1 My Second Life: Fragments from an Autobiography
2 Donald E. Westlake, a.k.a. . . .
Hearing Voices in My Head: Tucker Coe, Timothy J. Culver, Richard Stark and Donald E. Westlake
Living with a Mystery Writer, by Abby Adams
Writers on Writing: A Pseudonym Returns From an Alter-Ego Trip, With New Tales to Tell
3 So Tell Me about This Job We’re Gonna Pull: On Genre
The Hardboiled Dicks
Introduction to Murderous Schemes
Introduction to The Best American Mystery Stories, 2000
Don’t Call Us, We’ll Call You
4 Ten Most Wanted: Ten Favorite Mystery Books
5 Returning to the Scene of the Crime: On His Own Work
Introduction to Levine
Tangled Webs for Sale: Best Offer
Introduction to Kahawa
Light
Hooked
Letter to Howard B. Gotlieb, Boston University Libraries
6 Lunch Break: May’s Famous Tuna Casserole
7 The Other Guys in the String: Peers, Favorites, and Influences
Lawrence Block: First Sighting
On Peter Rabe
Playing Politics with a Master of Dialogue: On George V. Higgins
On Rex Stout
Introduction to Jack Ritchie’s A New Leaf and Other Stories
Foreword to Thurber on Crime
Introduction to Charles Willeford’s The Way We Die Now
On Stephen Frears
John D. MacDonald: A Remembrance
8 Coffee Break: Letter to Ray Broekel
9 Anything You Say May Be Used against You: Interviews
An Inside Look at Donald Westlake, by Albert Nussbaum, 81332-132
The Worst Happens: From an Interview by Patrick McGilligan
10 Midnight Snack: Gustatory Notes from All Over
11 Side Jobs: Prison Breaks, Movie Mobsters, and Radio Comedy
Break-Out
Love Stuff, Cops-and-Robbers Style
Send In the Goons
12 Signed Confessions: Letters
To Judy ?
To Peter Gruber
To James Hale
To Stephen and Tabitha King
To Brian Garfield
To David Ramus
To Pam Vesey
To Gary Salt
To Henry Morrison
To Jon L. Breen
13 Jobs Never Pulled: Title Ideas
Crime Titles
Comic Crime Titles
14 Death Row (Or, The Happily Ever Afterlife): Letter to Ralph L. Woods
Acknowledgments
Credits
Name Index
I must say it all looks fascinating: I've read (and written about) Westlake essays like "Don't Call Us, We'll Call You", "Peter Rabe" and "Break-Out" before, but there are plenty more besides I haven't read; I'm especially keen to take a look at the autobiography fragments and the personal letters Levi (and his glamorous assistant Ethan Iverson) dug out of Westlake's files. I'm also intrigued to read Levi's introduction and Lawrence Block's foreword, a single sentence from the latter of which is previewed at the UCP site, along with a quote from Hard Case Crime's Charles Ardai and some more info about the book. Go take a gander.
Friday, 10 January 2014
Notes from the Small Press 16: Sky in Stereo #2 by Mardou (Yam Books, 2013)
I'm briefly reviving my Notes from the Small Press series (the last instalment was over a year ago; whether the series will continue beyond this point remains to be seen) because this popped through my letterbox on New Year's Eve:
The second issue of Mardou's semi-autobiographical comic Sky in Stereo, kindly sent by Mardou herself. I reviewed the first issue, which Mardou self-published, in 2012, but since then the series has been picked up by a US small press publisher, Yam Books, who issued #2 mid-last year. It received positive reviews from Chris Mautner at Robot 6 and Andy Oliver at Broken Frontier and others, so there's little point in my reviewing it as well, especially since I'm so late to the party; but I like Mardou's work a lot – I've been following it (and her) for getting on for ten years now – and Sky in Stereo is developing into the best thing she's done, and so here, for what they're worth, are a few notes and thoughts on this second issue.
I was struck by individual panels this time round, and found myself dwelling on some of them – partly because of the confidence of the line and how they work as lovely little pieces of art and text, but also the truth of them, or what seemed to me to be the truth of them.
These small moments, almost narrative asides, are, I think, a big part of why Sky in Stereo is so good. In a formal or structural sense they're not intrinsic to the story, and yet they make the story. They add depth to the character of Iris – Mardou's fictional stand-in – but not in a conscious or overly considered way; they simply speak to the truth of being seventeen and awkward and uncertain in Manchester in 1993.
I did wonder if that specific milieu was why the comic worked for me; I'm older than Mardou – or should I say Iris – but only by about five years or so, and I was at college in Manchester close to when Sky in Stereo is set. But there were jolts of recognition for me even beyond those similarities of background: watching telly during an acid trip and seeing actors "leave holes in the scenery behind them"; a mention of the rotating lands atop Enid Blyton's Magic Faraway Tree and how you could get stuck in them if you weren't careful; a glimpse of a Teenage Fanclub Bandwagonesque poster on a bedroom wall. Those points of reference and scenes, plus positive response from American reviewers (and publishers), suggests to me a resonance far beyond those of us who happened to be in Manchester in the early 1990s.
Something I was chuffed to see was that my review of #1 has been excerpted on the back cover of #2, although that particular bit of my review does make me sound insufferably pompous.
(Then again, you could probably pick numerous other parts of numerous other reviews of mine and reach the same conclusion.)
Lastly, in a meeting of minds between two of my favourite comics creators (and people), my friend Martin Eden – he of Spandex and The O Men fame – did a nice piece of Sky in Stereo fan art, which Mardou posted on her LiveJournal at the end of last year, and which I'm reposting above.
Previous Notes from the Small Press:
Notes from the Small Press 1: Fast Fiction Presents the Elephant of Surprise
Notes from the Small Press 2: Monitor's Human Reward by Chris Reynolds
Notes from the Small Press 3: Small Pets
Notes from the Small Press 4: Anais in Paris by Mardou
Notes from the Small Press 5: The Curiously Parochial Comics of John Bagnall
Notes from the Small Press 6: Ed Pinsent's Illegal Batman and Jeffrey Brown's Wolverine: Dying Time
Notes from the Small Press 7: The Comix Reader #1
Notes from the Small Press 8: A Help! Shark Comics Gallery
Notes from the Small Press 9: Some Gristavision Comics by Merv Grist
Notes from the Small Press 10: Some Sav Sadness Comics by Bob Lynch
Notes from the Small Press 11: a Review of Illegal Batman in the Moon
Notes from the Small Press 12: The Sky in Stereo by Mardou
Notes from the Small Press 13: First by Tom Gauld and Simone Lia
Notes from the Small Press 14: Planet 4, a Monitor Story by Chris Reynolds
Notes from the Small Press 15: Spandex #7 by Martin Eden
The second issue of Mardou's semi-autobiographical comic Sky in Stereo, kindly sent by Mardou herself. I reviewed the first issue, which Mardou self-published, in 2012, but since then the series has been picked up by a US small press publisher, Yam Books, who issued #2 mid-last year. It received positive reviews from Chris Mautner at Robot 6 and Andy Oliver at Broken Frontier and others, so there's little point in my reviewing it as well, especially since I'm so late to the party; but I like Mardou's work a lot – I've been following it (and her) for getting on for ten years now – and Sky in Stereo is developing into the best thing she's done, and so here, for what they're worth, are a few notes and thoughts on this second issue.
