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The Writer, The Spy And The Silver Beast: John Gardner’s 007

John Gardner’s first published book was the autobiographical Spin the Bottle (1964), and while he never returned to non-fiction writing, he set out to bring reality, the real world, and a sense of verisimilitude into his work – especially to his fourteen original James Bond novels.

Gardner cited his eleventh Bond novel, 1991’s The Man from Barbarossa, as the best of his 007 adventures. Crucially, this is the story most grounded in then-current events, with Bond thrown into the very timely Middle East conflicts, as well the book correctly anticipating the close of the Cold War. Despite the thrilling, inventive narratives in his stories, Gardner was no fantasist. In his hands, the world’s most famous secret agent fought for Queen and country in a world readers could relate to.

Book cover for The Man From Barbarossa by John Gardner

Having previously worked as both a stage magician and Royal Marine officer amongst other jobs, John Gardner was a hands-on man and it was important to him that the gadgets in his 007 stories be grounded and plausible. In the acknowledgements to 1981’s Licence Renewed Gardner states

“I would like to point out to any unbelievers that all the hardware used by Mr. Bond in this story is genuine. Everything provided by Q Branch and carried by Bond – even the modification to Mr. Bond’s Saab – is obtainable on either the open, or clandestine, markets.”

For his tech research, Gardner spent his own time and money speaking to those in the know and actually getting to handle and experience the equipment on the bleeding edge of covert operations.

“One of the things that he wanted to do right from the word go,” explains John Gardner’s son, Simon, “was to make sure that at least 90% of the gadgets were real and could be obtained.

“At the time he was using a place on South Audley Street called Communication Controls Systems Ltd (CSS) and those were the ones he did a lot of work with. He wanted to show that someone like Bond would have, as he put it, ‘trade craft’. I think he wanted to try and get Bond to become a real person as opposed to this kind of fantasy character: he was trying to bring him back to the reality of espionage. There were a lot of fans who didn’t like that. They simply wanted to see the Bond of the films… He said, if I’m going to do Bond I want to try and do it as much my way as possible, which means that the trade craft has to be right and the gadgets have to be believable. That was his starting point.”

It is the aforementioned Saab that is one of John Gardner’s most famous contributions to the 007 canon. Motoring and James Bond’s licence to drive has always been an essential and beloved part of the adventures and the decision to put him into the Swedish automobile classic turned a lot of heads in 1981. The very first sentence Gardner writes Bond into in Licence Renewed, has him driving the mid-size, four-cylinder car.

“James Bond shifted down into third gear, drifted the Saab 900 Turbo into a tight left-hand turn, clinging to the grass shoulder, then put on a fraction more power to bring the car out of the bend.”

007’s car of choice was named ‘The Silver Beast’ and was of course equipped with special hidden features, such as bulletproof glass, rotating licence plates, tear gas ducts, steel-reinforced bumpers, hidden compartments for handguns, a mobile phone and much more. In the prose, Gardner namedrops CCS as the company who personalised the car for Bond but to further underline that the world of James Bond was now ‘our world’, Saab went ahead and created The Silver Beast themselves. This one-of-a-kind machine made the regional news, with John himself showcasing its bespoke additions.

Not only was this a wonderful marketing opportunity but it spoke to how so many fans of 007 see the character – as aspirational. You may not be taking on globe-trotting missions, but you can drink the drink, wear the suit and now buy the car!  

Gardner was tasked with bridging the gap between an idealised pop culture version of James Bond circa the early 1908s and a readership that was very different to 1953 when Casino Royale was published. In total he would write fourteen original Bond novels, plus two movie novelisations, landing him a spot in the Guinness World Records. “History is moving pretty quickly these days” said Ian Fleming and – like so many situations Bond finds himself in – John Gardner was in the right place at the right time, making him the perfect author for 007 in 1981.


Art Evolution: For Special Services

John Gardner’s second Bond book, For Special Services sees Bond on Special Services to the US government alongside Cedar Leiter, the daughter of Felix Leiter. Together they pose as art experts to infiltrate the organisation of art lover Markus Bismaquer, whose ventures threaten to “set the world ablaze”. To celebrate this much-loved thriller we take a closer look at the evolution of its cover art.

When For Special Services was first published in 1982, the cover for Jonathan Cape’s UK hardback edition was created by British artist, illustrator and designer Bill Botten, whose work has decorated over 250 books, including novels by Kingsley and Martin Amis, Ian McEwan, Ian Fleming’s old friend William Plomer, Salman Rushdie, Kurt Vonnegut, Michael Crichton and J.G. Ballard. Among James Bond fans, Bill’s work is most recognisable from John Gardner’s novels Icebreaker and, of course, For Special Services, but it can also be found on Christopher Wood’s screenplay novelisations of The Spy Who Loved Me and James Bond and Moonraker.

The snake adorning the first edition of For Special Services – referencing the deadly thirty-foot pythons in Nena Blofeld’s house in the Bayou – is reminiscent of the artwork created by Richard Chopping for Ian Fleming’s original James Bond books, even down to the black cloth and gold lettering. When interviewed by Literary 007, Bill said that this was the only time that Jonathan Cape gave an indication of what they wanted on a cover. For the other books, it was (creative) Licence to Bill.

The paperback editions of For Special Services were published by Coronet Books, which soon became the third publisher of paperback James Bond novels in the UK. Like the hardback, the cover made by Coronet featured a snake but its block red background and the addition of a spy silhouette contributed to a bolder and more commercial look for the novel. It emphasised the speed and captured the action of John Gardner’s storytelling as well as his mission to “bring Mr Bond into the 1980s”.

Book cover for For Special Services by John Gardner

In 1995 Coronet revamped the entire 007 series with vibrant new covers by David Scutt, Bill Gregory and Paul Robinson. This series is the most complete set of James Bond books to date. It would be the last set to include Colonel Sun and the only set to include both John Gardner and Raymond Benson titles. A 2003 omnibus containing the first three John Gardner books (Licence Renewed, For Special Services and Role of Honour) used the artwork from For Special Services.

In 2012 all fourteen of John Gardner’s James Bond titles were republished by Orion. The cover artist on this series, Dan Mogford, explains on his website how the concept came to him at the very last minute after he had decided to go in a different direction from the typical spy clichés of sex and villainy. The snake previously associated with the For Special Services covers moved (or sssssslithered along to) Scorpius, Gardner’s seventh 007 book, during the climax of which Bond’s bride, Horner is killed by a snake. On the new For Special Services cover, a satellite replaces the python, which arguably gives a more accurate impression of the novel’s atmosphere: airplane hijackings and a murdered CIA agent’s body, not to mention SPECTRE’s world-threatening plans to gain control of America’s military space satellite network.