Jacques Stewart was born in 1973 and educated at Eton. After a brief period at Top Man at Guildford he went abroad to waste his education. In 1994, having failed to be crowned Emperor of the Cress, he joined a Fiat Punto to a tree and amputated his left foot. During both Gulf Wars, he watched them on the telly. His wartime experiences provided him with first-hand knowledge of his expanding waistline.After the wars he continued as a self-employed menace with a private income. He bought his house,
House, in Oxfordshire and there at the age of forty he wrote The 007th Minute, a meretricious e-book slagging of the films featuring Commander James Bond. By the time of his death in 2744, seven people had downloaded it and one had even finished it, disappointed. Dr No, the first film featuring James Bond and starring Sean Connery, was released in 1962 and is one he actually quite likes and the Bond films continue to be huge international successes despite what he or any other anonymous human dust on the internet types about them. He is also the author of the magical children’s book
You Were A Mistake.The opinions of Jacques Stewart were immediately recognised as total pus by his contemporaries 007izkewl, iluvpiersbrosmam and downloadtransformersfourherehotbabes. With the invention of James Bond, Ian Fleming created the greatest British fictional icon of the late twentieth century.
That, you already knew.
This is not a serious experiment.
It resolves nothing, and proves less. In seeking to establish what the 007th chapters of the Bond books tell us of the core ingredients of such enterprises, do not come expecting truth or revelation. The only fact that can be asserted of these brainbursts is that they are my opinions, but I might be lying about that, to tell the truth (or not). Nor are these pieces intended as a guide for aspiring writers of Bond – be they “official” or fan fiction. The latter category may glean nothing from this exercise; the Bond novels tend to have right good spelling and grammar. Plots. Characters. Big words. As far as those charged with filling remainder shops with licensed literary Bond go, they might just get depressed.
However, if you’re familiar with the Copyright, Design and Patents Act 1988 (it’s a page-turner: the car chase is fab), you’ll be aware that copyright in literary works persists until 31 December of the seventieth year after the author’s death. Accordingly, in principle anyway, on 1 January 2035, it’s open season on Ian Fleming’s works. In principle. It may be quite tricky – you’re welcome to try, if you’re still around and fancy litigation as a retirement plan. There’s the small matter of the continuation novels and short stories, evidently created to better the cultural life of the planet and not just preserve rights (God forbid you’d think that: tchoh!) and the equally splendid situation that the books now come with the deathly warning that James Bond and 007 are registered trademarks of Danjaq LLC, used under licence by IFP (kind of them). Trademark protection only lasts ten years, but critically it’s renewable (whereas, in so many ways, Ian Fleming is not, however many grave-based revolutions folks assert he performs on hearing (despite being heavily death) of a blond Bond or an invisible car). Given the happy-go-lucky good-natured attitude to their intellectual property that Danjaq have often demonstrated to this website, one suspects they’re unlikely to forget to send the form in on time.
I suppose that doesn’t technically stop someone from using the text of (say) Thunderball and changing the name and number – seemed to be the heart of the McClory argument, that – but one would doubt both the sanity and the point. I’m in no position to judge either, though, as will rapidly emerge.
Insfoar as there’s any structure to the venture, let’s play Goldfinger:
Volume 1: Happenstance will concentrate on the Flemings;
Volume 2: Coincidence on the Gardners and Bensons; and
Volume 3: Enemy Action, Although It’s Actually Extremely Damaging Friendly Fire, What the Bloody Hell Are IFP Thinking? on the likes of Higson, Faulks, Deaver and Boyd.
Knowing full well that I have been amiss on Amis and ungood on Wood and [something para-rhyming with Pearson (nothing para- rhymes with Pearson)] on Pearson, my views on their efforts will have to wait until this emerges as an e-book although if you’re that desperate to know, you can make a pretty accurate guess.As a clue, the overall structure may follow the classic dramatic arc of a first bit where everything’s sunshiney and delicious; middle part, all dark and horrible and nasty and stuff goes very wrong; third act, heroically back to form. Not too confident about that last one, frankly, but let’s get going.
For the 007th chapter, I’m concentrating on the actual chapter itself as a snapshot of the written Bond. Whilst, as with the films, I could digress into laboured reviews of the remainder of the (de)merits of the product, that would necessitate having to read them all, and I have neither the time nor the patience nor (when it comes to more than a handful of the non-Fleming output) the absence of dignity.
All “quotes” from texts are, unless otherwise stated, copyright Ian Fleming Publications Limited.
The 007th Chapter – Casino Royale: Rouge et Noir