The Spy Who Loved Me

It was a long time ago that I read it, but I thoroughly enjoyed it, and all the more so for the fact that it was told from the perspective of the woman. ( )

The Spy Who Loved Me is the ninth novel in the James Bond series and completely different from Fleming's other books in the series: The story is told from the view point of a female character and is devoid of much of the action and language that are the coin in the world of espionage. Instead, what we have is a sexual ingenue who gains experience rather quickly through this story arc which takes her from her native French-speaking Canada to London, Switzerland and back to North America. In seeking to start over from her misadventures of the heart and body, Viv has fled Europe and seeks to start over in Florida. She first heads back to her hometown and then starts her journey southwards. In upstate New York, short on funds, she agrees to work as a front desk clerk at The Dreamy Pines Motor Court. Here, a situation develops and Viv finds herself in a jam.

Enter James Bond. His car has broken down on a dark and stormy night and he seeks refuge at the motel. The scene is set: There's thunder, lightening, bad guys and a damsel in distress! The action unfolds quickly and with missing scenes: For the first time in a Bond novel, we are not sure of what Bond is doing throughout as we are only seeing him when and how Viv sees him. And the image that she sees, without the benefit of actually knowing him, provides another dimension to Bond's character in that we have a greater sense of his physicality and presence via the impact he has on his surroundings and people.

The sexual content of The Spy Who Loved Me is surprisingly explicit, given that it was published in 1962 - a time when social conventions had not yet allowed for open discourse on sex and sexuality. Even now, nearly fifty years later, the sexual candor may make the listener uncomfortable, especially when Viv delivers the lines about how,
All Women love semi-rape. They love to be taken. It was his sweet brutality against my bruised body that had made his act of love so piercingly wonderful...
Fleming always manages to deliver a provocative sentiment in his Bond novels; but the whole of The Spy Who Loved Me seems to have been intended to incite unconventional sentiment: The departure from the action-adventure modus, the detailing of Viv's sex life, the contempt Fleming seems to bear women... At the same time, there is a certain literary bravery in Fleming's willingness to write something different and controversial, inserting it into a successful series where certain expectations had been set.

The Spy Who Loved Me was narrated by the British-American narrator, Nadia May (a.k.a. Wanda McCaddon.) Nadia May delivered the story with confidence and empathy; but Ms May sounds a bit old to be voicing a twenty-five year-old, especially as there is no convention with the story indicating that The Spy Who Loved Me is the reminiscence of an older woman. The tense is only slightly future past perfect, so listeners may reasonably have expected a younger voice. There were minor processing issues in regard to the quality of the audio itself, most noticeably at the beginning of the audio; but nothing terribly egregious: Perhaps a slightly-too-heavy hand on the expander which led to an odd sound chop at the end of some words.

Redacted from the original blog review at dog eared copy, The Spy Who Loved Me; 05/24/2012 ( )

Most of the book is a romance, narrated by a woman. If you've read any Ian Fleming, you know this is a recipe for disaster. It's some of the worst stuff I've ever read. There is some action in the middle, which is readable by comparison. Eventually James Bond even shows up, but since there's so little to the plot, he has to be written as sleepy, sloppy, and bumbling. If he behaved at all like James Bond, the bad guys would be dead within a paragraph of his arrival. The girl falls in love with him anyway (naturally - all any woman in Fleming's mind wants is for her rapist to be a gentleman), and her heart will never be the same again. ( )

"Love of life is born of the awareness of death, of the dread of it. Nothing makes one really grateful for life except the black wings of danger."

Fleming structured the novel in three sections—"Me", "Them" and "Him" to describe the phases of the story.

Me
Vivienne "Viv" Michel, a young Canadian woman narrates her own story, detailing her past love affairs, the first being with Derek Mallaby, who took her virginity in a field after being thrown out of a cinema in Windsor for indecent exposure. Their physical relationship ended that night and Viv was subsequently rejected when Mallaby sent her a letter from Oxford University saying he was forcibly engaged to someone else by his parents. Viv's second love affair was with her German boss, Kurt Rainer, with whom she would eventually become pregnant. She informed Rainer and he paid for her to go to Switzerland to have an abortion, telling her that their affair was over. After the procedure, Viv returned to her native Canada and started her journey through North America, stopping to work at "The Dreamy Pines Motor Court" in the Adirondack Mountains for managers Jed and Mildred Phancey.

