by Mara Timon
The City of Spies
Lisbon was the real-life City of Spies. There would always be elements of this in any neutral capital, however Lisbon was uniquely placed as a port on the Atlantic. It hosted large swathes of exiled nobility and aristocracy from across Europe, desperate refugees fleeing the Nazis, diplomats, merchants, smugglers, and of course spies.
Passenger ships and the Pan Am Clipper connected Lisbon to New York. The British Overseas Airways Corporation (BOAC) operated a scheduled flight to Bristol, and on 1 June 1943, this flight was targeted by the Luftwaffe and shot down by a Junkers fighter over the Bay of Biscay, killing 17 people including the actor Leslie Howard. Quite a lot of conspiracy theories surround this event, including one that the Germans believed Winston Churchill was on the flight. Leslie Howard was a gifted actor, director, and producer, but also worked with anti-German propaganda. There were also theories that he worked for British Intelligence, which might have made him a target in his own right. I’m not sure we’ll ever learn the truth.
Several other real-life spies involved with Operation Fortitude, the military deception aimed at convincing the Germans that the allied invasion would be targeted at Calais, either operated out of Lisbon or visited the city to meet with their handlers. And yes, there really is a ‘secret’ passageway between Rossio Station and the Hotel Avenida, which enabled diplomats and operatives to conduct clandestine business and to be out of Lisbon before anyone knew they were in it.
In April 1943 the body of ‘Major Martin’ was found off the coast of Spain. This was part of Operation Mincemeat, another Allied deception. The body (of an already-dead street tramp) was dressed as an officer in the Royal Marines, and carried documents pointing towards an Allied invasion of Sardinia and Greece. The Germans bought it, moving Panzers, troops, fighter aircraft and ships to better defend the area. On 9 July 1943, the Allies invaded Sicily (Operation Husky), which ironically, Hitler was convinced was the feint.
Dr António de Oliveira Salazar, the Portuguese dictator, had risen to power after the coup d’état of 28 May 1926. Opposed to democracy as well as communism, his policies were conservative, nationalist, and Catholic. And while he distanced himself from German fascism/Nazism, he did consider Germany the last bastion against communism. Portuguese neutrality was a balancing act, and perhaps necessary for its survival. Siding with the Germans risked breaking the Anglo-Portuguese pact, and most likely losing some, or all, of its colonies. Siding with the Allies, would likely have risked tipping Spain over to the Axis, or even opening themselves up to an attack from Spain. It wasn’t until October 1943, when the tides of war were truly turning towards the Allies that Salazar allowed the British access to the Azores to build a base (Operation Alacrity).
Despite Salazar’s assertations that Portugal would not take advantage of its neutrality to profit from the war, it did. Previously a relatively poor country, it profited from the refugees who sold their belongings to buy a ticket to Britain or America, bribes, the Nazi gold, and Wolfram. Wolfram, or Tungsten, was sought after by both sides for war munitions and small mining communities suddenly found themselves wealthy. Although Portugal set up quotas for both the Allies and the Axis, British Intelligence had gathered evidence of the Germans smuggling the mineral out by a plethora of routes, some simple, some complex, and believed that there was a large amount of Portuguese involvement in these operations. Salazar firmly denied any official involvement.
Meanwhile, German Naval Intelligence was tracking the routes of the British convoys crossing the Atlantic. In addition to having people monitor the docks, the Abwehr set up brothels in the dock areas of Lisbon to attract the British seamen with the aim of extracting dates and routes, and if a target seemed particularly good, they would radio a Luftwaffe base in the south of France, who would then send out the Focke Wulfs to sink it. The Shetland and Volturno were real, and were only two of several ships to have been sunk this way.
Salazar’s surveillance and state defence police, the Polícia de Vigilância e de Defesa do Estado or PVDE was founded and led by Captain Agostinho Lourenço (‘the Director’). It was broken down into two sections: Social and Political Defence Section, and the International Section, which not only controlled the flow of immigrants and refugees, but also took care of counter-espionage and/or international espionage. Officially, they maintained a neutral stance towards foreign espionage activity, as long as there was no intervention in Portuguese internal policies, and in June 1943 the Criminal Code was amended to criminalise espionage of foreigners against 3rd parties in Portugal.
