Notes on the history of spy thrillers

This week, courtesy of Micah Mattix’s Prufrock Substack, I discovered Alexander Larman’s review of Gabriel’s Moon, a new spy thriller from William Boyd. Larman has become one of my favorite critics and is always insightful, as in the first two paragraphs here, where he offers a very short précis of the history of the spy thriller and the pivotal place of John le Carré in that history:

Roughly up until the heyday of John le Carré, the British spy novel tended to follow an approved pattern. A well-educated but bored man, somewhere between youth and middle age, would find himself caught up in an international conspiracy that would involve some, or all, of the following: duplicitous intelligence officers, untrustworthy foreign powers, a very great consumption of expensive food and wine, a MacGuffin that everyone wants to lay their hands on, and, last but not least, a love interest whose loyalties remain ambiguous right up until the final page.

Accurate, both specifically and generally. The boredom Larman notes, for example, is present in characters as different as Richard Hannay and James Bond, but for different reasons. The tone of the thriller changed between Buchan and Fleming even if some of the trappings remained, appropriately, unruffled. Larman continues:

Le Carré removed pretty much all of these elements, minus the mass duplicity and, in doing so, made the spy novel more intellectually respectable but (whisper it) just a tiny bit boring. If I was given the chance to read a rip-roaring page-turner in the vein of John Buchan’s The Thirty-Nine Steps or Geoffrey Household’s Rogue Male over Tinker Tailor Soldier Spy or its ilk, I should take it without hesitation.

This is a paragraph calculated to get my attention, The Thirty-Nine Steps being the old favorite that started the whole John Buchan June thing here on the blog and Rogue Male being one of the best pure thrillers I’ve read in the last several years. As much as I like le Carré—something I’ve been chatting with a couple of y’all about for a while—I have to agree.

The result of le Carré’s transformation of the genre? Larman:

But most contemporary espionage fiction follows in the le Carré vein, alas, rather than the Ian Fleming mold. Carefully worked-out social criticism is plentiful, genuine thrills, and intrigue either meanly rationed or nonexistent.

Larman is pointing to the two main thematic components of the spy thriller: moral or at least intellectual weight, and action. Prior to le Carré, these were typically joined in the spy thriller. As the late great Sir John Keegan noted of The Thirty-Nine Steps, Buchan’s thrillers in particular had, in addition to chases, danger, and wild hair’s-breadth escapes, “moral atmosphere.” As different as all of them are from each other, Buchan, Ambler, Household, and Fleming all had some measure of both. The drama gave the action weight and the action sold the book.

Le Carré bifurcated these, aiming for subtle and intensely introspective, chilly, cerebral drama. An Ambler or Fleming hero sweats when he faces capture and torture; a le Carré character—one hesitates to call them “heroes”—sweats when he has a terrible epiphany while looking through old files.

As Larman notes, le Carré’s astounding skill and success at this means it has become the model ever since, with “serious” spy novels almost always adhering to the introspective dramatic mode. Action continued to flourish in pulps before eventually taking on a highly technical, suspense-oriented character in writers like Frederick Forsyth and—the god of this kind of thriller—Tom Clancy.

So the spy thriller today is apt to be all dingy rented rooms, cynicism, and (usually left-wing) social criticism or all gear, gadgets, technical specs, and three-page chapters that begin with military time. (Occasionally you get writers who do both, with mixed success. Mick Herron, whose Slough House books are great favorites of mine for their wit, pacing, and suspense, recently published a turgid, commentary-heavy parallel novel burdened with smothering introspection. I’ve kept all the Slough House books to reread later but that one went straight to the used book store.)

But it need not be this way. Buchan, Ambler, and Fleming are still good models, and I was glad to learn from Larman that Gabriel’s Moon “is most definitely a spy novel of the Buchan-esque school,” balancing character drama and a fast pace. I’m looking forward to it. I picked up a copy Wednesday night and start it today. Here’s hoping it’s part of a reunification of the two halves of the spy thriller that, though they can succeed alone, work wonderfully together.

Eight Hours from England

Anthony Quayle (1913-89) in Albania during World War II

If you grew up, as I did, on classic war movies, you might not know the name Anthony Quayle but you’ll probably know his face. Quayle appeared in many of the great war films of the 1950s and 60s, including Lawrence of Arabia and The Guns of Navarone, often playing earnest, well-intentioned officers frustrated by ugly reality. That is certainly the case in the two films I named, and to judge from Quayle’s 1945 war novel Eight Hours from England, which was based on his experiences with the Special Operations Executive in Albania, he didn’t have to strain his imagination to portray those characters.

Eight Hours from England covers a few months in the winter of 1943-44. Major John Overton, a decent man with several years of experience in the war, has returned to England on leave. The homefront bores him, and his unrequited love for Ann, the woman he has hoped for years to marry, convinces him to accept an offer of a new mission on a whim. He bids Ann good bye, struggling to express his yearning for her, and leaves.

His trip east is long and frustrating. He arrives in more than one staging area unannounced and has to wait for orders. When he is finally redirected to Albania, which was not the mission he initially agreed to, he goes along with it, a knight errant ready for any quest.

He arrives in Albania by boat in the middle of the night, wide-eyed and eager to get to work. The officer he is replacing has become standoffish, hiding in a cave and refusing to have anything to do with the Albanian guerrillas he was sent to help. Overton determines to make a better job of it. With a handful of other British commandos, a few American intelligence officers, and an Italian officer who, his country having lost and swapped sides following Mussolini’s ouster, is committed to helping the Allies, Overton sets out to connect with the locals as well as the two groups fighting both the Germans and each other: the Balli and the Partisans.

The Partisans are Communist guerrillas backed by the Soviets, and claim to have both huge numbers and an insatiable need for materiel—weapons, ammunition, clothing, food, medicine, even blankets. They also regularly attack the anti-Communist civilians. The Balli, on the other hand, are the local anti-Communist resistance who have made the grave mistake of partnering with the Germans in order to eradicate the Partisans.

Acting as a go-between, hiking back and forth across the mountains trying both to liaise with the locals—who care more about finding pretexts to demand British cash than anything else—and to convince the Balli and the Partisans to cooperate, Overton finds his earnestness fading. The Albanians, whom he regarded as colorful potential allies when he landed, come to look more and more thuggish and untrustworthy. His work grinds him down physically and mentally, especially after he receives word by radio of a major British operation in the Balkans that needs all the local help he can organize. And, lurking in the background, busy but hidden from view, are the Germans.

The impossibly rugged terrain, the remoteness from home and people making the decisions, the backwater hit-and-run fighting, the betrayals by local “allies,” the seeming fruitlessness of one’s efforts, and the bloody small-minded rivalries among the locals, whose backward customs and moneygrubbing pettiness and simple thievery Overton gradually grows fed up with—I have to wonder how much Eight Hours from England would resonate with veterans of Afghanistan.

This is an unusual war novel in that it is not action-oriented. Quayle’s story is a drama of logistics, organization, and diplomacy. The Germans appear only occasionally and at great distance, visible as lines of trucks on the other side of a valley or as gray dots setting up heavy weapons far below, but their threat is omnipresent. False alarms send Overton and his group scrambling to fallback positions and hideouts more than once. And the difficulty of communication—with headquarters, with each other—as well as bringing in supplies is clear. To charge their radio batteries they need petrol; to get petrol they must bring it in by boat; to request it on the next boat, they need the radio; and when it arrives they have to keep the Albanians from stealing it. Eight Hours from England is a novel of what goes on behind the scenes of special operations, and of just how unbearably frustrating and exhausting war can be even when—perhaps especially when—there is no fighting.

Quayle conveys all of this beautifully, with vivid descriptions of the people and landscapes. (The actual landscapes, by the way. The locations Quayle names are all real. Here’s the base where he entered and left Albania. Some of his equipment is still there.) Quayle captures the impossibility of Overton’s situation and makes the reader feel it, as well as making it clear that, whatever the outcome of the war of the Allies against the Axis, Albania will not enjoy a simple happy ending.

I read Eight Hours from England in the recent paperback edition published by the Imperial War Museum as part of its Wartime Classics series. There are sixteen books in the series and I already have several more lined up for this year. Eight Hours from England was a good place to start. Strongly and imaginatively written, it brings the reader into a complicated, often overlooked side of World War II and dramatizes it brilliantly.

The Flying Inn

When I began this monthlong celebration of Chesterton’s fiction with his first novel, The Napoleon of Notting Hill, I noted that the novel balances his storytelling capabilities and his love of ideas in combat perfectly, unlike some of his other fiction in which the ideas drown the narrative. Today Chestertober enters its final week with a museum-quality example of a Chesterton story overpowered by its ideas, the 1914 satire The Flying Inn.