I was struck by individual panels this time round, and found myself dwelling on some of them – partly because of the confidence of the line and how they work as lovely little pieces of art and text, but also the truth of them, or what seemed to me to be the truth of them.
These small moments, almost narrative asides, are, I think, a big part of why Sky in Stereo is so good. In a formal or structural sense they're not intrinsic to the story, and yet they make the story. They add depth to the character of Iris – Mardou's fictional stand-in – but not in a conscious or overly considered way; they simply speak to the truth of being seventeen and awkward and uncertain in Manchester in 1993.
I did wonder if that specific milieu was why the comic worked for me; I'm older than Mardou – or should I say Iris – but only by about five years or so, and I was at college in Manchester close to when Sky in Stereo is set. But there were jolts of recognition for me even beyond those similarities of background: watching telly during an acid trip and seeing actors "leave holes in the scenery behind them"; a mention of the rotating lands atop Enid Blyton's Magic Faraway Tree and how you could get stuck in them if you weren't careful; a glimpse of a Teenage Fanclub Bandwagonesque poster on a bedroom wall. Those points of reference and scenes, plus positive response from American reviewers (and publishers), suggests to me a resonance far beyond those of us who happened to be in Manchester in the early 1990s.
Something I was chuffed to see was that my review of #1 has been excerpted on the back cover of #2, although that particular bit of my review does make me sound insufferably pompous.
(Then again, you could probably pick numerous other parts of numerous other reviews of mine and reach the same conclusion.)
Lastly, in a meeting of minds between two of my favourite comics creators (and people), my friend Martin Eden – he of Spandex and The O Men fame – did a nice piece of Sky in Stereo fan art, which Mardou posted on her LiveJournal at the end of last year, and which I'm reposting above.
Previous Notes from the Small Press:
Notes from the Small Press 1: Fast Fiction Presents the Elephant of Surprise
Notes from the Small Press 2: Monitor's Human Reward by Chris Reynolds
Notes from the Small Press 3: Small Pets
Notes from the Small Press 4: Anais in Paris by Mardou
Notes from the Small Press 5: The Curiously Parochial Comics of John Bagnall
Notes from the Small Press 6: Ed Pinsent's Illegal Batman and Jeffrey Brown's Wolverine: Dying Time
Notes from the Small Press 7: The Comix Reader #1
Notes from the Small Press 8: A Help! Shark Comics Gallery
Notes from the Small Press 9: Some Gristavision Comics by Merv Grist
Notes from the Small Press 10: Some Sav Sadness Comics by Bob Lynch
Notes from the Small Press 11: a Review of Illegal Batman in the Moon
Notes from the Small Press 12: The Sky in Stereo by Mardou
Notes from the Small Press 13: First by Tom Gauld and Simone Lia
Notes from the Small Press 14: Planet 4, a Monitor Story by Chris Reynolds
Notes from the Small Press 15: Spandex #7 by Martin Eden
Wednesday, 11 September 2013
Suffolk Score – Halesworth: Kingsley Amis, Memoirs (Hutchinson, 1991)
Continuing the showcase of the books I bought at Ann Green Secondhand Books in Halesworth during our (as in, my, Rachel and little Edie's) Suffolk summer holiday, we have this:
A 1991 Hutchinson first edition of Memoirs by Kingsley Amis, jacket design by the Senate, photograph of Amis by Lord Snowdon. Regular readers of this blog – of which there must be at least four or five by now – will know of my enthusiasm for a good many of Amis's novels, in particular The Anti-Death League, The Green Man and Ending Up, but I'm just as happy to read his non-fiction. His Memoirs are unusual in their structure, consisting, as Amis puts it in his introduction:
...not of a connected narrative but of a series of essays or sketches. Most of them are about individuals I have known more or less well. Most of the others are about self-contained episodes of my life, like my time in the army or my trip to Prague in 1966, though here again I have tried to focus on others rather than myself. I have done so not out of self-effacement but for several other reasons. Most writers lead dull lives whether or not those lives may be fun to lead, and are likely to be boring to read about in any detail. Writing directly about my own would anyway not appeal to me, even if I had a good memory for that kind of thing and had kept diaries with any persistence.
Even so, Amis goes on to admit that:
...there is probably quite enough about me in these pages, more than I intended or realise. And I have already written an account of myself in twenty or more volumes, most of them called novels. Novels they full are, too, and those who know both them and me will also know that they are firmly unautobiographical, but at the same time every word of them inevitably says something about the kind of person I am. 'In vino veritas – I don't know,' Anthony Powell once said to me, 'but in scribendo veritas – a certainty.'
All of which means that the Memoirs probably don't contain the episode where Amis fell down drunk in a ditch outside Anthony Price's house. Shame. On the plus side, however, there is this:
This copy is signed by Amis. Huzzah.
Amis mentions Anthony Powell above, and devotes a chapter of his Memoirs to his friend and fellow writer – and quite by chance Powell is the author of the third and final book I found in Ann Green Secondhand Books, actually during my second visit to the place (I missed it the first time round): a highly scarce volume of Powell's celebrated A Dance to the Music of Time sequence...
A 1991 Hutchinson first edition of Memoirs by Kingsley Amis, jacket design by the Senate, photograph of Amis by Lord Snowdon. Regular readers of this blog – of which there must be at least four or five by now – will know of my enthusiasm for a good many of Amis's novels, in particular The Anti-Death League, The Green Man and Ending Up, but I'm just as happy to read his non-fiction. His Memoirs are unusual in their structure, consisting, as Amis puts it in his introduction:
...not of a connected narrative but of a series of essays or sketches. Most of them are about individuals I have known more or less well. Most of the others are about self-contained episodes of my life, like my time in the army or my trip to Prague in 1966, though here again I have tried to focus on others rather than myself. I have done so not out of self-effacement but for several other reasons. Most writers lead dull lives whether or not those lives may be fun to lead, and are likely to be boring to read about in any detail. Writing directly about my own would anyway not appeal to me, even if I had a good memory for that kind of thing and had kept diaries with any persistence.
Even so, Amis goes on to admit that:
...there is probably quite enough about me in these pages, more than I intended or realise. And I have already written an account of myself in twenty or more volumes, most of them called novels. Novels they full are, too, and those who know both them and me will also know that they are firmly unautobiographical, but at the same time every word of them inevitably says something about the kind of person I am. 'In vino veritas – I don't know,' Anthony Powell once said to me, 'but in scribendo veritas – a certainty.'