In early October 1943, the PVDE raided 3 villas belonging to German agents, including Hans Bendixen’s Bem-me-Quer, and while they found wireless equipment, they claimed to have found nothing suspect. In City of Spies¸ I took the liberty of raising a ‘What if’ that deviated from historical fact.
Acknowledgements
T
here’s a photo on my desk of six people clad in 1940s-style khaki tunics huddled around an Enigma machine. Over quirky cocktails, my Zaffre/Watson, Little ‘dream team’ and I discussed WW2, espionage, and publishing the City of Spies. Katherine Armstrong, Jennie Rothwell, Francesca Russell, Alexandra Allden and James Wills, I am eternally grateful for your patience, insight, and the opportunity you’ve given me. You, and the rest of the team that weren’t with us that night, Nick Stearn, Stephen Dumughn and Steve O’Gorman, have made City of Spies a much better book!
Writing a book takes a lot of hard work and perseverance, and I’m very fortunate that I have a wonderful group of family and friends who celebrated the ‘ups’ with me, and rallied me through the ‘downs’ of the publishing rollercoaster. First and foremost, my mother who might not have lived to see my book written, but always knew it would happen. My dad (a backseat historian), who used to print out a copy of my manuscript and advise on some of the technical details. My brother Stephen, sister-in-law Emily and their children Matthew and Alexandra who always offered love and pragmatic advice.
Massive thanks as well to Justine Solomons who is the beating heart of the publishing community BytetheBook – and who introduced me to my agent; to Antonella Pearce who introduced me to BytetheBook, and to Sérgio Vieira who suggested I write about Portugal. That led to a few trips to the National Archives in Kew, which is a truly magical place.
Joyce Kotze and Karen Pettersen were incredibly patient, reading several drafts of the novel, treating each version as if it were new, and didn’t think I was (too) mad for talking about my characters as if they were real people.
The Quad Writers have sadly now disbanded, but provided great insight and support – thanks especially to Martin Cummings, Kevin Kelly, Barry Walsh, and Rob Ganley. Caroline and Nicholas Boggis-Rolfe also advised on some of the nuances of the British forces’ culture. And throughout the process, my friends kept me sane, providing support (and wine) along the way: Michelle Perrett-Atkins, Alison Hughes, Luma Rushdi, Sharon Gayler, and Monique Mandalia.
Last but certainly not least I would like to thank Edward. While I met Graf first (so no, he’s not a namesake), the Edward in my life has been amazing, fun and incredibly patient. There’s no one I’d rather walk this path with.
Touring the City of Spies
W
hen a Portuguese friend of mine suggested basing my book in Lisbon, I knew I would have a lot of research to do, but what I didn’t know was that this global city, rich in history and culture, would itself become one of the main characters in my debut novel.
While I’m particularly interested in Lisbon’s role during WW2, there is enough to do and see to intrigue history buffs, foodies, and anyone looking for a friendly, easy-to-access city for a long weekend.
Looking straight ahead is an easy way to miss some of the most interesting bits of any city, so look up at the architecture, down at the black-and-white mosaic paving stones, and around, where you’ll see the iconic blue tiles that Lisbon is famous for. You won’t be disappointed. Oh, and pack your trainers or comfy shoes.
Lisbon is a walkable city, but your legs will definitely feel the workout at the end of the day!
All aboard Tram 28!
When friends from abroad visit me in London for the first time, my first suggestion is to take a ride on the hop-on/hop-off bus to get a feel for the city and explore some of the key landmarks. The best (and in some ways even better) equivalent in Lisbon is the little yellow Tram 28. The trams themselves are iconic, dating back to the 1930s. From the polished wooden benches you can see: the baroque Basilica da Estrela and the Jardim (garden) across the way; São Bento Palace (the Portuguese Parliament building); The Chiado (the nearby arts quarter); and the Praça Luís de Camões (the main plaza of Bairro Alto, the beating heart of Lisbon’s nightlife). You can also access the shopping areas in the Baixa, the Se Cathedral, and the Portas do Sol in the Alfama. This plaza has wonderful views, and is also the closest stop for the castle, but beware: it’s a steep walk uphill!