Set in the near future, The Flying Inn begins with a peace settlement between Britain and her allies and the Ottoman Empire at the end of a long war. Though presented as a treaty among equals, it soon becomes clear that the Turks have had the better of the agreement, as the treaty obligates the British to abide by Muslim religious laws—specifically the prohibition of alcohol. The British signatory to the treaty, Lord Ivywood, a cold and unimaginative bureaucratic tyrant, immediately enacts the ban through roundabout legislation related to inns and pubs. Another signatory, the Irish naval hero Patrick Dalroy, resigns in protest and returns to Britain disillusioned but not defeated.

Ivywood and his cronies’ method is to ban not alcohol itself, but to require a public sign—as for a pub or inn—to be displayed outside any establishment serving alcohol. They then eliminate all the inn signs in Britain.

All but one—the sign of The Old Ship. This is an inn run by Humphrey Pump, an old friend of Dalroy’s, and when the ban goes into effect Dalroy, enraged, pries up the sign, takes a wheel of cheese and the one remaining cask of rum in The Old Ship, and hits the road. If the law says you can only serve alcohol wherever there’s an inn sign, Dalroy ensures there will always be both.

While Dalroy and “Hump” travel the countryside between the fictional beach town of Pebbleswick and London, an Islamic “Prophet of the Moon” named Misysra Ammon goes to work on the people, attempting to convince them of the rightness of prohibition and the cultural and historical superiority of Islam. The people, including the object of Ivywood’s intentions, Lady Joan Brett, mostly giggle, but Misysra finds a better reception among the elite, who need little encouragement to indulge their power-hungry vanity, their oikophobia, and their superficial love of the foreign.

The bulk of The Flying Inn is an old-fashioned picaresque, with Dalroy and Hump falling into slapstick scrapes involving pro-Prohibition rallies, vegetarian banquets, diet cranks, modern art, and a poet who has a conversion experience. Everywhere they go, Dalroy plants his sign, Hump starts pouring, and a grateful crowd gathers—to the befuddlement and humiliation of some establishment figure who tries to stop it.

Ivywood, in multiple attempts to crush Dalroy, fiddles with the law, amending it to enforce prohibition through legal nitpicking. Dalroy outmaneuvers him every time, and between his growing folk-hero status and popular outrage at the treaty that has visited an unwanted theocracy upon England, public opinion turns on Ivywood. The thrilling climactic action, with a mob of ordinary people marching on Ivywood’s stately country house—which, imperceptibly, has come to resemble a Turkish palace complete with harem—is a great revolt against the remote, all-powerful, but incompetent tyranny. The people, thirsting, finally call it to account.

The Flying Inn has an arresting hook—Islamic law imposed on Britain!—but while that has generated some comment and notoriety a hundred years after the fact online, it is not really Chesterton’s point. Neither is the alcohol at the center of the story, which misled the novel’s first batch of critics. If The Napoleon of Notting Hill is a hymn to the local, The Flying Inn is a populist anthem—in the best sense of a tribute to the people and a condemnation of those who would presume to rule them.

Chesterton’s target, the aloof, bloodless, but cruel Lord Ivywood, won’t confront Dalroy but tries to work behind the scenes, slipping in new regulations here and ratcheting up his program of reform there, all without consulting the object of his schemes—the people. He is a stand-in for all the soft despots of modern progressive bureaucracy who treat the public as raw material to be shaped and nudged into compliance with a revolutionary vision, for their own good.

The abuses of know-it-alls in high places was a topic Chesterton returned to again and again, perhaps most ferociously in Eugenics and Other Evils. In the Eugenics movement, Chesterton saw an elite who, like Lord Ivywood prohibiting alcohol, strove to deprive ordinary people of one of their only joys in life—the gift of children. Their pursuit of some external ideal—the purity of Islam for Lord Ivywood, the purity of genetic hygiene for the Eugenicists—ends up destroying the little things that give life meaning.

And as with so many such despots, his chief targets are the simple good things that even the poor can enjoy. Ivywood sees an inn and thinks only of the alcohol, which he must prohibit in order to “help” and reform the people, but does not think of the networks of friends who gather there or the relief they feel to enjoy a drink with each other after work. In The Flying Inn, not only Lord Ivywood but all the other cranks in the book have made similar errors of priority. (Reading about Peaceways, the milk-drinking colony, or Lord Ivywood’s hypocritical vegetarian party, one thinks of Orwell’s critique of the diet obsessive as someone “willing to cut himself off from human society in the hopes of adding five years onto the life of his carcase.”) It is Dalroy, the outlaw, who actually helps the people, not by providing alcohol but the occasion and excuse for community.

The Flying Inn has something important to say, one of Chesterton’s most enduring messages. But it does not work very well as a novel. Though filled with amusing episodes, fun takedowns of everything from modern art to the experts who can explain away anything, and a handful of colorful characters, it has a ragged, discursive structure and little forward momentum—a fact underscored by my rereading The Man Who Was Thursday for next week, a book that starts fast and never lets up. Lady Joan has little to do throughout, Misysra the prophet flits aimlessly in and out of the story, and many of the other characters are flat stand-ins for the movements and isms Chesterton wishes to critique. In The Flying Inn, the ideas are foremost, the story a distant second. Enjoy it though I did, of the novels by Chesterton that I’ve read, it is the weakest.

That said, it is still worth reading as a critique of managerial progressivism, of an elite that seeks to shield itself from accountability while manipulating the public, and the very notion of the nanny state. And, in Lord Ivywood, Chesterton has created one of his best villains, a prototype of all the tyrants of CS Lewis’s own near-future dystopia That Hideous Strength, who similarly cloak their control-freak inhumanity in gentleness and advancement, and all the smothering tyrants of our own time.

One wonders who our Dalroys will turn out to be, and whether our culture as it stands today is even capable of producing one among its legions of Ivywoods.

The Napoleon of Notting Hill

After a slight delay, I’m pleased to introduce a new project that may or may not become an annual event on the blog. I’m calling it Chestertober, a dedication of the month of Halloween to the work of GK Chesterton, the prophet of the kind of madcap but meaningful topsy-turvydom that Halloween at its best embodies. For this inaugural Chestertober I wanted to look at some of Chesterton’s novels, and I figured I would start with Chesterton’s first: The Napoleon of Notting Hill, published in 1904.

The Napoleon of Notting Hill begins in 1984. A king still rules England, but only as a formality—he is selected at random from among the citizens. Real power is exercised by the bland professional functionaries of a smooth, efficient, and utterly joyless technocratic state, a state that has gradually absorbed and homogenized the entire world.

The last holdout, Nicaragua, has recently fallen, and in the novel’s opening chapter a group of London bureaucrats encounter the deposed Nicaraguan president wandering the city alone. They witness him cutting up a poster to make ribbons with the national colors of his country and, failing to find any red paper, he soaks some paper in his own blood and pins it to the breast of his uniform jacket. The government functionaries treat the former president to lunch at a café, where he makes his pitiful case to them before they go their separate ways. Most of them revile his backward, tragic attachment to his former country. One, a small, wide-eyed man named Auberon Quin, is intrigued. They find out later that, after this encounter, the president died of heartbreak, alone.

Not long after, to the surprise of his unimaginative bureaucratic friends, the eccentric Auberon receives word that he has been selected as the next King of England.

Auberon, a prototype of hipster irony, thinks this is a grand joke. He underscores the absurdity of his own position by reinstating medieval titles, honors, and customs, requiring strict court etiquette and elaborate costume, and issuing a charter to all the neighborhoods of London granting them specific rights and duties under him as their sovereign. Heraldry and courtesy make a comeback. The bureaucratic types bridle at the uncomfortable robes and chains of office that King Auberon insists upon, but beyond the superficial trappings of pennants and coats of arms and sumptuary codes business continues pretty much as usual. No one, least of all Auberon, takes any of this very seriously.

No one until a young man from Pump Street, Notting Hill named Adam Wayne. Having been a child when Auberon ascended the throne and surprised and annoyed everyone with his charter and reforms, Wayne grows up in the world Auberon created and sees it with utter sincerity. The red and gold of Notting Hill’s coat of arms is dear to him, and he does not find the idea of Notting Hill as a place with cherished customs and a distinct identity born of the people who share life there a joke.

So when the bureaucrats propose a massive new highway project that will obliterate Pump Street, Wayne, as Provost of Notting Hill, begs audience of King Auberon and appeals to him to spare his neighborhood. And he is shocked to discover that Auberon only thinks him amusing and that, to the bureaucrats who actually make the decisions, Pump Street is mere raw material for their projects. The road will go through. Defending Notting Hill is up to Adam Wayne.

And so a war begins. After raising a few hundred men from some of the other London boroughs under Auberon’s charter, the bureaucrats, chief among them a cold-blooded calculator named Barker, launch an invasion of Notting Hill meant to crush Wayne’s resistance movement and force compliance with the road project. Wayne’s men, knowing the neighborhood and its streets and byways, allow the army to penetrate to Portobello Road and then turn out the streetlamps. Most of Barker’s army is lost and the survivors are driven back to Auberon in humiliating defeat.