All of which means that the Memoirs probably don't contain the episode where Amis fell down drunk in a ditch outside Anthony Price's house. Shame. On the plus side, however, there is this:
This copy is signed by Amis. Huzzah.
Amis mentions Anthony Powell above, and devotes a chapter of his Memoirs to his friend and fellow writer – and quite by chance Powell is the author of the third and final book I found in Ann Green Secondhand Books, actually during my second visit to the place (I missed it the first time round): a highly scarce volume of Powell's celebrated A Dance to the Music of Time sequence...
Tuesday, 8 May 2012
Low Life by Jeffrey Bernard (Gerald Duckworth, 1986): Book Review
After a Westlake Score opener, let's get stuck into the journalism and media-related books posts proper, with a collection of columns by a British journalist who turned his inebriated existence into an ongoing kitchen sink drama...
Low Life by Jeffrey Bernard was first published in hardback in the UK by Gerald Duckworth in 1986. Featuring a foreword by John Osborne – who calls Bernard "the Tony Hancock of journalism" – the book compiles some of the best of the Low Life columns that Bernard wrote for The Spectator magazine in the 1970s and '80s (a counterpart to Taki's jet-setting High Life column). I actually read many of them on original publication – or rather, shortly after original publication, because I read them not in The Spectator but when they were reprinted the following week in a long-defunct free London listings magazine, the name of which now escapes me. They were, as I recall, the only part of that forgotten magazine I did read, for the simple reason that they were utterly brilliant.
Week by week Bernard would chronicle his heroic efforts to drink and smoke himself to an early grave in the pubs and clubs of London's Soho – efforts which proved, in the end, only partly successful: he died in 1997, aged 65. He'd been a regular in the various hostelries of the area – The Colony Room, The French House and, most famous of all, Norman Balon's The Coach and Horses, where I would occasionally see him propping up the bar, grimly stirring his vodka, lime and soda – since the late 1940s, and was friends with the likes of Francis Bacon, Tom Baker and sundry other artists, actors and writers. As a result, he had a bottomless reserve of booze-sodden stories to draw on, but he would also cast a sour and unforgiving eye over whatever newspaper articles and television programmes happened to irk him that particular week, and indeed over Soho itself, which seemed to him to be in terminal decline.
The opening lines of his columns are masterpieces of acerbic scrutiny and self-deprecatory despair – "I've just spent two days sitting on the floor surrounded by remorse-inducing memorabilia" ("Happy days"); "It's been a perfectly dreadful week relieved only by the reappearance of Tom Baker, who's finished his stint in Treasure Island and survived the dreadful parrot, and I've decided definitely to give up playing poker on Thursday nights" ("Cards"); "I'm thinking, quite seriously, of retiring. The list of things I haven't done is far too long and I'm well into the second half of this ridiculous game" ("Wanderlust"); "I'm getting a little sick of Soho. There was a time when you could always find somebody there to talk to – your actual conversation I mean – but recently it's been all World Cup and, for longer than that, money" ("Half measures") – but the columns would often then veer off into sublime flights of fancy. As John Osborne notes in his foreword:
[Bernard's] fantasies, at their most poetic, owe far more to Swift than to Smirnoff: 'I'd very much like to wake up one morning with a cow of the Fresian variety and walk her down to Soho to the Coach and Horses, stopping on the way to buy twenty Players, ply her with vodkas until closing time, whip her off to an Indian restaurant, take her up to the Colony Room till 5.30 and then to the Yorkminster, Swiss Tavern, Three Greyhounds, get beaten up by Chinese waiters at midnight, have a row with a taxi driver, set the bed on fire, put it out with tears and then wake up on the floor. Could you then milk the said cow? I doubt it.'
Osborne also identifies the "autobiographical momentum and unity" of the collected Low Life columns – something playwright Keith Waterhouse picked up on when he turned the columns – and thereby Bernard's life – into a stage play, Jeffery Bernard is Unwell (the title taken from the notice which would appear in The Spectator when Bernard was too sozzled to deliver his copy), starring Peter O'Toole as Bernard (a role later taken by Tom Conti, James Bolan, Dennis Waterman and Robert Powell, although it was the terrific O'Toole incarnation I saw).
Which is why it's even more remarkable that the collection has apparently fallen out of print*. There are only around ten copies on AbeBooks in any edition; even a Pan paperback will set you back around twenty quid these days, while you'd have to stump up north of £50 for a Gerald Duckworth first edition/first printing (it went into a second printing swiftly after the first). I "borrowed" my mum's Pan paperback years ago, but she'll no doubt be delighted to learn that she can now have it back, as I recently won a Duckworth 1st/1st – with its Michael Heath-illustrated jacket – on eBay – and it was definitely worth doing so, because unlike the Pan edition, the Duckworth hardback features a generous helping of photographs, many of them from Bernard's personal collection. It also boasts some highly amusing letters (click to view larger):
Moreover, the eBay seller I acquired my copy from kindly included some related newspaper clippings too:
Low Life still ranks as one of my favourite books, but although, as John Osborne states, it is autobiographical, by its very nature it provides only a partial picture of Jeffrey Bernard. A fuller account of Bernard's life can be found in the next book I'll be blogging about – a 1992 biography which contains some startling revelations about Bernard, but which, like Low Life, has also fallen out of print...
*At least, under its Low Life title. Because as Ian Penman pointed out to me on Twitter after I posted this, Gerald Duckworth did issue a version of Low Life, retitled Reach for the Ground: The Downhill Struggle of Jeffrey Bernard, featuring a new foreword by Peter O'Toole, in 2002. UPDATE, 12/6/13: Except, as Kim Davis points out in the comments below, that collection only contains a few of the Low Life columns. Which rather makes a mockery of this footnote. Sigh.
Low Life by Jeffrey Bernard was first published in hardback in the UK by Gerald Duckworth in 1986. Featuring a foreword by John Osborne – who calls Bernard "the Tony Hancock of journalism" – the book compiles some of the best of the Low Life columns that Bernard wrote for The Spectator magazine in the 1970s and '80s (a counterpart to Taki's jet-setting High Life column). I actually read many of them on original publication – or rather, shortly after original publication, because I read them not in The Spectator but when they were reprinted the following week in a long-defunct free London listings magazine, the name of which now escapes me. They were, as I recall, the only part of that forgotten magazine I did read, for the simple reason that they were utterly brilliant.
Week by week Bernard would chronicle his heroic efforts to drink and smoke himself to an early grave in the pubs and clubs of London's Soho – efforts which proved, in the end, only partly successful: he died in 1997, aged 65. He'd been a regular in the various hostelries of the area – The Colony Room, The French House and, most famous of all, Norman Balon's The Coach and Horses, where I would occasionally see him propping up the bar, grimly stirring his vodka, lime and soda – since the late 1940s, and was friends with the likes of Francis Bacon, Tom Baker and sundry other artists, actors and writers. As a result, he had a bottomless reserve of booze-sodden stories to draw on, but he would also cast a sour and unforgiving eye over whatever newspaper articles and television programmes happened to irk him that particular week, and indeed over Soho itself, which seemed to him to be in terminal decline.