Walking through history at the ruined São Jorge Castle
For a history junkie like me, the castle is one of the most fascinating places in Lisbon. Evidence of people occupying the castle hill dates back to the Phoenicians in the 8th century BC, and fortifications from the 1st century BC. It was also occupied by the Carthaginians, Romans, a few Germanic tribes, and the Moors before the Portuguese reconquered it in 1147. The castle started to decline in importance in the 16th century, and despite reconstruction projects introduced in later centuries, it is now largely in ruins. Catch a concert there if you can, but even if you can’t make one, it’s a fascinating place and the views over Lisbon and the Tagus are spectacular – particularly at sunset.
Fado in the Alfama District
Alfama is one of the oldest districts in Lisbon, running from the castle right down to the Tagus. It hosts the Lisbon Cathedral, the Convento da Graça, and a plethora of fado bars and restaurants. Fado, if you haven’t heard of it, is a haunting style of music where a solo singer is accompanied by a traditional Portuguese guitar. But Alfama isn’t the only place to hear fado; the last time we were in Lisbon, we followed a fellow diner’s recommendation and visited Senhor Vino’s – a casa do fado that wasn’t the easiest to find, but which was certainly worth the trip!
Eating and drinking in the Bairro Alto
The Bairro Alto benefitted from the urban regeneration of the later decades of the 20th century and is now the beating heart of Lisbon’s nightlife with trendy bars, clubs and restaurants.
When you eat out in Lisbon, make sure to try the local dishes. Lisbon is a port famous for its fish and shellfish, with a culinary focus on spices that complement the food rather than heavy sauces, which makes sense considering Portugal’s former colonies. I can also highly recommend the local wines – and of course the after-dinner port. During our time there, we quickly ended up foregoing menus and relied on the recommendations of our servers and fellow diners, and were never disappointed. Also, make sure to try the delicious Portuguese pastéis de natas (custard tarts) before you leave – my other half was addicted to these.
The Rossio
The Rossio has been one of Lisbon’s main squares since the Middle Ages; a site for protests, bullfights and executions. While I’m pretty sure the latter two don’t happen there anymore, it is still a popular venue for protesters – and for Lisbonites and tourists, due to its proximity to cafes and restaurants. In the 1940s, the easy walk from the train station made it a gathering spot for refugees fleeing the war.
Looking down at the square you’ll see black and white cobblestones arranged in a wave pattern, and at the centre is a column dedicated to King Pedro IV. There are two beautiful baroque fountains on either side, the Dona Maria II National Theatre to the north.
Oh, and that train station? It had a ‘secret’ passageway to the Hotel Avenida next door which was only blocked up in the 1970s. Fascinating to imagine what went on there . . .
Be a culture vulture in the Chiado
Based in the historic centre of Lisbon, this picturesque neighbourhood hosts a number of art museums, theatres and galleries, including the National Museum of Contemporary Art in the former Covent of St Francis, the Teatro Nacional de São Carlos (the opera house) and the Archaeological Museum in the former Carmo Church.
Heading West
There are many things to see outside the city itself, so make time to explore some of the gems that the coastline has to offer.
Belém
A few stops west on the Metro from the Cais do Sodré is the district of Belém. Here you can visit two UNESCO World Heritage Sites: the magnificent Jerónimos Monastery; and the nearby Tower of Belém, which served as the ceremonial gateway to Lisbon for Portuguese explorers embarking on or returning from their travels. These voyages are showcased in the Museum of Discoveries (Padrão dos Descobrimentos) which was built in 1960 in honour of the 500th anniversary of the death of Prince Henry the Navigator.
Also found here is the Belém Palace, the current official residence of the Portuguese President. From Belém, you can look across the river to see the Cristo Rei, the statue of Christ, arms raised in blessing.