The war escalates, with larger and larger forces brought against Wayne and his neighborhood army and Wayne resorting to more and more desperate stratagems to defend Notting Hill, like building barricades out of stolen hansom cabs—thus protecting his streets and depriving the enemy of mobility. Finally, like a besieged medieval lord on the verge of defeat, Wayne sallies forth from Notting Hill, striking south into Kensington before apparently being halted and surrounded at the local waterworks. Barker is delighted, thinking Wayne finally defeated, but then Wayne issues an ultimatum—surrender and guarantee Notting Hill’s rights under the charter or Wayne will empty the reservoir and flood London.

This is not the end—there is a coda in which the war is renewed and finally ended ten years later, with Auberon abdicating to fight on Wayne’s side against the forces of Barker and the rest of the technocratic state—but this is a good place to leave off. Without giving anything away, the final chapter, a dialogue among the wounded through the long night after the last battle, is among the most moving scenes in Chesterton’s fiction.

Chesterton was only thirty when The Napoleon of Notting Hill was published, and it is remarkable for a first novel for its control, its imaginative world, and its thematic richness. Its characters, as heightened as any in Chesterton’s fiction, nevertheless feel like real, recognizable people, not mere avatars for the isms Chesterton wishes to pit against each other. Quin and Wayne are the highlights, but the many side characters, especially the quietly villainous Barker, contribute to the teeming, energetic feel of the book. And while not having the breakneck plotting of his fictional masterpiece, The Man Who Was Thursday, it is more tightly and briskly paced than some of his more meandering later novels. In some of those the ideas threaten to overwhelm the the story, but The Napoleon of Notting Hill feels always like a marvelous fable first.

And what is the point of this fable? The Napoleon of Notting Hill is Chesterton’s anthem to localism. Pump Street, with its handful of shabby shops, is an irrational place to love, but Wayne loves it not out of some rational, material conclusion. That’s the way Barker’s type thinks. For these deracinated globalists, all places everywhere are fundamentally interchangeable and attachment to home is a risible relic, especially in the face of Progress. All their studies and statistics show that the road through Notting Hill will be a quantifiable improvement, and so the people must bow to the greater good.

No, Wayne loves Pump Street not because it is perfect or beautiful or scientifically useful to do so, but because it is home. The heraldic trappings and ceremony only allow him to act out his love in visible ways. The love is already there; the ritual deepens it by giving it shape.

And so The Napoleon of Notting Hill arrays sincerity on one side against detached irony and chilly pragmatism on the other. It is easy to imagine it taking place today, especially given the way the clique at the top scoff at Wayne and the terrifying speed with which Barker and the bureaucrats, in their assurance of progressive righteousness, move from disdain to brutal violence. What is heartening in the novel’s tragic, almost Arthurian ending is that Auberon allows himself, at last, to be won over by Wayne. What had started as a joke at everyone’s expense transforms him, suggesting that even the ironic still have hope since they still have a sense of humor.

The Napoleon of Notting Hill may not be the most famous of Chesterton’s novels but it is deservedly well-remembered. It has all the best qualities of his later fiction and few of their faults, but most importantly it is a fun, rollicking adventure in a strange near-future Edwardian dystopia. Wayne’s defense of Notting Hill is genuinely thrilling in places, and I’ve read several times that this novel has been a favorite of urban guerrillas like Michael Collins. But in addition to its fun and odd story, it presents a compelling vision of the goodness of place and the ever-present need to protect hearth and home, to defend the small in the face of Leviathan.

Poe and Wolfe

Building off of my post about modern Frogpondians yesterday, at the same time that I started studying Poe’s life more deeply—especially his letters and criticism—I also read more of the late great Tom Wolfe’s journalistic monographs. These include From Bauhaus to Our House, a takedown of modern architecture; The Painted Word, a similar treatment of modern art; and Radical Chic and Mau-Mauing the Flak Catchers, a brilliant pair of essays about high-minded leftwing activism and its distance from grungy reality.

With all of these assorted things floating around in my mind I realized one day that Poe and Wolfe took a similar glee in identifying and attacking cliques. Both objected to the self-identified, self-satisfied, and self-righteous cognoscenti who have found a way to dominate a particular field and enforce an orthodoxy, all while feathering their nests and basking in a success lauded primarily by its members, whom they treat as the only people that count. Poe had Longfellow and Emerson, Wolfe had Mailer, Updike, and Irving. And Leonard Bernstein. And Le Corbusier. And…

And once I noticed this similarity, I noticed others. I’ve kicked this idea around with a few of y’all in conversation, but wanted to get some of this down in writing. Consider the following notes toward a comparative study of Poe and Wolfe:

• Both were Southerners

• Both were Virginians specifically—Wolfe by birth, Poe by rearing and explicit self-identification

• Both worked primarily in big northeastern cities

• Both were accounted personally charming and gentlemanly despite their acid literary criticism

• Both worked in journalism and fiction—Poe considering himself a poet who worked for magazines to (barely) make ends meet while Wolfe was a successful journalist who moved into fiction mid-career

• Both, in rejecting and attacking the dominant literary cliques, made themselves political outsiders, though neither was particularly interested in politics except as an epiphenomenon of something more important

• Both had an intense concern for authenticity in fiction

• Both developed immediately identifiable styles intended to convey something more truthful than the dominant style at the time

• Both were mocked for their style

I’ve returned to this and thought about it a lot, especially since realizing that the similarities are not just biographical but thematic.

The regional dimension, especially in Poe’s case, is too easily overlooked, but I think it’s fundamental to understanding both men. Back in the spring I watched Radical Wolfe, an excellent recent documentary on Wolfe’s life and career that I meant to review here but never found the time to. I recommend it. It doesn’t cover Wolfe’s youth and education in detail, but the sense of Wolfe as a Southerner amused by the unquestioned pretensions of the Yankees in the society he was forced to keep from Yale onwards comes through clearly. It certainly resonated with me.

And now, after mentally connecting Wolfe with Poe, I have to wonder whether the man in black, whom we are so used to imagining with a far-off gaze and a tired frown, used to wander the streets of New York and Philadelphia with a small, wry smile on his face the way the man in white did.

Speaking of Wolfe, Joel Miller recently posted about the delicate art of book cover design, beginning with the recent news that Picador is reprinting thirteen of Wolfe’s books with new matching covers. I’m not crazy about the cover art, personally, but my Wolfe shelf is a jumble of different trim sizes and if I can someday tidy that up and Wolfe can experience a much-deserved posthumous resurgence, all the better.

Summer reading 2024

Though I’m thankful to say that, compared to where I was at the end of the spring, I’ve wrapped up the summer and begun the fall semester feeling refreshed and rejuvenated, my reading has still been unusually fiction-heavy. That’s not necessarily a bad thing—all work and no play, after all—but I do mean to restore some balance. I look forward to it.

“Summer,” for the purposes of this post, runs from approximately the first week or two of summer classes to today, Labor Day. Since there’s a lot more fiction and non-fiction this time around, I mean to lead off with the smattering of non-fiction reading that I enjoyed. And so, my favorites, presented as usual in no particular order:

Favorite non-fiction

While I only read a handful of non-fiction of any kind—history, biography, philosophy, theology, you name it—almost all of them proved worthwhile. They also make an unusually idiosyncratic list, even for me:

An Illustrated History of UFOs, by Adam Allsuch Boardman—A fun, wonderfully illustrated picture book about UFOs and all sorts of UFO-adjacent phenomena. Not deep by any means and only nominally skeptical, this book is surprisingly thorough, with infographic-style tables of dozens of different purported kinds of craft, aliens both cinematic and purportedly real, and brief accounts of some legendary incidents from Kenneth Arnold and the Roswell crash to Betty and Barney Hill’s abduction, Whitley Strieber’s interdimensional communion, and the USS Nimitz’s “flying Tic Tac.” If you grew up terrified to watch “Unsolved Mysteries” but also wouldn’t think of missing it, this should be a fun read. See here for a few sample illustrations.

Histories and Fallacies: Problems Faced in the Writing of History, by Carl Trueman—A concise, sensible, and welcoming guide to some of the pitfalls of historical research and writing. Trueman is especially good on the dangers of historical theories, which naturally incline the historian to distort his evidence the better to fit the theory. There are more thorough or exhaustive books on this topic but this is the one I’d first recommend to a beginning student of history. I mentioned it prominently in my essay on historiography at Miller’s Book Review back in July.

Three Philosophies of Life, by Peter Kreeft—A short, poetic meditation on three Old Testament wisdom books: Ecclesiastes and Job, two of my favorite books of the Bible, and Song of Songs, a book that has puzzled me for years. Kreeft presents them as clear-eyed dramatizations of three worldviews, the first two of which correctly observe that life is vain and full of suffering, with the last supplying the missing element that adds meaning to vanity and redemption to pain: God’s love. An insightful and encouraging short book.