The opening lines of his columns are masterpieces of acerbic scrutiny and self-deprecatory despair – "I've just spent two days sitting on the floor surrounded by remorse-inducing memorabilia" ("Happy days"); "It's been a perfectly dreadful week relieved only by the reappearance of Tom Baker, who's finished his stint in Treasure Island and survived the dreadful parrot, and I've decided definitely to give up playing poker on Thursday nights" ("Cards"); "I'm thinking, quite seriously, of retiring. The list of things I haven't done is far too long and I'm well into the second half of this ridiculous game" ("Wanderlust"); "I'm getting a little sick of Soho. There was a time when you could always find somebody there to talk to – your actual conversation I mean – but recently it's been all World Cup and, for longer than that, money" ("Half measures") – but the columns would often then veer off into sublime flights of fancy. As John Osborne notes in his foreword:
[Bernard's] fantasies, at their most poetic, owe far more to Swift than to Smirnoff: 'I'd very much like to wake up one morning with a cow of the Fresian variety and walk her down to Soho to the Coach and Horses, stopping on the way to buy twenty Players, ply her with vodkas until closing time, whip her off to an Indian restaurant, take her up to the Colony Room till 5.30 and then to the Yorkminster, Swiss Tavern, Three Greyhounds, get beaten up by Chinese waiters at midnight, have a row with a taxi driver, set the bed on fire, put it out with tears and then wake up on the floor. Could you then milk the said cow? I doubt it.'
Osborne also identifies the "autobiographical momentum and unity" of the collected Low Life columns – something playwright Keith Waterhouse picked up on when he turned the columns – and thereby Bernard's life – into a stage play, Jeffery Bernard is Unwell (the title taken from the notice which would appear in The Spectator when Bernard was too sozzled to deliver his copy), starring Peter O'Toole as Bernard (a role later taken by Tom Conti, James Bolan, Dennis Waterman and Robert Powell, although it was the terrific O'Toole incarnation I saw).
Which is why it's even more remarkable that the collection has apparently fallen out of print*. There are only around ten copies on AbeBooks in any edition; even a Pan paperback will set you back around twenty quid these days, while you'd have to stump up north of £50 for a Gerald Duckworth first edition/first printing (it went into a second printing swiftly after the first). I "borrowed" my mum's Pan paperback years ago, but she'll no doubt be delighted to learn that she can now have it back, as I recently won a Duckworth 1st/1st – with its Michael Heath-illustrated jacket – on eBay – and it was definitely worth doing so, because unlike the Pan edition, the Duckworth hardback features a generous helping of photographs, many of them from Bernard's personal collection. It also boasts some highly amusing letters (click to view larger):
Moreover, the eBay seller I acquired my copy from kindly included some related newspaper clippings too:
Low Life still ranks as one of my favourite books, but although, as John Osborne states, it is autobiographical, by its very nature it provides only a partial picture of Jeffrey Bernard. A fuller account of Bernard's life can be found in the next book I'll be blogging about – a 1992 biography which contains some startling revelations about Bernard, but which, like Low Life, has also fallen out of print...
*At least, under its Low Life title. Because as Ian Penman pointed out to me on Twitter after I posted this, Gerald Duckworth did issue a version of Low Life, retitled Reach for the Ground: The Downhill Struggle of Jeffrey Bernard, featuring a new foreword by Peter O'Toole, in 2002. UPDATE, 12/6/13: Except, as Kim Davis points out in the comments below, that collection only contains a few of the Low Life columns. Which rather makes a mockery of this footnote. Sigh.
Wednesday, 7 March 2012
My Silent War, the Autobiography of Spy Kim Philby: a Review of the True First Edition (MacGibbon & Kee, 1968)
Trawling through the charity shops of Lewes, Brighton and Sussex for top flight first editions – something I do, as this blog attests, on a regular basis – tends to be a fairly fruitless exercise. By and large what you turn up are relatively recent books, the true gems proving few and far between. But every now and then a real find presents itself, and such was the case with this book, bought in the Brighton branch of Oxfam Books for £6.99:
This is the British hardback first edition of My Silent War, Cambridge spy Harold Adrian Russell "Kim" Philby's autobiography, published by MacGibbon & Kee in 1968 under a dustjacket designed by Michael Jarvis. Crucially, however, it's also the first impression, which makes it really rather special: most of the copies listed for sale on AbeBooks are later impressions, in which two catty references to Lady Kelly, wife of Sir David Kelly, British Ambassador to Turkey and then the USSR, have been removed (the 1968 US Grove Press edition retains the references); among other disparaging remarks, Philby describes Lady Kelly as "an appalling female... distinguished by a mind both pretentious and pedestrian".
I've blogged about Kim Philby – probably the most famous of the five Cambridge spies – a fair few times before, most recently in this post on spy novelist Anthony Price (as was established last year, Price was one of the authors Philby read during his Russian exile), but also this post on Philby's wife, Eleanor's, autobiography (also published in 1968); this one on Patrick Seale and Maureen McConville's 1973 biography of Philby; this post about Graham Greene's The Human Factor (Greene, a firm friend of Philby's, provides an introduction to My Silent War – more on that anon); this one on Alan Williams's speculative novel about Philby; and of course this review of John le Carré's Tinker, Tailor, Solider, Spy, Philby's treachery having inspired le Carré's masterwork. I suppose I keep returning to him because of my interest in spy fiction and espionage, but of all the Philby-related books that have been published over the years, My Silent War was the one I most wanted to read.
As it turns out, however, it's something of a mixed bag. It's elegantly written, and interesting in respect of the inner workings of British Intelligence during and after the war, but it's not especially revealing as regards how and when Philby was recruited by the Russians – he became a Communist supporter at Cambridge – or how he interacted with his Soviet handlers. To my mind the biggest revelation comes in Philby's foreword, where he argues that he was not, as is often stated, "a double agent, or even... a triple agent... working with equal zeal for two or more sides at once", but "a straight penetration agent working in the Soviet interest". Philby continues:
The fact that I joined the British Secret Intelligence Service is neither here nor there; I regarded my SIS appointments purely in the light of cover-jobs, to be carried out sufficiently well to ensure my attaining positions in which my service to the Soviet Union would be most effective. My connection with SIS must be seen against my prior total commitment to the Soviet Union which I regarded then, as I do now, the inner fortress of the world movement.
It's striking, then, that much of that "service to the Soviet Union" is dealt with in the book either by inference or obliquely. The first half of My Silent War details Philby's recruitment to SIS and the war effort, with attendant office politics, training, organisation, reorganisation and gossip, with nary a mention of Philby's "other" career. It's only once British attention turns away from Germany at the close of the war and instead towards Russia that Philby really mentions his "Soviet contact", but even with Philby's arrival at Section IX, which targeted the USSR, he seems more interested in departmental hierarchy than in his KGB spying duties – although since the configuration of Section IX directly impacted SIS actions against the Russians, that's perhaps a good example of Philby's oblique approach to his extracurricular activities.