Estoril, Cascais and the Mouth of Hell
The villages of Estoril and Cascais flourished during the 1940s, where exiled aristocracy rubbed shoulders with diplomats, refugees, and (of course!) spies at the villas, beachfront restaurants and the Casino Estoril, which was the inspiration for Ian Fleming’s Casino Royale. The promenade between Estoril and Cascais provides tourists with a scenic (and easy) walk along the beachfront, with plenty of places to stop for refreshments.
Continuing further along the coast from Cascais, past striking beaches and cliffs, you’ll find the Boca do Inferno (Mouth of Hell). Once a sea cave, it collapsed leaving a cavern and sea arch. The Atlantic’s waves give this opening a beating, and during nasty storms the water is known to explode upwards, giving the site its (rather melodramatic) name.
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I’ve tried to do justice to Lisbon in City of Spies, but whilst sipping a glass of Douro red in the Rossio, one thing kept coming back to me: I may have finished writing my novel, but I don’t think the real city of spies is done with me yet . . .
Q&A with Mara Timon
1. What inspired you to write City of Spies?
About a decade ago, I saw a documentary about Special Operations Executives and became intrigued by the ‘Baker Street Irregulars’. Instructed by Churchill to ‘set Europe ablaze’, they seemed to revel in breaking rules, not the least of which included recruiting women to work behind enemy lines. I began to binge-read the biographies and autobiographies of their agents, and at that point something clicked; a need to write stories about (fictional) female SOE agents.
The first story I wrote was about a young woman, newly drafted into the SOE, and her work in Occupied France in 1943. In the story that character met another SOE trainee called Cécile (who we now know as Elisabeth). Before long, I began to feel Cécile standing behind me, poking my shoulder and saying, ‘Hurry up – you’ll write my story next.’
If you’ve finished City of Spies, you know that she does tend to get what she wants. I’ll get back to that first story once Cécile/Elisabeth finishes with me.
2. How much research did you do before you started writing?
The Portuguese friend who suggested I write about Lisbon had given me a high-level picture of the history, but I wanted to get a better feel for it before deciding to base a story there. A good deal of the information was online, and the National Archive files were brilliant. It gave me an idea of which way the story might go, but then I made my own life difficult: I don’t plot out my books before writing them. I know where they start and have a rough idea of where they may end up, but the characters themselves direct what happens in between. Which meant that some of my research, while giving me a good perspective, wasn’t used, and more research was required as the story developed.
3. Did you make any surprising discoveries during your research?
Well, for starters,
I had no idea how much was really going on in Lisbon during the war. Smuggling and espionage, yes. But there were also youth marches that weren’t too different from the ones in Germany, and while many members of Salazar’s government and his police force were pro-Axis, a number of them used their diplomatic powers to help European refugees, e.g. by providing them with visas and safe houses.
I was more amused than surprised when I discovered that there really was a ‘secret’ tunnel between Rossio Station and the Hotel Avenida next door. There was no doubt in my mind that it was well used, allowing people to sneak into the city for a dodgy meeting and then get out before anyone knew they had even been in Lisbon. I’d actually hoped to be able to walk through it on my last trip to Lisbon but discovered that – sadly – it had been blocked off in the ’70s.
Also, as I read about the real spies that operated in Lisbon during the war, I kept coming across the name Dusko Popov, codename Tricycle, and found that intriguing. Why that name? Officially it was because he was running a trio of double agents, although some claim that it was because he always had a beautiful woman on either side of him. Popov, and his promiscuous lifestyle, became the primary inspiration for Fleming’s 007.
4. City of Spies includes some fictionalised versions of real-life people, such as Maurice Buckmaster and Vera Atkins. Why did you choose to include them and not create completely fictionalised characters?
Why create fictionalised characters when the real-life people not only existed, but were so well documented – and interesting? If I can’t find out who did something in real life, I’ll make them up, but using real people makes me feel closer to the history. What I write is fiction, but I do try not to misrepresent them!
5. What drew you to Elisabeth as a character? Why did you decide to tell her story in particular?