The James Bond Bedside Companion

by Raymond Benson

  The fact that CASINO ROYALE was published by Jonathan Cape, who hadn't really delved into the suspense genre before, gave the book a certain prestige and when the reviews came out, Fleming had a critical winner. The Times Literary Supplement said that "Mr. Ian Fleming's first novel is an extremely engaging affair," and that he might become the best new thriller writer since Eric Ambler." R. D. Charques in the Spectator said, ". . . lively, most ingenious in detail, on the surface as tough as they are made and charmingly well-bred beneath, nicely written and except for a too ingeniously sadistic bout of brutality—very entertaining reading."

  Many of Fleming's friends liked it as well. Somerset Maugham and Paul Gallico both praised the work, and suddenly he was being compared to Peter Cheyney and others. The royalties from the book didn't amount to as much as he'd hoped, but Fleming looked forward to the prospect of an American sale. That spring, Fleming became a client of Curtis Brown, Ltd. in New York. His agent, Naomi Burton, was struck by the card game in the story, which she felt was "frightfully excitingly written." She offered the book to three publishers, Doubleday, Norton, and Knopf, all of whom rejected it.

  While CASINO ROYALE was making the rounds with American publishers, Ian and Anne traveled to the South of France in April on behalf of Kemsley House to observe Jacques Cousteau salvaging a Graeco-Roman galley. Buried treasure fascinated Fleming, and indeed, the plot of LIVE AND LET DIE had to do with a pirate hoard of seventeenth-century gold coins. Three articles Fleming wrote on the Cousteau expedition for the Sunday Times show his mastery of describing the underwater world. The Cousteau experience no doubt gave Fleming a great deal of the detail he needed to fill out LIVE AND LET DIE.

  When Fleming returned to New York in May, Naomi Burton introduced him to Al Hart at Macmillan Publishing Co. Hart read CASINO ROYALE and was struck by its "sheer readability." Macmillan made an offer, and the novel was scheduled for early 1954. Al Hart edited the first six Bond novels in America, and became a good friend and drinking companion to Fleming whenever he was in New York. By the end of 1953, the James Bond snowball was beginning to grow.

  The beginning of 1954 found Ian and Anne traveling again to Jamaica for their two months leave. Ian arrived with a temperature and flu, but nevertheless began writing the third Bond opus, MOONRAKER. He apparently had some trouble naming this one, for he alternated between two working titles, MONDAYS ARE HELL and HELL IS HERE. MOONRAKER was a much lower-key story than the previous two, and Fleming had doubts about it. In jest, he wrote to Clare Blanshard in New York that he wasn't sure about the book yet because there "was no sex in the first 30,000 words!" The ending to the novel underwent many changes. The first draft featured Gala Brand (the heroine) taking a month's leave in France with Bond, after they both receive the Queen's award of the George Cross. One revision featured only Gala receiving the award, with the two of them still running away together. A further revision found Gala opting to remain in England to marry a "Peter Bruce." In the final version, Gala is engaged to "Detective Inspector Vivian," and Fleming, for once, did not end his story with a girl in James Bond's arms.

  On March 23, CASINO ROYALE was published in the United States by Macmillan. The book went virtually unnoticed. Actually, Ian Fleming had little success in America until 1961, when President Kennedy stated that he was a James Bond fan. In the fifties, Fleming was successful primarily in England, where James Bond had a sizable following. But even the British were slow to catch on, and it wasn't until two or three years later that the books began selling at a rate sufficient to make the literary world sit up and take notice.

  The author takes a look at the first American edition of his first novel, CASINO ROYALE. (Photo by Maurey Garber.)

  Save for a few noted exceptions, the U.S. reviews for CASINO ROYALE were not particularly flattering. Anthony Boucher, in the New York Times Book Review, began what became long-standing complaints against Fleming by saying that the writer "pads the book out to novel length, leading to an ending which surprises no one but Bond himself." But on the positive side, Boucher credited the author for the gambling sequence:

  Mr. Fleming, in a style suggesting a more literate version of Cheyney's "Dark" series, manages to make baccarat completely clear even to one who's never played it and produces as exciting a gambling sequence as I've ever read.