Indeed, the picture Philby paints of SIS isn't especially flattering – "shambolic" would be the best word to describe the service Philby depicts – something which has been identified by E. D. R. Harrison in his 1995 Intelligence and National Security article "More Thoughts on Kim Philby's My Silent War" as Philby's "vendetta against the West". The accusation is that Philby's memoir is KGB propaganda, pure and simple, and there may well be a large element of that in the book. But in his earlier Intelligence and National Security article "Some Reflections on Kim Philby's My Silent War as a Historical Source", Harrison betrays his own politics when he notes that Philby's "praise of the USSR at times verges on the ludicrous". I'm sure it strikes Harrison as such, but since Philby himself states that he was "a straight penetration agent working in the Soviet interest", it's a little disingenuous to criticise the book in that light, however mistaken or misguided one might feel Philby was.
Of course, the ideological clash between East and West was titanic, and arouses strong passions still. And given the scope of Philby's treachery, it's understandable that that, too, provokes profound distaste. But as the book enters its final phase, with the unmasking of Donald Maclean and Maclean and Guy Burgess's defection to Russia, and the subsequent interrogation of Philby by MI5, it's hard not to get swept up in the drama of it all. These were the highest stakes Philby, Burgess, Maclean et al were playing for, and though they were, in my opinion, wrongheaded, the manner and method by which Philby – and by extension his fellow Cambridge conspirators – maintained the deception over so many years is almost, dare I say it, admirable. As Philby puts it: "Thirty years in the underground is a long stretch, and I cannot pretend that they left no mark."
Philby himself defected in 1963; My Silent War was written during his Moscow exile, and was therefore almost certainly vetted by the KGB – hence Harrison (and others') accusations of propaganda – in which context the withholding by Philby of information about his handler(s) becomes more explicable. Philby is well aware of his omissions – of one appointment with his "Soviet friends" he notes wryly, "What passed there is no concern of the reader" – but here again, Philby has an answer for his critics, particularly concerning the seven years he spent in the Middle East prior to defecting, which he largely glosses over in the book: "If the British Government can use the fifty-year rule to suppress the publication of official documents, I can also claim the right to veil in decent discretion events that took place as little as ten or five years ago." Conversely, this explanation comes in the epilogue, which is actually more open about Philby's "career in Soviet service" than the preceding 150 pages.
There's no doubting the sincerity of Philby's conviction and commitment to his cause – in his introduction he mentions his "persisting faith in Communism" and states "as I look over Moscow from my study window, I can see the solid foundations of the future I glimpsed at Cambridge" – which is something Philby's friend and SIS colleague, Graham Greene, makes the central point in his introduction to the book. Greene writes:
We were told to expect a lot of propaganda, but [the book] contains none, unless a dignified statement of his beliefs and motives can be called propaganda. The end, of course, in his eyes is held to justify the means, but this is a view taken, perhaps less openly, by most men involved in politics, if we are to judge them by their actions, whether the politician be a Disraeli or a Wilson. 'He betrayed his country'—yes, perhaps he did, but who among us has not committed treason to something or someone more important than a country? In Philby's own eyes he was working for a shape of things to come from which his country would benefit.
As for the denigration of SIS highlighted by E. D. R. Harrison, Greene, who had first hand experience of SIS, notes that Philby's "account of the British Secret Service is devastatingly true".
Graham Greene of course wrote a number of espionage novels in his career, among them the aforementioned The Human Factor, which he initially began writing ten years prior to its eventual 1978 publication, abandoning it "mainly because of the Philby affair" and not wishing the novel to be "taken as a roman a clef" (see the Greeneland website). And it's to The Human Factor than I'll be turning next, with a review of a very special edition of the book which, having already bought two copies of the novel early in 2011, I subsequently chanced upon in a Lewes bookshop...
This is the British hardback first edition of My Silent War, Cambridge spy Harold Adrian Russell "Kim" Philby's autobiography, published by MacGibbon & Kee in 1968 under a dustjacket designed by Michael Jarvis. Crucially, however, it's also the first impression, which makes it really rather special: most of the copies listed for sale on AbeBooks are later impressions, in which two catty references to Lady Kelly, wife of Sir David Kelly, British Ambassador to Turkey and then the USSR, have been removed (the 1968 US Grove Press edition retains the references); among other disparaging remarks, Philby describes Lady Kelly as "an appalling female... distinguished by a mind both pretentious and pedestrian".
I've blogged about Kim Philby – probably the most famous of the five Cambridge spies – a fair few times before, most recently in this post on spy novelist Anthony Price (as was established last year, Price was one of the authors Philby read during his Russian exile), but also this post on Philby's wife, Eleanor's, autobiography (also published in 1968); this one on Patrick Seale and Maureen McConville's 1973 biography of Philby; this post about Graham Greene's The Human Factor (Greene, a firm friend of Philby's, provides an introduction to My Silent War – more on that anon); this one on Alan Williams's speculative novel about Philby; and of course this review of John le Carré's Tinker, Tailor, Solider, Spy, Philby's treachery having inspired le Carré's masterwork. I suppose I keep returning to him because of my interest in spy fiction and espionage, but of all the Philby-related books that have been published over the years, My Silent War was the one I most wanted to read.
As it turns out, however, it's something of a mixed bag. It's elegantly written, and interesting in respect of the inner workings of British Intelligence during and after the war, but it's not especially revealing as regards how and when Philby was recruited by the Russians – he became a Communist supporter at Cambridge – or how he interacted with his Soviet handlers. To my mind the biggest revelation comes in Philby's foreword, where he argues that he was not, as is often stated, "a double agent, or even... a triple agent... working with equal zeal for two or more sides at once", but "a straight penetration agent working in the Soviet interest". Philby continues:
The fact that I joined the British Secret Intelligence Service is neither here nor there; I regarded my SIS appointments purely in the light of cover-jobs, to be carried out sufficiently well to ensure my attaining positions in which my service to the Soviet Union would be most effective. My connection with SIS must be seen against my prior total commitment to the Soviet Union which I regarded then, as I do now, the inner fortress of the world movement.
It's striking, then, that much of that "service to the Soviet Union" is dealt with in the book either by inference or obliquely. The first half of My Silent War details Philby's recruitment to SIS and the war effort, with attendant office politics, training, organisation, reorganisation and gossip, with nary a mention of Philby's "other" career. It's only once British attention turns away from Germany at the close of the war and instead towards Russia that Philby really mentions his "Soviet contact", but even with Philby's arrival at Section IX, which targeted the USSR, he seems more interested in departmental hierarchy than in his KGB spying duties – although since the configuration of Section IX directly impacted SIS actions against the Russians, that's perhaps a good example of Philby's oblique approach to his extracurricular activities.