Homer and His Iliad, by Robin Lane Fox—Who was Homer and what can we know about him? Was he even a real person? And what’s so great about his greatest poem? This is a wide-ranging, deeply researched, and well-timed expert examination of the Iliad and its author, thoroughly and convincingly argued. Perhaps the best thing I can say about Lane Fox’s book is that it made me fervently want to reread the Iliad. My favorite non-fiction read of the summer. Full-length review forthcoming.

Always Going On, by Tim Powers—A short autobiographical essay with personal stories, reminiscences of Philip K Dick, nuts and bolts writing advice, aesthetic observations, and philosophical meditations drawing from Chesterton and CS Lewis, among others. An inspiring short read.

The Decline of the Novel, by Joseph Bottum—An excellent set of literary essays on the history of the novel in the English-speaking world; case studies of Sir Walter Scott, Dickens, Thomas Mann (German outlier), and Tom Wolfe; and a closing meditation on popular genre fiction—all of which is only marginally affected by a compellingly argued but unconvincing thesis. I can’t emphasize enough how good those four case study chapters are, though, especially the one on Dickens. Full dual review alongside Joseph Epstein’s The Novel, Who Needs It? on the blog here.

Favorite fiction

Again, this was a fiction-heavy summer in an already fiction-heavy year, which was great for me while reading but should have made picking favorites from the long list of reads more difficult. Fortunately there were clear standouts, any of which I’d recommend:

On Stranger Tides, by Tim Powers—An uncommonly rich historical fantasy set in the early years of the 18th century in the Caribbean, where the unseen forces behind the new world are still strong enough to be felt and, with the right methods, used by new arrivals from Europe. Chief among these is Jack Chandagnac, a former traveling puppeteer who has learned that a dishonest uncle has cheated him and his late father of a Jamaican fortune. After a run-in with seemingly invincible pirates, Jack is inducted into their arcane world as “Jack Shandy” and slowly begins to master their arts—and not just knot-tying and seamanship. A beautiful young woman menaced by her own deranged father, a trip to Florida and the genuinely otherworldly Fountain of Youth, ships crewed by the undead, and Blackbeard himself further complicate the story. I thoroughly enjoyed On Stranger Tides and was recommending it before I was even finished. That I read it during a trip to St Augustine, where there are plenty of little mementos of Spanish exploration and piracy, only enriched my reading.

Journey Into Fear, by Eric Ambler—An unassuming commercial traveler boards a ship in Istanbul and finds himself the target of a German assassination plot. Who is trying to kill him, why, and will he be able to make it to port quickly enough to survive? As much as I loved The Mask of Dimitrios back in the spring, Journey into Fear is leaner, tighter, and more suspenseful. A wonderfully thrilling read.

The Kraken Wakes, by John Wyndham—Another brilliant classic by Wyndham, an alien invasion novel in which we never meet or communicate with the aliens and the human race always feels a step behind. Genuinely thrilling and frightening. Full review on the blog here.

Mexico Set, by Len Deighton—The second installment of Deighton’s Game, Set, Match trilogy after Berlin Game, this novel follows British agent Bernard Samson through an especially tricky mission to Mexico City and back as he tries to “enroll” a disgruntled KGB agent with ties to an important British defector. Along with some good globetrotting—including scenes in Mexico reminiscent of the world of Charles Portis’s Gringos—and a lot of tradecraft and intra-agency squabbling and backstabbing, I especially appreciated the more character-driven elements of this novel, which help make it not only a sequel but a fresh expansion of the story begun in Berlin Game. Looking forward to London Match, which I intend to get to before the end of the year.

LaBrava, by Elmore Leonard—A former Secret Service agent turned Miami photographer finds himself entangled in an elaborate blackmail scheme. The mark: a former Hollywood femme fatale, coincidentally his childhood favorite actress. The blackmailers: a Cuban exile, a Florida cracker the size of a linebacker, and an unknown puppet master. Complications: galore. Smoothly written and intricately plotted, with a vividly evoked big-city setting and some nice surprises in the second half of the book, this is almost the Platonic ideal of a Leonard crime novel, and I’d rank only Rum Punch and the incomparable Freaky Deaky above it.

Night at the Crossroads, by Georges Simenon, trans. Linda Coverdale—Two cars are stolen from French country houses at a lonely crossroads and are returned to the wrong garages. When found, one has a dead diamond smuggler behind the wheel. It’s up to an increasingly frustrated Inspector Maigret to sort through the lies and confusion and figure out what happened. An intricate short mystery that I don’t want to say much more about, as I hesitate to give anything at all away.

Epitaph for a Spy, by Eric Ambler—A stateless man spending some hard-earned cash at a Riviera hotel is, through a simple mix-up, arrested as a German spy. When the French police realize his predicament and his need to fast-track his appeal for citizenship, they decide to use him to flush out the real spy. Well-plotted, suspenseful, and surprising, with a great cast of characters. My favorite Ambler thriller so far this year. There’s also an excellent two-hour BBC radio play based on the book, which Sarah and I enjoyed on our drive back from St Augustine.

The Light of Day, by Eric Ambler—One more by Ambler, which I also enjoyed. Arthur Simpson, a half-English, half-Egyptian smalltime hood involved in everything from conducting tours without a license to smuggling pornography is forced to help a band of suspicious characters drive a car across the Turkish border. He’s caught—and forced to help Turkish military intelligence find out what the group is up to. Published later in Ambler’s long career, The Light of Day is somewhat edgier, but also funnier. It’s more of a romp than a heavy spy thriller, with wonderfully sly narration by Arthur himself. I greatly enjoyed it. Do yourself a favor, though, and read it without looking at any summaries, even the one on the back of the book. My Penguin Modern Classics paperback gave away a major plot revelation. I still enjoyed it, but have to wonder how much more I might have with that important surprise left concealed.

Runner up:

Swamp Story, by Dave Barry—A wacky crime novel involving brothers who own a worthless Everglades bait shop, potheads trying to make their break into the world of reality TV, a disgraced Miami Herald reporter turned birthday party entertainer, a crooked businessman, Russian mobsters, gold-hunting ex-cons, and a put-upon new mom who finds herself trying to survive all of them. Fun and diverting but not especially funny, which some of Barry’s other crime thrillers have managed to be despite going darker, I still enjoyed reading it.

John Buchan June

The third annual John Buchan June included five novels, a short literary biography of one of Buchan’s heroes, and Buchan’s posthumously published memoirs. Here’s a complete list with links to my reviews here on the blog:

• Castle Gay (1930)

• Salute to Adventurers (1915)

• Sir Walter Scott: His Life and Work (1925)

• The Free Fishers (1934)

• The Island of Sheep (1936)

• The House of the Four Winds (1935)

• Memory Hold-the-Door (1940)

Of this selection, my favorite was almost certainly The Free Fishers, a vividly imagined and perfectly paced historical adventure with a nicely drawn and surprising cast of characters. “Rollicking” is the word Ursula Buchan uses to describe it in her biography. An apt word for a wonderfully fun book. A runner up would be Salute to Adventurers, an earlier, Robert Louis Stevenson-style tale set in colonial Virginia.

Rereads

I revisited fewer old favorites this season than previously, but all of those that I did were good. As usual, audiobook “reads” are marked with an asterisk.

• Casino Royale, by Ian Fleming—Subject of this blog post on Fleming’s poetic attention to rhythm.

• The Whipping Boy, by Sid Fleischman—Read aloud to the kids this time. They greatly enjoyed it.

• Masters of Atlantis, by Charles Portis*—Subject of this blog post about the petty indignities that Portis repeatedly inflicts on his characters, what the kids call “cringe humor” nowadays.

Conclusion

I’m looking forward to more good reading this fall, including working more heavy non-fiction back into my lineup as I settle into the semester. I’m also already enjoying a couple of classic rereads: Pride and Prejudice, which I’ve been reading out loud to my wife before bed since early June, and Shadi Bartsch’s new translation of the Aeneid. And, of course, there will be fiction, and plenty of it.

I hope my summer reading provides something good for y’all to read this fall. As always, thanks for reading!

The Novel, Who Needs It? and The Decline of the Novel

Speaking of the good old days and present decline, this summer I read two books about novels. Or rather, The Novel, in the abstract. The first was The Novel, Who Needs It? by Joseph Epstein and the second The Decline of the Novel, by Joseph Bottum. Though starting from a similar point and assuming both the embattlement and the necessity of The Novel, they are quite different books.

Epstein’s book, which is more of a loosely structured long-form essay on a series of interrelated topics, defends the traditional novel as an essential medium for the exercise of the imagination and the cultivation of moral character. It is quite good, though with its discursive structure and a few other limitations, about which more below, I felt it never cohered into a single compelling argument. So while I may agree with some of the points in The Novel, Who Needs It? more, it was Bottum’s Decline of the Novel that I found more thought-provoking and insightful.