  Sergeant Cuff, in Saturday Review, stated that CASINO ROYALE was a "fine thriller by a new hand." Time said that "Author Fleming keeps his incidents and characters spinning through their paces like juggling balls."

  However, the real problem was not the reviews, but the sales. The first edition of CASINO ROYALE came and went in America, and James Bond was off to a disappointing start.

  On April 8, 1954, LIVE AND LET DIE was published by Jonathan Cape in the United Kingdom. The attractive jacket was scarlet with the title in large yellow letters. On the spine was an Edward IV gold rose noble coin. The jacket was again designed by Fleming. LIVE AND LET DIE received very good reviews in England. The Times Literary Supplement stated that "Mr. Ian Fleming is without a doubt the most interesting recent recruit among thriller-writers." It went on to say that Fleming's second novel "fully maintains the promise of his first book," and that he wrote "wincingly well." Time & Tide said the book was "a snorter—from first word to last." The book was an immediate bestseller, and today this first edition, too, is both valuable and difficult to find.

  By June of 1954, the British edition of CASINO ROYALE had sold over 8,000 copies. In the United States, despite poor sales of a mere 4,000 copies, Popular Library bought paperback rights to the book and published it under the title, YOU ASKED FOR IT. Apparently, it was thought that American readers wouldn't know how to pronounce "Royale."

  LIVE AND LET DIE sold out its 7,500 first printing, and was reprinted. It was around this time that film companies and producers began to be interested in James Bond. Sir Alexander Korda asked to see an advance copy of LIVE AND LET DIE, but later returned it. Then the Columbia Broadcasting System offered Fleming $1,000 to do a one-hour television adaptation of CASINO ROYALE. The deal was made through Curtis Brown in New York, and James Bond would make a "live" debut in America that October.

  Fleming then began thinking about his next novel, which was to deal with diamond smuggling. Fleming never hesitated to enlist the help of experts in their fields for background material to his books. In this instance, he contacted an old Etonian friend, Philip Brownrigg, a senior executive of De Beers, one of the largest and wealthiest diamond merchants in the world. Brownrigg arranged for Fleming to visit the London Diamond Club to observe the cutting, polishing, and trading of stones. Brownrigg also introduced Fleming to Sir Percy Sillitoe, head of the Diamond Corporation's security organization created especially to combat illicit diamond trade. Sillitoe was a former head of M.I. 5, the cover title given to British Security Service (which is responsible for counterespionage). Of course, Fleming and Sillitoe took to each other immediately, and the two men worked together again a couple of years later on the story of Sillitoe's organization itself.

  In July, Fleming flew to New York to attend to Kemsley business, as well as meet with Ivar Bryce and Ernest Cuneo about NANA. They stayed at the Bryces' home, Black Hole Hollow Farm in Vermont, which is not too far from the racetrack in Saratoga Springs, New York. Because Josephine Bryce had horses running, the group paid a visit to Saratoga, an experience that promptly went into DIAMONDS ARE FOREVER. It was here also that Fleming met William Woodward, Jr., a handsome millionaire who owned the famous race horse, Nashua. Woodward was the owner as well of the "Studillac" car which Fleming appropriated for Felix Leiter in his fourth novel. The Studillac was a mixed breed, a Studebaker body with a Cadillac engine, and could reach a speed of 85 m.p.h. in a matter of seconds! The Bryces remember that once when Fleming and Josephine were speeding down a country road in the Studillac, they were stopped and arrested by the highway patrol. Fortunately, the local sheriff happened to have recently read a James Bond novel and let Fleming off the hook. A few mon
ths later, William Woodward was shot by his own wife in a tragic accident; she mistook him for a burglar. DIAMONDS ARE FOREVER was dedicated to Ivar Bryce, Cuneo, and Woodward.

  Front and back covers of the firstAmerican paperback edition of CASINO ROYALE, published in 1955. (© Copyright 1955 by Popular Library. Photo courtesy of collection of Michael Van Blaricum.)

  After the visit to Saratoga, Fleming and Cuneo decided to take a cross-country trip together. Fleming had never seen the Midwest or California, so the pair took off on the Twentieth Century Limited to Chicago. Cuneo fondly remembers that the train was already pulling into Albany before Fleming had finished instructing the steward how he wanted his martinis mixed!