Indeed, the picture Philby paints of SIS isn't especially flattering – "shambolic" would be the best word to describe the service Philby depicts – something which has been identified by E. D. R. Harrison in his 1995 Intelligence and National Security article "More Thoughts on Kim Philby's My Silent War" as Philby's "vendetta against the West". The accusation is that Philby's memoir is KGB propaganda, pure and simple, and there may well be a large element of that in the book. But in his earlier Intelligence and National Security article "Some Reflections on Kim Philby's My Silent War as a Historical Source", Harrison betrays his own politics when he notes that Philby's "praise of the USSR at times verges on the ludicrous". I'm sure it strikes Harrison as such, but since Philby himself states that he was "a straight penetration agent working in the Soviet interest", it's a little disingenuous to criticise the book in that light, however mistaken or misguided one might feel Philby was.
Of course, the ideological clash between East and West was titanic, and arouses strong passions still. And given the scope of Philby's treachery, it's understandable that that, too, provokes profound distaste. But as the book enters its final phase, with the unmasking of Donald Maclean and Maclean and Guy Burgess's defection to Russia, and the subsequent interrogation of Philby by MI5, it's hard not to get swept up in the drama of it all. These were the highest stakes Philby, Burgess, Maclean et al were playing for, and though they were, in my opinion, wrongheaded, the manner and method by which Philby – and by extension his fellow Cambridge conspirators – maintained the deception over so many years is almost, dare I say it, admirable. As Philby puts it: "Thirty years in the underground is a long stretch, and I cannot pretend that they left no mark."
Philby himself defected in 1963; My Silent War was written during his Moscow exile, and was therefore almost certainly vetted by the KGB – hence Harrison (and others') accusations of propaganda – in which context the withholding by Philby of information about his handler(s) becomes more explicable. Philby is well aware of his omissions – of one appointment with his "Soviet friends" he notes wryly, "What passed there is no concern of the reader" – but here again, Philby has an answer for his critics, particularly concerning the seven years he spent in the Middle East prior to defecting, which he largely glosses over in the book: "If the British Government can use the fifty-year rule to suppress the publication of official documents, I can also claim the right to veil in decent discretion events that took place as little as ten or five years ago." Conversely, this explanation comes in the epilogue, which is actually more open about Philby's "career in Soviet service" than the preceding 150 pages.
There's no doubting the sincerity of Philby's conviction and commitment to his cause – in his introduction he mentions his "persisting faith in Communism" and states "as I look over Moscow from my study window, I can see the solid foundations of the future I glimpsed at Cambridge" – which is something Philby's friend and SIS colleague, Graham Greene, makes the central point in his introduction to the book. Greene writes:
We were told to expect a lot of propaganda, but [the book] contains none, unless a dignified statement of his beliefs and motives can be called propaganda. The end, of course, in his eyes is held to justify the means, but this is a view taken, perhaps less openly, by most men involved in politics, if we are to judge them by their actions, whether the politician be a Disraeli or a Wilson. 'He betrayed his country'—yes, perhaps he did, but who among us has not committed treason to something or someone more important than a country? In Philby's own eyes he was working for a shape of things to come from which his country would benefit.
As for the denigration of SIS highlighted by E. D. R. Harrison, Greene, who had first hand experience of SIS, notes that Philby's "account of the British Secret Service is devastatingly true".
Graham Greene of course wrote a number of espionage novels in his career, among them the aforementioned The Human Factor, which he initially began writing ten years prior to its eventual 1978 publication, abandoning it "mainly because of the Philby affair" and not wishing the novel to be "taken as a roman a clef" (see the Greeneland website). And it's to The Human Factor than I'll be turning next, with a review of a very special edition of the book which, having already bought two copies of the novel early in 2011, I subsequently chanced upon in a Lewes bookshop...
Friday, 13 May 2011
A Forgotten Book? Kim Philby: The Spy I Loved, by Eleanor Philby (Hamish Hamilton/Pan, 1968)
First, an admission: this latest book in this series of posts on non-fiction first editions was something of an eleventh-hour addition. I was inspired to track it down as a result of writing the first post in the run, on Patrick Seale and Maureen McConville's Philby: The Long Road to Moscow. Y'see, on the dustjacket back flap of that biography, there's a note to the effect that Seale and McConville assisted Philby's third wife, Eleanor, in the writing of her memoir about her master spy husband. My interest duly piqued, I set about tracking down a copy of that memoir, and managed to find a near fine first edition which the seller – Jenny at Lost World Books in Great Yarmouth – was kind enough to send to me in record time – which just goes to show how Existential Ennui's carefully cultivated air of meticulous planning and rigorous scheduling is in reality little more than flighty but ultimately serendipitous happenstance. And here is that book:
This is the hardback first edition of Kim Philby: The Spy I Loved by Eleanor Philby, with a dustjacket front cover photo by Olga Mathews. It was published in the UK by Hamish Hamilton in 1968 in conjunction with paperback publisher Pan Books, who issued a simultaneous mass market softcover edition. Essentially it's Eleanor's memoir of her time with Kim, from her first meeting with him in a Beirut bar in 1956 (when Eleanor was still married to New York Times correspondent Sam Pope Brewer), six days before the Suez war exploded, to their final parting in 1965, when Eleanor left the now-defected Philby in Moscow. Although the book isn't as linear as that would suggest: for example it begins with Kim's disappearance from Beirut in January 1963.
Published just a year after Philby's own autobiography, My Silent War, it's the kind of book you'd have thought might have been something of a small sensation back then, and well-remembered now; Eleanor writes in a lucid, unfussy manner, perhaps assisted by journalists Seale and McConville, and it's certainly an intriguing tale, told from an insider's perspective. But that doesn't appear to be the case. After the twin 1968 hardback/paperback editions there were no further UK printings. AbeBooks has just twelve copies of the Pan paperback listed worldwide, and only around seven copies of the Hamilton hardback edition. Meanwhile there are only six copies listed of the 1968 US Ballantine paperback, which goes under the alternate title The Spy I Married – thus rather missing the point of alluding to Fleming's The Spy Who Loved Me.
There's precious little about the book elsewhere online, either. This contemporaneous 1968 Time review of four Philby-related books mentions it in passing, and it was used as a source for this 2003 Guardian piece on spies and their lovers, but that's about it. One has to wonder why it fell out of print so swiftly, particularly when it has some good images in it too, including Kim's handwritten note to Eleanor after their final parting on the back cover, Jane Bown's great photo of Philby (also used on the cover of the aforementioned Philby: The Long Road to Moscow), and a couple of Eleanor's own pics from Beirut.
In fact there's probably more online about the 2004 movie the book inspired. A Different Loyalty was directed by Marek Kanievska, who also directed Another Country (1984) and Less Than Zero (1987 – and which, incidentally, has a terrific hip hop/rock soundtrack); it stars Rupert Everett as Kim and Sharon Stone as Eleanor, renamed respectively as Leo and Sally Tyler Cauffield. The book isn't credited, but the film's synopsis suggests (I haven't seen the movie) that the story is very similar. Judging by its reviews, however, it's apparently rather arid; Slant magazine (whoever they may be) labelled it a "dry-mouthed melodrama in serious need of a more Sirkian touch".