Bottum builds on a thesis from his earlier book An Anxious Age, which looked at the cultural and psychological effects of the collapse of the shared mainline Protestant culture of the US, but narrows his view here to fiction. The novel, Bottum argues, is a fundamentally Protestant form given its interiority, individualism, and concern with personal transformation. Long fictional narratives served to playact the sanctification of souls in individual imaginations. They were a form through which “we tried to explain ourselves to ourselves.”

As such, the novel became the preeminent artistic medium for meaning and self-understanding in the modern world and enjoyed a three hundred-year reign, from the early picaresques and moralistic epistolary novels of Defoe and Richardson to the 800-page potboilers of the 1970s.

But no more. With the decline of a shared culture has come a decline of the narrative form that once fed and shaped its imaginations. Novelists today do not occupy the taste-maker or thought-leader status a John Updike or Norman Mailer once did, nor do the educated need to have read any recent novels to be in the know—what Bottum calls “the Cocktail Party Test.”

In the best chapters of the book, Bottum traces this decline through the careers of four novelists: Sir Walter Scott, Charles Dickens, Thomas Mann, and Tom Wolfe. Faced with a “thin” or disenchanted world, all four sought to infuse meaning into life through fiction, albeit in different ways. Scott sought meaning in stories of the past, inadvertently inventing—to all practical purposes—historical fiction. Dickens, a generation on, strove to make fiction meaningful as a vehicle for pursuing the truth, for uncovering and exposing evil. But both these ends proved inadequate, giving rise to the modernism exemplified, in Bottum’s argument, by Mann, who made the novel its own point—novels for novels’ sake. It may not provide meaning, but it’s all we’ve got—let’s fuss over the artistry. By the time of Tom Wolfe, who attempted the unblinking truth-telling of Dickens in the realistic modern mode of Zola, narrated with journalistic attention to detail and rendered in frenzied prose, neither he nor his characters had the old “vision of the good life” that could give his shambling novels power and his readers no longer believed in the novel enough to take him seriously. Indeed, Wolfe became an object of scorn among the literati, especially when he dared to tip the sacred cow of the sexual revolution in I am Charlotte Simmons.

Successive failed attempts to find meaning, maintenance of empty forms without belief, and finally disbelief and disavowal—this is a deconversion story, a loss of faith. A “failure of nerve,” as Bottum puts it, but ours, not that of the novel. “The novel didn’t fail us. We failed the novel.”

There’s a lot to this argument, and Bottum argues it well. Certainly much of it jibes with my own observations, such as the way novels now tend to mean more to rabid subcultures than to any broadly shared culture—with one or two important exceptions. But I remain unconvinced by the overall thesis. Something is missing, or simply off. His narrative of disenchantment and decline is persuasive, but not because of the evidence brought forward through Scott, Dickens, Mann, and Wolfe. Since reading it a few weeks ago I’ve continued to puzzle over this.

Other reviewers have pointed to The Decline of the Novel’s narrow Anglophone focus, imprecision in how Bottum uses the word Protestant, or over-selective case studies as problems. This criticism has some merit. Here are two reviewers, Darren Dyck at Christianity Today and science fiction author Adam Roberts, who both sympathize with Bottum’s book while raising important questions about his thesis. Both reviews are worth your time for these lines of criticism.

“Ultimately,” Dyck writes in his review, “it all depends on how you define novel.” Whatever other points I could raise, I suspect this is the real problem. The Novel, capitalized, in the abstract, is probably too protean and slippery a form to describe in enough detail to prove a thesis like this.

This becomes especially clear in the book’s final chapter, about popular fiction, in which Bottum points out the way children’s fiction has taken the place of grownup novels as tools of imaginative instruction. Novels do, then, still form part of a broadly shared culture as theatres of moral drama and objects of debate and controversy—it’s just the novels of JK Rowling, not National Book Award or Booker Prize shortlisters, that matter now.

That last chapter works as an important caveat to the narrative that makes up the bulk of the book. It is also one of the several things that make The Decline of the Novel better than The Novel, Who Needs It? For Epstein, popular and genre fiction, which get barely a mention, mostly serve to prepare readers for the exquisite, lip-pursing pleasures of Henry James and Proust. Per Dyck, Epstein’s definition of novel doesn’t seem to include much beneath these delights. Blunter reviewers than I have accused Epstein of snobbery. Though Bottum doesn’t fully explore the implications of his observations in his final chapter, that he meditated on genre fiction at all makes his argument more serious and more open to emendation.

The survival of something of the novel’s function, as Bottum sees it, in however limited and compromised a form in children’s and popular fiction inevitably brought Chesterton to mind. In his early essay “A Defence of Penny Dreadfuls,” Chesterton stuck up for the crude, sensationalistic popular fiction of his own time for precisely this reason:

One of the strangest examples of the degree to which ordinary life is undervalued is the example of popular literature, the vast mass of which we contentedly describe as vulgar. The boy’s novelette may be ignorant in a literary sense . . . but it is not vulgar intrinsically—it is the actual centre of a million flaming imaginations.

Which means that however much The Novel has declined, as long as good stories set young imaginations on fire and keep them lit, there is reason for hope. The task is to preserve and, when possible, keep writing good stories.

Despite the limitations imposed on it by its author’s standards, The Novel, Who Needs It? offers serious, impassioned support to good fiction, and despite my minor misgivings about its overall argument, The Decline of the Novel is worthwhile as a thought-provoking, incisive look at fiction and the role it plays—or perhaps played—in our culture. I hope, alongside both Epstein and Bottum, for the novel’s return.

Bold old voices

This week’s episode of John J Miller’s Great Books podcast covers Casino Royale. An instant must-listen, as you can probably imagine. In answer to Miller’s standard opening question, “Why is X a great book?” guest Graham Hillard replies:

“1950s British mass market fiction is written to pretty much the same standard as 21st-century American literary fiction.”

I think it’s great for two reasons: it inaugurates one of the iconic characters in post-war literature, without dispute, and it is surprisingly excellent in its literary virtues, and by that I mean pacing, characterization, even sentence construction. I think I joked with you in an e-mail that Casino Royale would win a National Book Award if it came out today—that’s a slight exaggeration, but there really is something to the idea that 1950s British mass market fiction is written to pretty much the same standard as twenty-first-century American literary fiction. I absolutely think that if Casino Royale came out today, it would occasion massive coverage of the “bold new voice” variety.

Like the first sentences of Casino Royale, which Miller and Hillard go on to unpack, this is a solid opening. I’ve written about Bond creator Ian Fleming’s craftsmanship as a writer before, including at the basic level of sentence structure back in May.

But what struck me in this introduction was Hillard’s point about the generally high quality of mid-century British genre fiction. Having read Fleming for years and a bunch of Eric Ambler (crime and espionage thrillers) and John Wyndham (science fiction) over the last year, I had noticed this as well—author after author turning out brilliantly structured, beautifully and strongly written novels in accessible genres. What was in the water back then? After finishing Epitaph for a Spy and The Kraken Wakes this summer I set each down and considered what it must have been like, in the 1940s and 50s, to have books like these coming out regularly. Bliss it was in that dawn to be alive.

Two things occur to me to complicate my nostalgia:

First, high literary quality in genre fiction was not new at the time. If anything, the Flemings and Amblers were carrying on the good work of the Buchans who came before. Good writing is good writing regardless of whether or not it appears in a highbrow form. Respect it wherever it appears. (If anything, I increasingly like good genre writing more because in addition to good writing the author of a thriller, for instance, has to excite the reader.)

Second, is there a form of survivorship bias at work here? If we read only the good stuff left over from a period, it’s not because no one wrote junk at the time. After all, I’m a big believer in Sturgeon’s Law. And yet…

And yet, the gap in quality between the good genre fiction of Fleming’s time and ours is, in my experience, vast. Insuperable. Whatever it was—a more demanding public, tougher editors, skilled authors willing to use their skills simply to entertain, deeper education on the part of writer and reader, a lack of pretension among both—something is missing now.

The Kraken Wakes

One of my favorite discoveries last year was John Wyndham, an English author of sci-fi thrillers and an uncommonly skillful writer. Back around Christmas I read two of his most famous novels, The Day of the Triffids, in which a worldwide medical disaster turns into an apocalypse thanks to man-eating plants, and The Midwich Cuckoos, in which a small English village slowly figures out that it is the incubator of an otherworldly species’ young. I found these so brilliantly constructed, so subtle, and so absorbing that I got several more of Wyndham’s books with a Christmas gift card or two. I finally got to one of these last month: The Kraken Wakes.