  In Chicago, much to Cuneo's chagrin, Fleming was intent on seeing the location of the St. Valentine's Day Massacre. Cuneo convinced him first to visit the Art Institute of Chicago, which contains some of the great Impressionist masterpieces of the world. Fleming was entranced, and when Cuneo ribbed him about the fact that it was nice to find this much "culture" on the "great American prairie," Fleming grandly declared that the pictures had no right being in Chicago! The two men's relationship, remembers Cuneo, was one of constantly "guying" each other.

  The pair took the Superchief to Los Angeles, and Cuneo again remembers that they were halfway to Iowa before the stewards had absorbed their instructions on how to make Ian's martinis. Because Cuneo was a friend of Errett Cord, a chief stockholder in the Santa Fe Railroad, the men gained access to the engine room. During the ride, Fleming questioned the engineer and his assistant on everything from the block-signal system to something called the "dead man control." Fleming was particularly interested in railroads, and his novels frequently contained scenes taking place on trains.

  In Los Angeles, Fleming was in heaven when he and Cuneo visited the Los Angeles Police Intelligence Headquarters. Cuneo introduced Ian and himself to Captain James Hamilton, explaining that Fleming had the "usual distorted view" all Englishmen have of America. "They believe, you know, our country is laced by organized gangs of racketeers, of tremendous wealth, and of enormous influence." The captain, to Cuneo's amazement, replied, "Don't you?" The captain proceeded to conduct an animated conversation with Fleming about the criminal world. He took out charts and showed the author the Mafia organizations, its discipline, and how it works. Los Angeles' detective work had been reduced to what Cuneo calls a "business machine fineness." A detective at the scene of a fresh crime could telephone the details to his office, where the information was punched on a card and run through a machine. The computer matched specific details of the crime with particulars of other cases. In this way, the detectives determined if there was a similar pattern between the new case and earlier ones. Fleming scribbled down notes on a handy pad that he carried with him at all times. Cuneo was bored by the proceedings, but Fleming was fascinated.

  From Los Angeles, Fleming and Cuneo went to Las Vegas, a perfect locale for James Bond. They had hardly stepped off the plane when Fleming called to Cuneo with a "yelp of delight." He had found a coin machine from which, for a quarter, one could inhale pure oxygen for a couple of minutes. "This," Cuneo said to him, "ought to tell you all you want to know about the joint."

  The pair stayed at the Sands, and went to the blackjack tables even before going to their rooms. There, Fleming met Jack Entratta, the owner of the hotel, who moved them into a better suite and offered the use of the private barbershop. Entratta and Fleming had lengthy conversations about gambling statistics and methods of cheating. The entire security system of the hotel was explained to Fleming, and he relished every word.

  One evening, Cuneo told him that they would beat every joint in Las Vegas. "We started out at the Sands. I bet one dollar—one thin chip in a game of blackjack I won $1.00. 'One down,' I said, 'We leave.' We called over a girl, took a shot of champagne, and off we went. We did the same at the Sahara, the Old Frontier, right down the strip. One buck ahead and a one buck bet, we quit, took a sip, and went on to the next joint. Whether it was the liquor or my grim intent to beat every joint, I do not know. But literally, we laughed ourselves sick. One buck ahead and we quit—grandly announcing we had beaten the house to everyone's amazement, took a drink and whisked out, as if there were another notch on our guns. We ended way out at Steamboat Springs, about 4:00 a.m. We went out there because we wanted no possible questioning either in our minds or anybody else's that we beat every house in Las Vegas."

  Barry Nelson was the first actor to portray James Bond in a one-hour television version of CASINO ROYALE on CBS' Climax Mystery Theater program in 1954. The kinescope, long forgotten and missing for years, was recently found in Chicago by film historian Jim Schoenberger. The program was "unveiled" again at a gathering in Los Angeles. Here, Nelson is interviewed by Steven Jay Rubin, author of The James Bond Films. (Photo courtesy of Steven Jay Rubin.)