Even so, one would have thought its release might have prompted a reissue of Eleanor's memoir. Such was not the case, however, and sadly The Spy I Loved seems destined to lurk in semi-obscurity. Although perhaps this post will go some small way towards addressing that...
And that's about it for this run of posts on non-fiction books... although I do have one further non-fiction title I might be able to squeeze in over the next day or so – a political work which I bought in a Lewes charity shop the other week, and which is actually signed by its author. But whether I manage to post something on that or not, the next run of posts will be on a crime fiction author who, once again, I was moved to investigate thanks to Book Glutton after he left a comment on this post back in March. That's P. M. Hubbard – coming soon...
This is the hardback first edition of Kim Philby: The Spy I Loved by Eleanor Philby, with a dustjacket front cover photo by Olga Mathews. It was published in the UK by Hamish Hamilton in 1968 in conjunction with paperback publisher Pan Books, who issued a simultaneous mass market softcover edition. Essentially it's Eleanor's memoir of her time with Kim, from her first meeting with him in a Beirut bar in 1956 (when Eleanor was still married to New York Times correspondent Sam Pope Brewer), six days before the Suez war exploded, to their final parting in 1965, when Eleanor left the now-defected Philby in Moscow. Although the book isn't as linear as that would suggest: for example it begins with Kim's disappearance from Beirut in January 1963.
Published just a year after Philby's own autobiography, My Silent War, it's the kind of book you'd have thought might have been something of a small sensation back then, and well-remembered now; Eleanor writes in a lucid, unfussy manner, perhaps assisted by journalists Seale and McConville, and it's certainly an intriguing tale, told from an insider's perspective. But that doesn't appear to be the case. After the twin 1968 hardback/paperback editions there were no further UK printings. AbeBooks has just twelve copies of the Pan paperback listed worldwide, and only around seven copies of the Hamilton hardback edition. Meanwhile there are only six copies listed of the 1968 US Ballantine paperback, which goes under the alternate title The Spy I Married – thus rather missing the point of alluding to Fleming's The Spy Who Loved Me.
There's precious little about the book elsewhere online, either. This contemporaneous 1968 Time review of four Philby-related books mentions it in passing, and it was used as a source for this 2003 Guardian piece on spies and their lovers, but that's about it. One has to wonder why it fell out of print so swiftly, particularly when it has some good images in it too, including Kim's handwritten note to Eleanor after their final parting on the back cover, Jane Bown's great photo of Philby (also used on the cover of the aforementioned Philby: The Long Road to Moscow), and a couple of Eleanor's own pics from Beirut.
In fact there's probably more online about the 2004 movie the book inspired. A Different Loyalty was directed by Marek Kanievska, who also directed Another Country (1984) and Less Than Zero (1987 – and which, incidentally, has a terrific hip hop/rock soundtrack); it stars Rupert Everett as Kim and Sharon Stone as Eleanor, renamed respectively as Leo and Sally Tyler Cauffield. The book isn't credited, but the film's synopsis suggests (I haven't seen the movie) that the story is very similar. Judging by its reviews, however, it's apparently rather arid; Slant magazine (whoever they may be) labelled it a "dry-mouthed melodrama in serious need of a more Sirkian touch".
Even so, one would have thought its release might have prompted a reissue of Eleanor's memoir. Such was not the case, however, and sadly The Spy I Loved seems destined to lurk in semi-obscurity. Although perhaps this post will go some small way towards addressing that...
And that's about it for this run of posts on non-fiction books... although I do have one further non-fiction title I might be able to squeeze in over the next day or so – a political work which I bought in a Lewes charity shop the other week, and which is actually signed by its author. But whether I manage to post something on that or not, the next run of posts will be on a crime fiction author who, once again, I was moved to investigate thanks to Book Glutton after he left a comment on this post back in March. That's P. M. Hubbard – coming soon...
Monday, 9 May 2011
Eastbourne Book Bargain: Spycatcher by Peter Wright and Paul Greengrass (Viking US, 1987, First Edition)
The previous post in this series on a bunch of espionage-related non-fiction books I've bought in various Sussex (and elsewhere) locations fairly recently was on a biography of master spy Kim Philby; now it's the turn of an autobiography by a hunter of spies – one which does, in fact, feature the aforementioned Mr. Philby:
This is the US first edition/first impression hardback of Spycatcher by Peter Wright, published by Viking/Penguin in 1987. I got this in a charity shop in Eastbourne (for a quid) on my birthday day out back in March; the shop assistant had only just stuck it on the shelf, so I was quite chuffed to be able to grab it, because although copies of Spycatcher are abundant in charity shops and bookshops, first printings are less so – the US first edition went through at least nine printings that I know of. So how come? And why an American edition rather than a British one?
Well, Spycatcher, you may or may not recall, was banned by the British government in 1985 when Wright first attempted to publish it. Wright was a former Assistant Director of/counterintelligence officer in MI5, and the book was a candid account of his time in the secret services, including his (and others') suspicions about the "fifth man" in the Cambridge spy ring (which included the aforementioned Philby), who Wright identified in the book as Sir Roger Hollis, head of MI5. Under Prime Minister Margaret Thatcher the Conservative government successfully managed to stop its publication... but only in England. Despite their further attempts to stop the book being released in Australia, it was published over there, and in the States. (There's a good summary of the various legal shenanigans here.)
Consequently the only copies of the first edition available were overseas ones, which went through multiple printings. So it was nice to lay my hands on a first printing of the American first edition:
Even though the true first edition is recognised as being the Australian one, which was printed in Dublin and available in the UK for a single day before the injunction against the book came into effect. (The interior photos in that true first were omitted in the rush to print the thing.) Interestingly, later printings of all editions featured a change to the front cover: the addition of a co-writer credit, one Paul Greengrass, who was, back then, a journalist but who is rather better known these days as the director of two of the Bourne movies.
I haven't read Spycatcher yet, but my estimable colleague and friend Roly Allen (whose birthday I believe it is today – happy birthday, mon frere) has, and reckons it's one of the best books he's ever encountered. High praise indeed. Anyway, next up: from a former spy, to the creator of perhaps the most famous spy on the planet...
This is the US first edition/first impression hardback of Spycatcher by Peter Wright, published by Viking/Penguin in 1987. I got this in a charity shop in Eastbourne (for a quid) on my birthday day out back in March; the shop assistant had only just stuck it on the shelf, so I was quite chuffed to be able to grab it, because although copies of Spycatcher are abundant in charity shops and bookshops, first printings are less so – the US first edition went through at least nine printings that I know of. So how come? And why an American edition rather than a British one?
