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thomcat's review
3.0
Fergus Fleming collects several of the letters written by (and sometimes to) his infamous uncle, Ian Fleming. Chapter titles match the published books, and each contains a mini-biography of the ideas and travel behind that particular title, along with his life and relations during that time.
The early letters are quite interesting, and offer bits of humor. Later letters do less to flesh out the story, dealing more with business, and towards the end, I was mostly focused on the book biographies. Very little is said about the films.
A complete biography of Fleming this isn't. A must read for a completist, and I found the book interesting, but wouldn't recommend it to the casual reader. That person should focus instead on the novels and/or a full biography instead. 2½ stars.
The early letters are quite interesting, and offer bits of humor. Later letters do less to flesh out the story, dealing more with business, and towards the end, I was mostly focused on the book biographies. Very little is said about the films.
A complete biography of Fleming this isn't. A must read for a completist, and I found the book interesting, but wouldn't recommend it to the casual reader. That person should focus instead on the novels and/or a full biography instead. 2½ stars.
jesstherese's review against another edition
4.0
I've never read any Bond novels but I do love letters, so this was appealing.
ianbanks's review against another edition
5.0
Possibly the best book I've read in ages, which is ironic as it is a collection of letters. But it deals with the creation of a series of books that I spent roughly 25 years away from before falling in love with them all over again.
The letters are mostly from Fleming as he talks with his publishers, beta readers, family members, friends, and - quite charmingly - some fans. It shows the thought process behind Bond's adventures and his character. As a source book it is quite unique, often laugh-out-loud funny and very boring for spouses who have their partners reading large chunk of it to them because they just have to share some nugget of information with them.
My biggest takeaway from it is that it would be an interesting thought experiment to imagine what the British publishing scene would be like without the invention of Bond: he may have saved the world several times in his adventures but it would be a different place culturally if he had not existed at all.
The letters are mostly from Fleming as he talks with his publishers, beta readers, family members, friends, and - quite charmingly - some fans. It shows the thought process behind Bond's adventures and his character. As a source book it is quite unique, often laugh-out-loud funny and very boring for spouses who have their partners reading large chunk of it to them because they just have to share some nugget of information with them.
My biggest takeaway from it is that it would be an interesting thought experiment to imagine what the British publishing scene would be like without the invention of Bond: he may have saved the world several times in his adventures but it would be a different place culturally if he had not existed at all.
writtenbysime's review against another edition
5.0
The Man With the Golden Typewriter by Fergus Fleming provides unparalleled insight into Ian Fleming’s quest to become a successful novelist. This is a book for the James Bond aficionado, or indeed, anyone who has ever written a book, aspires to, or worked in publishing. It’s an expose of the man who created spy fiction’s everlastingly popular hero, told through the copious amount of letters he wrote to his wife, publisher, editors, fans, friends and critics. It reveals the man behind the myth, in his own words.
The best exchanges are those between Fleming and two of his most trusted readers, William Plomer and Daniel George, to whom he sent early drafts of each Bond novel. While they always found something positive to say, they didn’t shy away from criticism, either. As a writer myself, it is chastening to read commentary such as “on some pages the sentences all begin with ‘And.’” Polmer couldn’t see the point of this. “Presumably you are aiming at producing an effect of panting continuity. Take out all the ‘Ands’ and see if it makes any difference.” These are lessons every writer can learn from. But there are practical criticisms, too; faults in Fleming’s plot, or the continuity of events. 007 fanatics will lap up these exchanges.
Most terrifying (at least from my perspective, as I currently work in a marketing and PR) are Fleming’s interactions with his publisher, Jonathan Cape. To say Fleming was not an easy customer is an understatement. The way he haggles Cape for higher royalties, additional proofs, and pushes various marketing ideas, is frightening. But there is an elegance to their letters, despite the occasional underlying of sarcasm or (sometimes) malice. Fleming remains a gentleman throughout, seemingly unflappable and confident – an egotist – but there are moments when this façade cracks, revealing the anxious persona that exists inside all writers. In a letter to Raymond Chandler, he reveals his disparaging opinions of his James Bond novels, labelling them “straight pillow fantasies of the bang-bang, kiss-kiss variety.” He admits, “I don’t take them seriously enough and meekly accept having my head ragged off about them.” But his readers took them seriously, showcased by the plentiful letters, many full of praise, others critiquing certain details.
Interesting, too, is the distinct lack of letters between Fleming and his wife, Ann. Not because they never wrote to each other – there are a few scattered throughout the pages of The Man With the Golden Typewriter – but because their correspondence was withheld from publication because of Ann’s daughter, which highlights the fractured nature of the Fleming family. Indeed, one can’t help but wonder whether Ian and Ann were better off as occasional lovers than partners for life – their relationship had an acrimonious ending.
There is plenty for readers to latch onto in The Man With the Golden Typewriter, and one needn’t be a Bond fan to find nuggets of gold here, though of course, it helps. The Man With the Golden Typewriter showcases a different era of publishing, and the mindset of one of the world’s most popular authors.
The best exchanges are those between Fleming and two of his most trusted readers, William Plomer and Daniel George, to whom he sent early drafts of each Bond novel. While they always found something positive to say, they didn’t shy away from criticism, either. As a writer myself, it is chastening to read commentary such as “on some pages the sentences all begin with ‘And.’” Polmer couldn’t see the point of this. “Presumably you are aiming at producing an effect of panting continuity. Take out all the ‘Ands’ and see if it makes any difference.” These are lessons every writer can learn from. But there are practical criticisms, too; faults in Fleming’s plot, or the continuity of events. 007 fanatics will lap up these exchanges.