This novel begins, like the other two, with an odd minor incident that the characters only realize later is the first forewarning of catastrophe. Mike and Phyllis Watson, young newlyweds and both reporters for the EBC, an upstart rival to the BBC, are honeymooning on an Atlantic cruise when they sight strange red dots in the sky. The brightly glowing vessels, which can’t be described in any particular detail by any witness and seem to radiate heat, draw closer to both the ship and the ocean before plunging into the water and disappearing. Mike and Phyllis report it as a curiosity, a brief notice to round out the evening news.

Then more of the lights appear. And more. They come out of the sky, dive under the ocean, and no witness ever sees one come back up.

By dint of having been there for one of the first sightings, Mike accidentally becomes a sought-after commentator on the flying red lights. A friend from the Admiralty shows Mike a chart of recorded sightings, which cluster over the deepest parts of the world’s oceans. Whatever this is, it’s not random. Scientists weigh in—and argue, and attack each other. Despite the controversy, no one knows what the lights are but after sightings all over the world, they stop. With their novelty and even their utility as the object of worry used up, the red lights become old news and the public moves on.

Then strange things start happening to the ocean. Vast clouds of mud from the ocean floor—specifically from the abyssal deeps where the glowing red lights had disappeared—cloud the major currents and disrupt fishing. Submarines and bathyspheres lowered to take a look are lost with their crews. Naval vessels explode and sink, and soon cargo ships and passenger liners start sinking. Most disturbingly, small settlements on out-of-the-way islands are found abandoned, their populations never to be seen again.

Mike and Phyllis, through the ups and downs of their journalistic careers and personal lives, witness much of this. And after joining the research team of a controversial scientist whose theories about the origins and goals of the undersea invaders are widely mocked but turn out to be correct more and more often, they become the first people to see and survive whatever is causing coastal populations to disappear. This scene—vividly rendered for the cover of the old Penguin paperback edition (see below)—is one of the most chilling and horrific in any of Wyndham’s books.

Finally, and seemingly too late, the world’s governments fight back. The coastal attacks stop. And the ice caps start melting.

While we haven’t lost our appetite for imagined apocalypse since Wyndham wrote in the 1950s and 60s, some threats have become passé. The large-scale alien invasion seems to be one. If any vision of the end of the world is bound to a former period of our culture, that one—with its fleets of flying saucers, desperate human armies, scientists fretting in labs, generals sweating in bunkers, and “Take me to your leader”—seems utterly inseparable from the early Cold War.

With The Kraken Wakes, which was published in 1953, Wyndham seems to have already sensed this emerging cliché and dodged it. His aliens are never seen and never once communicate with mankind. Their objectives can be inferred only after the fact, based on what they’ve already done, and don’t align with any understandable human goals. They remain alien throughout.

All of which keeps The Kraken Wakes surprising and original. These aliens prove canny and unpredictable and seem to have the upper hand until the very end.

But what keeps the novel’s story engaging, and is one of the most unusual things about it, is Mike’s narration. Wyndham presents the novel as Mike’s account, written down for a readership he may never know, of the catastrophes of the last several years and how and why society has collapsed into isolated bands hiding among islands that used to be hills. Technically, the overwhelming majority of The Kraken Wakes is told through exposition. But Wyndham structures these lengthy histories with crucial scenes of Mike and Phyllis’s work, travels, and personal life, and all of it is plausibly imagined and vividly written. The Watsons’ voyage from a flooded London to the Cotswolds by motor boat, finding their way using half-submerged steeples as landmarks and sleeping in the dry upper stories of abandoned houses, is an outstanding piece of post-apocalyptic writing all by itself. It’s a brilliant miniature of what Wyndham does at novel length in The Day of the Triffids.

My Modern Library paperback describes The Kraken Wakes as “an ingenious early example of climate fiction,” which is a modish thing to say but exactly wrong. The real, pervasive concern throughout the novel, as exemplified by Mike and Phyllis’s work for the EBC, is not climate change but journalism and public opinion. Reporters and governments live in a constant struggle not only with the submarine aliens but with a distracted public whose attention can only be attracted for more than a few minutes by novelty, outrage, or crisis.

Alexandra Kleeman, in a passage of her introduction blurbed on the back cover, is more perceptive. Focusing on a side character named Petunia, who has her own insistently held opinions about the aliens (it’s a Russian ploy), Kleeman suggests that Wyndham offers prescient insight into “anti-vaxxer disinformation and QAnon conspiracists.” Sure, maybe. But if so, Wyndham also correctly shows that this distrust cuts both ways. The government and military repeatedly attempt to control the flow of upsetting information and manipulate—some might say nudge—the public into compliance and approved opinions. But public opinion proves fickle, unpredictable, and intractable. Efforts to control it and save face for embarrassed governments and overconfident scientists don’t go well, something that will come as no surprise after the last few years.

There’s much more to The Kraken Wakes than its excellent writing and thematic insight. I haven’t even mentioned its humor, which is both wryly ironic and sometimes laugh-out-loud funny. Wyndham has great fun poking at Soviet pomposity, anti-capitalist paranoia, and Lysenkoism, among many other targets. And Wyndham, a master of the slow burn, uses his skill in building dread and foreboding to maximum effect.

But what is most important about The Kraken Wakes is that it is vividly imagined, thrilling, and surprising. Tastes in apocalypse—aliens, zombies, viruses, climate change—will shift and the literary establishment will politicize old books, but a good story well told will outlast both trends and politics. And the survival of storytelling beyond these and the apocalypse, as Mike’s narrative survives the floods, is a real reason for hope.

The House of the Four Winds

As this year’s John Buchan June draws to a close, we return to the adventures of retired Scottish grocer Dickson McCunn and friends, this time traveling abroad to help a disinherited prince claim his rightful throne. This novel, the final fictional read this year, is The House of the Four Winds.

Before we consider what kind of trouble the redoubtable Mr McCunn lands in this time, we should consider a mostly-forgotten genre: the Ruritanian Romance. Anthony Hope, a twenty-four year old London lawyer, published The Prisoner of Zenda in 1894 to great acclaim. The plot of this novel concerns an aimless English traveler being swept into a foreign country’s succession crisis and being forced—temporarily, at first—to impersonate a king. Hijinks ensue. As I’ve mentioned here before, The Prisoner of Zenda is a favorite swashbuckler of mine.

But what Hope did genre-wise In Zenda was to combine political intrigue, secret identities, well-intentioned conspirators, high-spirited derring-do, the put-upon Englishman in an exotic land, and a little old-fashioned forbidden romance and—crucially—set it in an imaginary central European kingdom. That unlikely formula proved a huge success and spawned decades of imitators, all called by the name of Hope’s kingdom: Ruritania.

Ruritanian politics informed the plot of the second Dickson McCunn tale, Castle Gay, which I reviewed earlier this month. In that novel, factions from the Republic of Evallonia slip into Scotland with the aim of interfering with British public opinion via the press. In The House of the Four Winds, a direct sequel to Castle Gay, Buchan embraces the Ruritanian genre form and sends his characters into the heart of Europe. The result is, as we will see, only partially successful.

When the novel begins, Dickson McCunn is taking a doctor-ordered cure at a spa town in southern Germany. Coincidentally, Alison Westwater, the young heroine of the previous novel, is in the same town with her elderly parents, as is frequent Buchan hero Sir Archie Roylance—taking a break from a dull League of Nations conference in Switzerland—and his wife Janet, whom we learn is a cousin of Alison’s. At various points members of the group encounter figures they recognize from their previous Evallonian adventure in Scotland: first Mastrovin, the nefarious leader of the republicans, a man with ties to the Bolsheviks; and second the heir to the throne of Evallonia, Prince John, whom Mastrovin had attempted to kidnap in Scotland in the previous novel. Something is afoot.

Meanwhile, Alison’s love and the real hero of both this novel and the previous one, Jaikie Galt, is taking a walking tour across eastern France and southern Germany. He winds up crossing the border into Evallonia—which, based on context, seems to be somewhere between Salzburg and Trieste—and almost immediately becomes embroiled in the country’s political upheaval. As established in Castle Gay, Evallonia was one of a number of half-baked republics created by the Treaty of Versailles following the end of the First World War, and like all of those enlightened creations is beset with problems.

Evallonia’s unpopular republican government is on the brink of collapse. Everyone expects this; what worries them is what will replace it once it has collapsed. The monarchists hope to restore Prince John to the throne as king. Mastrovin’s republicans have more sinister intentions, though these are never made totally clear. But what most complicates matters is the recent rise of a movement known as Juventus. A populist, nationalist movement oriented toward youth with a powerful and popular “Green Shirt” paramilitary wing, Juventus enjoys nationwide support but is functionally rudderless. Unlike similar populist movements in, say, Italy and Germany, Juventus has no singular figure who can steer it toward an attainable political goal. Until they have one, the Green Shirts are a danger to everyone.