  Fleming used much of the material from his cross-country trip in DIAMONDS ARE FOREVER. He even named a character in the book, a Las Vegas cab driver, "Ernest Cuneo." He later sent Cuneo a plain gold money-clip inscribed, "To Ernie—my guide on a trip to the Angels and back. 007."

  For Fleming the final important event in 1954 was the TV showing of CASINO ROYALE in America on October 21. Presented by William Lundigan on his "Climax Mystery Theater" series (an anthology of suspense stories), the live broadcast was directed by Bretaigne Windust, adapted by Charles Bennett, and starred Barry Nelson as James Bond. Peter Lone was cast as Le Chiffre and Linda Christian portrayed "Valerie Mathis." The basic plot of the novel was somewhat adhered to, with one major change: James Bond was portrayed as an American, and it was Felix Leiter who was British! One amusing incident took place during the live broadcast due to a technical error. After Le Chiffre's "death," the camera remained on Peter Lone until he stood up and began to walk toward his dressing room! The presentation went, for the most part, unnoticed, and was soon forgotten. Clare Blanshard wrote Fleming a critique of the television show. She states that she "tore it to shreds," but Fleming later told her that he laughed at her comments until the tears ran down his cheeks.

  In early January 1955, LIVE AND LET DIE was published in the United States by Macmillan. Again, the critics did nothing to increase Fleming's success. Anthony Boucher wrote that the "high spots are all effectively described. . . but the narrative is loose and jerky. . ." There were a few publications that caught on early, such as the Springfield Republican. Its reviewer wrote, "The narrative moves at a headlong pace, there is sheer terror enough for a month of comic books, and a climax that is truly exciting. Don't read it unless your nerves are in pretty good shape." But the book sold hardly better than its predecessor.

  The American editions of Fleming's books rarely differ from their British counterparts. It is interesting to note, however, one specific change that was made in LIVE AND LET DIE. The title of Chapter Five was changed from "Nigger Heaven" to "Seventh Avenue" for obvious reasons.

  In January and February of 1955, Ian Fleming wrote DIAMONDS ARE FOREVER at Goldeneye. The original manuscript, 183 pages long, went through a few changes as well. The most important one, perhaps, was that the two Spangled Mob killers were originally named Wint and Gore. One of Anne Fleming's cousins was familiarly known as "Boofy" Gore and he had objected to the use of the name. Fleming reportedly apologized and changed the name Gore to Kidd.

  In March, film producer Gregory Ratoff offered to buy the film rights to CASINO ROYALE for $6,000. At this point, perhaps Fleming was a little discouraged over James Bond's poor performance. He was disappointed in the American sales, though there was still a small, but appreciative, English audience. Fleming sold the rights and promptly bought a Thunderbird. Ratoff died before he ever did anything with the property, and his widow sold it to producer/agent Charles K. Feldman. Feldman eventually made the film, as discussed later.

  In April 1955, MOONRAKER was published by Jonathan Cape. The jacket, designed by Kenneth Lewis from suggestions by the author, featured an orange, white, and yellow "flam
e" pattern. This time, the reviews were mixed. MOONRAKER was a little different from the previous two novels, concentrating more on character than plot. The Times called it a "disappointment," and The Spectator's John Metcalf called it "not one of Mr. Fleming's best" and said it was "further marred by a series of improbabilities." But the book received favorable reviews from The New Statesman,the Daily Telegraph, and the Observer. A few weeks later, when the book was published in the United States, there was a similar reaction. Anthony Boucher wrote in the New York Times: "I don't know anyone who writes about gambling more vividly than Fleming and I only wish the other parts of his books lived up to their gambling sequences." But Karl Brown in Library Journal highly recommended the book, saying that "Fleming tells his story with both ease and grace, making the cloak and dagger episodes most plausible. When the book was published in paperback by Perma Books in the United States a year later, the title was curiously changed to TOO HOT TO HANDLE. This rare paperback edition is significant because it is the only English-language Bond novel that was "Americanized." Throughout the book, all British idioms were changed to American ones, for example, "lift" to "elevator," "knave of hearts" to "jack of hearts," "zebra" to "pedestrian crossing." There were also significant paragraph deletions, particularly descriptions of Eng lish customs or history. Fleming also added certain explanations in the form of footnotes, such as the value of the English pound in American money at the time.