Most terrifying (at least from my perspective, as I currently work in a marketing and PR) are Fleming’s interactions with his publisher, Jonathan Cape. To say Fleming was not an easy customer is an understatement. The way he haggles Cape for higher royalties, additional proofs, and pushes various marketing ideas, is frightening. But there is an elegance to their letters, despite the occasional underlying of sarcasm or (sometimes) malice. Fleming remains a gentleman throughout, seemingly unflappable and confident – an egotist – but there are moments when this façade cracks, revealing the anxious persona that exists inside all writers. In a letter to Raymond Chandler, he reveals his disparaging opinions of his James Bond novels, labelling them “straight pillow fantasies of the bang-bang, kiss-kiss variety.” He admits, “I don’t take them seriously enough and meekly accept having my head ragged off about them.” But his readers took them seriously, showcased by the plentiful letters, many full of praise, others critiquing certain details.
Interesting, too, is the distinct lack of letters between Fleming and his wife, Ann. Not because they never wrote to each other – there are a few scattered throughout the pages of The Man With the Golden Typewriter – but because their correspondence was withheld from publication because of Ann’s daughter, which highlights the fractured nature of the Fleming family. Indeed, one can’t help but wonder whether Ian and Ann were better off as occasional lovers than partners for life – their relationship had an acrimonious ending.
There is plenty for readers to latch onto in The Man With the Golden Typewriter, and one needn’t be a Bond fan to find nuggets of gold here, though of course, it helps. The Man With the Golden Typewriter showcases a different era of publishing, and the mindset of one of the world’s most popular authors.
fcannon's review against another edition
3.0
I liked some of the backstory on the Bond novels, but overall I found all the letters too disconnected from each other or any particular context, kept losing the thread when I came back to this.
jonathanmelville's review against another edition
5.0
An essential listen for any James Bond fan who wants to better understand 007’s “biographer”, Ian Fleming.
There’s a huge range of correspondence between Fleming and various publishers, agents, illustrators, friends, family and fans, all read by Julian Rhind-Tutt in the audiobook.
A few important areas are skipped over (such as the Thunderball court case), but in many cases there are other books or resources that cover them in greater detail (The Battle for Bond in the case of Thunderball.
A real joy to listen to.
There’s a huge range of correspondence between Fleming and various publishers, agents, illustrators, friends, family and fans, all read by Julian Rhind-Tutt in the audiobook.
A few important areas are skipped over (such as the Thunderball court case), but in many cases there are other books or resources that cover them in greater detail (The Battle for Bond in the case of Thunderball.
A real joy to listen to.
sirchutney's review against another edition
4.0
The Man with the Golden Typewriter succeeds in showing an Ian Fleming much different from the one who narrates Bond. To his professional contacts and friends he was amusing and generous. To his fans he was the ideal author to receive a letter from: courteous, amusing and appreciative. Even as his health started to fail he kept up a breezy manner to amuse anyone who concerned about him. His style has the flair of his 007 novels. But the letters add a warm, conversational tone. The Fleming in these letters embodies the ideal qualities of the British gentleman.
Editor Fergus Fleming (Ian’s nephew) is a celebrated non-fiction author in his own right. He has tracked down a diverse range of letters and even obscure Sunday Times pieces. He arranges these with care. He also adds relevant biographical information and summaries of the Bond novels . This adds important context to the letters which are for the most part organized chronologically.
Each batch corresponding to the evolution and reception of a different Bond book. Maybe ordering all the letters by date would have made more sense? But Fergus’s order is easier for the lay reader to digest. The are a few exceptions to the novel-based groupings. These are chapters devoted to Fleming’s correspondence with
* Ernie Cuneo,
* Major Boothroyd,
* Raymond Chandler, and
* Yale Librarian Herman Liebert.
You get the impression that Fleming was a nice chap. Especially in his correspondence back to members of the public who have written to him. His replies always show courtesy and warmth.
As mentioned here:
In short, this is a book that is far more interesting and entertaining than you might have thought; you don’t have to be a Bond nut to enjoy it. The underlying story is sad: as Fleming’s health failed, his marriage disintegrated and the quality of the books dipped. But for much of the book we are revelling in Fleming’s success ...
So, all in all worth reading. Or even better get the audio book and listen to the excellent narration.
Editor Fergus Fleming (Ian’s nephew) is a celebrated non-fiction author in his own right. He has tracked down a diverse range of letters and even obscure Sunday Times pieces. He arranges these with care. He also adds relevant biographical information and summaries of the Bond novels . This adds important context to the letters which are for the most part organized chronologically.
Each batch corresponding to the evolution and reception of a different Bond book. Maybe ordering all the letters by date would have made more sense? But Fergus’s order is easier for the lay reader to digest. The are a few exceptions to the novel-based groupings. These are chapters devoted to Fleming’s correspondence with
* Ernie Cuneo,
* Major Boothroyd,
* Raymond Chandler, and
* Yale Librarian Herman Liebert.
You get the impression that Fleming was a nice chap. Especially in his correspondence back to members of the public who have written to him. His replies always show courtesy and warmth.
As mentioned here:
In short, this is a book that is far more interesting and entertaining than you might have thought; you don’t have to be a Bond nut to enjoy it. The underlying story is sad: as Fleming’s health failed, his marriage disintegrated and the quality of the books dipped. But for much of the book we are revelling in Fleming’s success ...
So, all in all worth reading. Or even better get the audio book and listen to the excellent narration.
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