Well, Spycatcher, you may or may not recall, was banned by the British government in 1985 when Wright first attempted to publish it. Wright was a former Assistant Director of/counterintelligence officer in MI5, and the book was a candid account of his time in the secret services, including his (and others') suspicions about the "fifth man" in the Cambridge spy ring (which included the aforementioned Philby), who Wright identified in the book as Sir Roger Hollis, head of MI5. Under Prime Minister Margaret Thatcher the Conservative government successfully managed to stop its publication... but only in England. Despite their further attempts to stop the book being released in Australia, it was published over there, and in the States. (There's a good summary of the various legal shenanigans here.)
Consequently the only copies of the first edition available were overseas ones, which went through multiple printings. So it was nice to lay my hands on a first printing of the American first edition:
Even though the true first edition is recognised as being the Australian one, which was printed in Dublin and available in the UK for a single day before the injunction against the book came into effect. (The interior photos in that true first were omitted in the rush to print the thing.) Interestingly, later printings of all editions featured a change to the front cover: the addition of a co-writer credit, one Paul Greengrass, who was, back then, a journalist but who is rather better known these days as the director of two of the Bourne movies.
I haven't read Spycatcher yet, but my estimable colleague and friend Roly Allen (whose birthday I believe it is today – happy birthday, mon frere) has, and reckons it's one of the best books he's ever encountered. High praise indeed. Anyway, next up: from a former spy, to the creator of perhaps the most famous spy on the planet...
Friday, 16 July 2010
New Arrival: The Third Man: Life at the Heart of New Labour by Peter Mandelson
Something slightly different today:

This is the UK first hardback edition of former Labour spin doctor/minister/now Lord Mandelson's memoirs of his time at the heart of the New Labour operation, The Third Man, published by Harper yesterday. Not the sort of thing I usually showcase here, but actually not as incongruous as it might seem.
For a good many years in the late 1990s and for a large part of the 2000s, I wasn't really reading much fiction (comics aside). Instead, I was reading political biographies, diaries, polemics and so on. I devoured everything from Alan Clark's three-volume Diaries (absolutely brilliant; I have a first edition of the original Diaries) to Andrew Rawnsley's Servants of the People (the definitive account of New Labour's path to power in 1997), biographies of Tony Blair, Gordon Brown and Peter Mandelson, Peter Oborne's biography/hack job on Labour spinmeister Alastair Campbell, Nick Cohen's polemical Pretty Straight Guys... anything I could get my hands on really.
This was all the result of a late-flowering interest in politics, fired by Labour forming a government in 1997. I'd always cared about politics, but it was the party I supported getting into power that really made me excited. I'm not gonna get into the rights and wrongs of the Labour government (and particularly not the Iraq War), except to say I believe they did a lot more for the less-well-off in this county than they're often given credit. But of all the New Labour figures, it was Peter Mandelson I found the most fascinating.
The grandson of Herbert Morrison, the noted Labour cabinet minister, Mandelson went to work for Labour in the mid-'80s, running the 1987 general election campaign. He was instrumental in Neil Kinnock's battles with the far left of the party – the Militant Tendency idiots – but it was his friendship with Gordon Brown and then Tony Blair that would form the basis of his political career. He was selected as the candidate for Hartlepool in 1990 and elected to the House of Commons in 1992, from where he helped construct the New Labour project, plotting Labour's 1997 election landslide. Brown famously fell out with Mandelson after Tony Blair's rise to leader of Labour in 1994, but bridges were mended in the last few years when Brown – now PM – brought Mandleson into his government as a Lord. Mandelson himself was twice ejected from cabinet, the first time rather more justifiably than the second, but even in his periods in the wilderness, he never stopped advising Tony Blair and, latterly, when he was EU commissioner, Gordon Brown.
Tony Blair's autobiography is due out soon, and Alastair Campbell's already published his diaries, but this is the book I was most looking forward to. Mandy is a clever, articulate, arch, amusing man; his strategic thinking, understanding of how the media works (he was a producer at London Weekend Television before going into politics) and passion for a fairer, more cosmopilitan, more tolerant Britain helped make Labour electable again. The fact that he's widely loathed by large sections of the British public only makes him more appealing to me; large sections of the British public can be pretty dense at times. And if nothing else, Mandelson can certainly turn an elegant phrase...

This is the UK first hardback edition of former Labour spin doctor/minister/now Lord Mandelson's memoirs of his time at the heart of the New Labour operation, The Third Man, published by Harper yesterday. Not the sort of thing I usually showcase here, but actually not as incongruous as it might seem.
For a good many years in the late 1990s and for a large part of the 2000s, I wasn't really reading much fiction (comics aside). Instead, I was reading political biographies, diaries, polemics and so on. I devoured everything from Alan Clark's three-volume Diaries (absolutely brilliant; I have a first edition of the original Diaries) to Andrew Rawnsley's Servants of the People (the definitive account of New Labour's path to power in 1997), biographies of Tony Blair, Gordon Brown and Peter Mandelson, Peter Oborne's biography/hack job on Labour spinmeister Alastair Campbell, Nick Cohen's polemical Pretty Straight Guys... anything I could get my hands on really.
This was all the result of a late-flowering interest in politics, fired by Labour forming a government in 1997. I'd always cared about politics, but it was the party I supported getting into power that really made me excited. I'm not gonna get into the rights and wrongs of the Labour government (and particularly not the Iraq War), except to say I believe they did a lot more for the less-well-off in this county than they're often given credit. But of all the New Labour figures, it was Peter Mandelson I found the most fascinating.
The grandson of Herbert Morrison, the noted Labour cabinet minister, Mandelson went to work for Labour in the mid-'80s, running the 1987 general election campaign. He was instrumental in Neil Kinnock's battles with the far left of the party – the Militant Tendency idiots – but it was his friendship with Gordon Brown and then Tony Blair that would form the basis of his political career. He was selected as the candidate for Hartlepool in 1990 and elected to the House of Commons in 1992, from where he helped construct the New Labour project, plotting Labour's 1997 election landslide. Brown famously fell out with Mandelson after Tony Blair's rise to leader of Labour in 1994, but bridges were mended in the last few years when Brown – now PM – brought Mandleson into his government as a Lord. Mandelson himself was twice ejected from cabinet, the first time rather more justifiably than the second, but even in his periods in the wilderness, he never stopped advising Tony Blair and, latterly, when he was EU commissioner, Gordon Brown.
Tony Blair's autobiography is due out soon, and Alastair Campbell's already published his diaries, but this is the book I was most looking forward to. Mandy is a clever, articulate, arch, amusing man; his strategic thinking, understanding of how the media works (he was a producer at London Weekend Television before going into politics) and passion for a fairer, more cosmopilitan, more tolerant Britain helped make Labour electable again. The fact that he's widely loathed by large sections of the British public only makes him more appealing to me; large sections of the British public can be pretty dense at times. And if nothing else, Mandelson can certainly turn an elegant phrase...
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