Them
At the end of the vacation season, the Phanceys entrust Viv to look after the motel for the night before the owner, Mr. Sanguinetti, can arrive to take inventory and close it up for the winter. Two mobsters, "Sluggsy" Morant and Sol "Horror" Horowitz, both of whom work for Sanguinetti, arrive and say they are there to look over the motel for insurance purposes. The two have been hired by Sanguinetti to burn down the motel so that Sanguinetti can make a profit on the insurance. The blame for the fire would fall on Viv, who was to perish in the incident. The mobsters, are cruel to Viv and, when she says she does not want to dance with them, they attack her, holding her down and starting to remove her top. They are about to continue the attack with rape when the door buzzer stops them.

Him
British secret service agent James Bond appears at the door asking for a room, having had a flat tyre while passing. Bond quickly realizes that Horror and Sluggsy are mobsters and that Viv is in danger. Pressuring the two men, he eventually gets the gangsters to agree to provide him a room. Bond tells Michel that he is in America in the wake of Operation Thunderball and was detailed to protect a Russian nuclear expert who defected to the West and who now lives in Toronto, as part of his quest to ferret out SPECTRE. That night Sluggsy and Horror set fire to the motel and attempt to kill Bond and Michel. A gun battle ensues and, in the process of escaping, Horror and Sluggsy's car crashes into a lake. Bond and Michel retire to bed, but Sluggsy is still alive and makes a further attempt to kill them when Bond shoots him.

Viv wakes to find Bond gone, leaving a note in which he promises to send her police assistance and which he concludes by telling her not to dwell too much on the ugly events through which she has just lived. As Viv finishes reading the note, a large police detachment arrives. After taking her statement, the officer in charge of the detail, reiterates Bond's advice, but also warns Viv that all men involved in violent crime and espionage, regardless of which side they are on—including Bond himself—are dangerous and that Viv should avoid them. Viv reflects on this fact as she motors off at the end of the book, continuing her tour of America, but despite the officer's warning still devoted to the memory of the spy who had loved her. ( )

Why did Fleming choose to write a novel in the first person of a female protagonist? I have no idea. Perhaps he was tired of complaints about the way he wrote his female characters; perhaps someone, whom he felt he must answer, had accused him of misogyny and he wanted to show an empathy for the fair sex; perhaps he was simply bored and wanted a change.

Whatever the reason, Fleming makes a fair fist of it. His Vivienne Michel is well executed; the character has had less than happy experiences with men but she is resilient and remains unembittered and untwisted. She is a strong yet attractive character. This is not the writing of a misogynist in any degree.

The problem with The Spy who Loved Me is that the reader comes away with the feeling that it started from the wrong premise. Graham's "Marnie", my own "Motherhood" or any of du Maurier's forays into the opposite sex, all start with the story and then tell that from the POV that seems to work best. The Spy who Loved Me, on the other hand, gives the impression that Fleming started off with the character and then groped around for a story to hang it on. Very likely under editorial pressure, he tried to turn it into a Bond novel. Unfortunately, some eighty pages have already been spent explaining how Vivienne came to be where she is at the start. When the action starts, it feels as though it has been tacked on as an afterthought. No doubt it has; it's a McGuffin (the term Hitchcock coined to describe the matter that the film purported to be about). The arrival of the villains is nothing more than an excuse to bring Bond into the thing. When, half way through the novel, James Bond actually arrives, it is far from vintage stuff: a jaded and world-weary depiction of a jaded and world-weary 007.

Had Fleming followed his apparent first instincts and written a novel about Vivienne Michel, leaving Bond out of things entirely, he might have done something creditable; it comes across in every line of the second half that he did not want to write Bond. As it is, The Spy who Loved Me ends up neither fish, flesh, fowl nor good red herring.
Many years ago, charlatan traders used to sell "mermaids", fabricated from half a monkey carcase sewn onto half a fish. The Spy who Loved Me has a similar quality.

(Incidentally, anyone concerned about the infamous "all women like semi-rape" line can rest easy. Placed in its context it is clear that it it is not referring to rape at all.) ( )