The plot, hatched in the castle known as The House of the Four Winds by Jaikie, Count Odalchini, one of the leading monarchists, Randal Glynde, a circus owner with a long career in Evallonia (and another of Alison’s cousins), and, eventually, Dickson McCunn himself, is to manipulate the Green Shirts into support for Prince John by placing an even more objectionable heir on the throne, the prince’s elderly uncle, an archduke who has been living in exile for decades. This, they hope, will rally the Green Shirts to Prince John, restore him to his throne, and unite the anti-republican factions enough to prevent a pro-Bolshevik turn in Evallonian politics.

It should not be a surprise that the plot succeeds, but along the way the characters encounter plenty of dangers from every direction: kidnapping and torture by Mastrovin and his cronies; bullying and roughing up at the hands of Green Shirts; and dangers like scaling castle walls and leaping from prison windows. Like the other Dickson McCunn novels, The House of the Four Winds is a lark.

This book was published in 1935, between The Free Fishers and The Island of Sheep, two brisk and skillfully executed late novels. Reception for this final Dickson McCunn adventure, however, was pretty poor. Andrew Lownie, in his biography The Presbyterian Cavalier, quotes critic Cyril Connolly’s judgment that The House of the Four Winds represents “a rather low point” not only for Buchan’s fiction but for his entire career. Lownie himself notes succinctly that critics and reviewers since then “have not substantially challenged that contemporary view.” Ursula Buchan is more to the point: The House of the Four Winds “is probably [Buchan’s] worst novel.”

I enjoyed this novel more than they did, but it certainly has more evident weaknesses than much of Buchan’s other fiction. Most of them—strangely for Buchan, a master of pacing—are structural. Several chapters in the middle and end of the book begin with abrupt leaps forward in time, backtrack to fill in what has happened, and then awkwardly shuffle forward again. This technique can work; here it mostly doesn’t. (I remember being warned off of it in my undergrad Novel Writing class.) Some plot elements are introduced and abandoned quickly. At one point, Jaikie departs (between chapters) on a motorcycle with the aim of meeting an important Countess, but reappears having not found her only to be immediately diverted into another strand of the story. Finally, Mastrovin and the other villains are defeated too early, leaving an overlong denouement involving the mechanics of extracting a disguised Dickson McCunn from Evallonia.

There are also more contrivances than is usual, even for a writer famous for using the lucky coincidence. Jaikie’s love interest Alison has so many cousins one begins to wonder if everyone in the novel is related to her. Jaikie is also always bumping into people he happens to know. And Glynde and his circus, especially his trusty elephant, are always exactly where they need to be, exactly when they need to be.

But The House of the Four Winds still has its charms. For someone interested in thrillers and adventure stories, the interwar spin Buchan puts on Hope’s Ruritanian form is clever. This is a light adventure in a recognizably shaken up, post-Austria-Hungary central Europe, and reflects not only real currents of disruption, uncertainty, and political revolution, but presages the dangers that could arise from these scenarios. Dangers that, indeed, already had by 1935. Mussolini is mentioned once and Hitler not at all, but The House of the Fours Winds is shadowed by their presence. Could Evallonia in the hands of the Green Shirts, who are presented as misguided and potentially dangerous but fundamentally decent, wind up where Italy and Germany did?

More immediately enjoyable are the characters themselves. Jaikie and Alison’s genuinely sweet romance finally flowers in this novel, and it is good to see Sir Archie and Janet again. (It also makes me want to reread John Macnab, in which they meet and enjoy the best love story Buchan wrote.) And, thankfully after Castle Gay, from which he is mostly absent, we get more Dickson McCunn.

The novel’s final short farewell chapter, in which a band of horsemen hurries Mr McCunn over the mountainous Evallonian frontier by moonlight, is a charming episode devoted entirely to him and his spirit of adventure. That’s how his stories began in Huntingtower, the best of the bunch, and even if Castle Gay and The House of the Four Winds never worked as well as that first adventure did, this novel’s conclusion makes a fitting end for this unlikeliest of Buchan heroes.

The Island of Sheep

Today we enter the final week of this year’s John Buchan June by continuing with the “lasts” of Buchan’s fiction career. Last week we looked at his last historical novel, The Free Fishers. Today we bid farewell to Buchan’s most famous hero, Richard Hannay, in the last of his adventures, the book that biographer Andrew Lownie calls “the forgotten Richard Hannay novel”: The Island of Sheep.

After running from German agents provocateurs, crossing the length of war-torn Europe to foil a German plot in the Middle East, surviving the Western Front—among other hazards—and risking his life to save three people kidnapped by a scheming society man, General Sir Richard Hannay is finally and firmly settled in the countryside. He lives contentedly at Fosse, his estate, with his wife Mary and now-teenage son Peter John and journeys into London only on parliamentary business. But, Hannay being Hannay, this peaceful life and comfortable existence feels unearned.

Memories and chance meetings further shake him out of his cossetted torpor. One day in Parliament a chance remark reminds Hannay of Lombard, a driven, ambitious friend from his youth in South Africa and Rhodesia. Hannay has not seen Lombard since a fateful night on the savannah when he, Lombard, and Peter Pienaar had sworn an oath to an elderly Danish explorer named Haraldsen to come to his aid if he ever called for help against old enemies. “More,” Hannay notes, “we must be ready to come to his son's help, for he considered that this vendetta might not end with his own life, and we were to hand on the duty to our own sons. As none of us was married that didn’t greatly worry us.”

On the train back to Fosse after the speech, Hannay realizes that Lombard, now bald, thick in the middle, and much more modest in his goals, is sitting across from him. The two chat pleasantly and discuss meeting and catching up sometime, but Hannay senses that Lombard is embarrassed that he never accomplished his youthful plans and Lombard, we later learn, sensed correctly that Hannay looked down on him. The suggested meeting never comes.

Later, on a holiday to the coast with Mary and Peter John, an avid birdwatcher and falconer, Hannay meets a man traveling under the name of Smith who is clearly foreign. He joins Hannay and Peter John on their hunts but sympathizes with the prey rather than the hunters, and disappears suddenly. A hunted man, Hannay thinks, and turns out to be right.

Because the “Smith” Hannay and Peter John get to know is, in fact, Haraldsen’s son Valdemar, and Hannay and Lombard owe a debt to him based on that long-ago pledge under the African moon.

The elder Haraldsen, it turns out, has died at a great age in a remote corner of East Asia in pursuit of the Old Testament Ophir, and Lancelot Troth, the son of a crooked former business partner—who had tried not only to swindle but to kill Haraldsen the night that Hannay, Lombard, and Peter Pienaar saved him—has come back for revenge. Troth has teamed up with his dead father’s former partner, Erick Albinus, and an investor named Barralty, who seems to be the intellectual of the bunch. Together, they have hounded the unassuming and unworldly Valdemar Haraldsen from his island home near the Arctic Circle to hideout after hideout in the British Isles. Hannay, honor-bound to keep his oath, agrees to host Haraldsen in cognito at Fosse.

Haraldsen’s pursuers don’t allow him to rest for long. Soon Hannay, his family, and Haraldsen have decamped to Scotland and Laverlaw, the estate of Hannay’s old friend and comrade-in-arms Sandy Arbuthnot. Lombard arrives with Haraldsen’s daughter Anna, having barely saved her from kidnapping by Troth’s henchmen and cannily shaken the kidnappers off during a cross-country car chase. Reunited with his daughter and enjoying the company of Hannay and his son, Haraldsen loses the hunted, furtive look he has taken on and becomes bolder and more confident—so much so that he decides, after his enemies discover his whereabouts again, that he must face them directly on his own home turf, the Island of Sheep.

The novel thus takes place across three homes: Fosse, where we first meet Hannay at rest; Laverlaw, where Hannay and Sandy retreat with Haraldsen and his daughter; and the Island of Sheep, where the group meet with the power behind Troth, Albinus, Barralty, and their co-conspirators in a final confrontation.

Though I’ve loved The Thirty-Nine Steps for years, I’ve been surprised to discover, since starting this annual project, that Richard Hannay is not my favorite of Buchan’s recurring heroes. I much prefer Sir Edward Leithen and find Dickson McCunn, though his adventures are nowhere near as thrilling, better company. And after the one-two excitements of The Thirty-Nine Steps and Greenmantle I found Mr Standfast a bit of a slog and The Three Hostages enjoyable but hardly a return to form. So I approached The Island of Sheep a bit hesitantly. I’m glad to say it was wonderful.

The Island of Sheep is not, however, The Thirty-Nine Steps or Greenmantle. Though exciting and suspenseful this, Buchan’s penultimate novel, the last before Sick Heart River, already has something of that posthumously-published work’s reflective tone. Hannay, older now if not much wiser, is troubled by big questions and new kinds of enemies. The novel begins with his guilt over what he feels to be unearned comfort, and the plot is driven by the unresolved hatreds and loyalties of multiple generations. The ending, which I realized reminded me a lot of the climax of Skyfall, suggests that simplification, a return to basics—old vows fulfilled, old ways preserved, national character embraced—and direct confrontation of evil are the only lasting solutions. Until then, a man must live discontented and ill at ease. “Every man,” Lombard says in the end, “must discover his own Island of Sheep.”

The novel is thus thematically rich, but it is also technically excellent. Though written over a busy year and “finished with difficulty” according to Buchan himself, it has none of the pacing problems of Mr Standfast or The Three Hostages, and though—looked at objectively—Hannay does not actually do much in the novel, one is not aware of this as the story unfolds. The early chapters in particular, which are full of flashbacks and stories-within-stories, are especially well paced, and broaden the scope of this adventure through Hannay’s memories of Africa and Sandy’s recounting of journeys in the Far East.

Most of the characters will be familiar to readers of the other Hannay stories, but the newcomers stand out, especially Peter John, last seen as an infant in The Three Hostages, and Anna Haraldsen. Andrew Lownie, in his introduction to the edition I read, compares Peter John and Anna favorably to the young heroes of Robert Louis Stevenson. They are handsomely matched, both in temperament and expertise—Peter John the falconer, hunter, and bird expert, Anna the relict Viking girl, a powerful swimmer and kayaker. One wonders what Buchan might have made of them had he lived longer. The ultimate villain, whom Sandy first infers is behind the plot against Haraldsen, returns from The Courts of the Morning, a novel I haven’t read, though I didn’t find that this hurt my reading of The Island of Sheep. It certainly didn’t make the climactic showdown—which involves fire, cliffs, harpoons, whaling, a terrible thunderstorm, and the legendary berserkr rage—any less suspenseful or dramatic.

As a final note, this novel features some of Buchan’s strongest and most beautiful nature writing. The landscapes range from remembered African hills and savannahs to the marshes of the Solent and the cliffs and lochs of the Faroe Islands—thinly disguised as “the Norlands”—as well as the English countryside and the Scottish Borders. Buchan, always skilled in describing places, is in rare form here, and excels not only at his descriptions of places but of the people who live in them and their many folkways. Here’s a passage from the sheep shearing on Sandy Arbuthnot’s estate that I stopped and read aloud to my wife for pure pleasure:

We all attended the clipping. It was a very hot day, and the air in the fold was thick with the reek of sheep and the strong scent of the keel-pot, from which the shorn beasts were marked with a great L. I have seen a good deal of shearing in my time, but I have never seen it done better than by these Borderers, who wrought in perfect silence and apparently with effortless ease. The Australian sheep-hand may be quicker at the job, but he could not be a greater artist. There was never a gash or a shear-mark, the fleeces dropped plumply beside the stools, and the sheep, no longer dingy and weathered but a dazzling white, were as evenly trimmed as if they had been fine women in the hands of a coiffeur. It was too smelly a place for the women to sit in long, but twenty yards off was crisp turf beginning to be crimsoned with bell-heather, and the shingle-beds and crystal waters of the burn. We ended by camping on a little hillock, where we could look down upon the scene, and around to the hills shimmering in the heat, and up to the deep blue sky on which were etched two mewing buzzards.

The Island of Sheep is not, strictly speaking, the end of Richard Hannay. He is mentioned off-hand in Sick Heart River, the very last of Buchan’s novels, as a member of Sir Edward Leithen’s club and a picture of “serene contentment.” But this final adventure is a worthy one, the best since Greenmantle, and one that, in honoring old promises, vanquishing evil, and saving a soul, earned Hannay the peace in which Buchan left him.

The Free Fishers

Today John Buchan June continues with Buchan’s final work of historical fiction, the 1934 novel The Free Fishers.

Set in Scotland and the North Sea coast of Norfolk, during the Regency and at the height of Napoleon’s powers over the Continent, The Free Fishers begins with Anthony “Nanty” Lammas leaving a meeting of a secret society. Despite his position as professor of rhetoric and logic at St Andrews, Lammas grew up among the fishermen and sailors of the Fife coast and is an initiate of the Free Fishers, their underground fraternity, a network connecting its members to thousands of others all over Britain. This evening, Lammas learns that one of his former students, Jock Kinloch, has also joined the group.

Kinloch complains to Lammas that his attentions to a young lady named Kirsty Evandale are not being reciprocated. Miss Evandale only has eyes for Harry Belses—another of Lammas’s former students—and Harry, in his turn, has an apparently unhealthy interest in a mysterious Mrs Cranmer. This lady, whose husband is a wealthy aristocrat, lives on a remote moorland estate called Hungrygrain. She is also rumored to have outspoken Jacobin sympathies. All of which frustrates the volatile Jock and bewilders Lammas.

Shortly thereafter Lammas receives a special assignment from the college: under cover of traveling to London to beg funds from one of the school’s benefactors, Lord Snowdoun, he must save Snowdoun’s son from an impending duel concerning a lady. The son is Harry Belses. Harry’s challenger is the terrifying Sir Turnour Wyse, an excellent shot with a pistol. The lady is Mrs Cranmer.

Lammas, disconcerted to be sent on such a mission, consults the leader of the Free Fishers, Eben Garnock. In addition to smuggling and the usual duties of a guild or secret society, the Fishers occasionally conduct deniable intelligence work on behalf of the crown. Mrs Cranmer, Lammas learns, is rumored to be a Jacobin spy working on behalf of Napoleon. Already Lammas’s task has taken on more serious dimensions than sorting out a young man’s love life.

Lammas sets out for London and almost immediately meets Sir Turnour, a handsome, physically powerful, and arrogant man obsessed with matters of honor who is also a master horseman. Lammas also learns during one stop on his route that Harry, who had been locked up by his own family in London until Sir Turnour could be placated, has escaped and headed north, presumably homing in on Mrs Cranmer. Lammas changes his plans. He must stop Harry and keep him away from Sir Turnour.

As The Free Fishers nears its midway point, Lammas and Jock, with the aid of Eben Garnock and the Fishers, as well as Harry and Sir Turnour independently, all converge upon Hungrygrain and Mrs Cranmer. There they will encounter hostile locals, a suspiciously empty public house with an unhelpful landlord, and a small army of henchmen patrolling the grounds of Hungrygrain. They will also discover the truth about Mrs Cranmer and her husband, and that a plot is in motion to assassinate the Prime Minister.

I can’t summarize much more of The Free Fishers without giving too much away. Suffice it to say that its plot falls into two halves.

In the first half, Lammas leaves St Andrews on his mission and encounters person after person whom he regards, largely on the basis of hearsay, as an antagonist only to find that, not only do they have good qualities, they are ultimately on the same side. This half charmingly reminded me of The Man Who was Thursday, Chesterton’s breakneck thriller in which, one by one, the hero discovers that all of his enemies are actually friends. The second half of The Free Fishers is a suspenseful cross-country race by an unlikely team to stop the assassination and protect an innocent person from being framed.

I mentioned above that The Free Fishers was Buchan’s last historical novel. It is neither his best nor his most famous story but it shows all of his skills and experience as a writer in peak form. Comparison with an earlier historical novel like Salute to Adventurers is instructive. There, an extended prologue gives way to a sprawling, convoluted plot taking place over years, and though the mystery steadily builds in tension, the reader will win no prizes for guessing the identity of the villain. The Free Fishers, on the other hand, is light, high-spirited, and wittily written, unfolding at a fast, steady, expert pace over just a few days and revealing new surprises in every chapter. I greatly enjoyed both books but The Free Fishers is formally superior and, most importantly, more exciting.

Much more. The climactic action of The Free Fishers is suspenseful and the conclusion to Lammas’s story thoroughly satisfying. Though its plot and themes echo many of Buchan’s earlier historical novels—especially the call of a bookish minister to action and danger in Witch Wood and the benevolent workings of an ancient secret society in Midwinter—this is Buchan’s best executed exploration of them. If it has any shortcoming, it is that preventing the assassination of a now lesser-known Prime Minister gives the book lower stakes. The Napoleonic threat does not feel quite as eminent as it perhaps should. Still, The Free Fishers is a wonderful adventure, and I’d rate it just below Buchan’s historical masterpiece, the rich, eerie, and oppressive Witch Wood.

I could say more. The characters are strongly developed and surprising. Buchan proves especially adept at manipulating the reader’s sympathies, the best example being the haughty Sir Turnour Wyse. And Buchan evokes the world of royal roads, mail coaches, and wayside inns—whether in the hills of the Borders or the fens of Norfolk—with effortless vividness. This is the bustling highway world just out of sight of Jane Austen’s Regency.

Shortly after the publication of The Free Fishers, Buchan was appointed Governor General of Canada, a position in which he served until his death. This appointment, his move from Elsfield in southern England, illness, and affairs of state slowed his writing of fiction, and he produced only three more thrillers—the final adventures of Dickson McCunn, Richard Hannay, and, most movingly, Sir Edward Leithen—before he died in 1940. But if he produced no more historical novels, at least this part of his writing career ended on a note of adventure, brotherhood, and swashbuckling fun.