Monday 21 August 2023
Saturday 29 July 2023
|The inevitable snowflake!|
Any collector of first edition or out-of-print books might think their hobby is immune to the ravages of the "culture wars" which are infecting the body politics on both sides of the Atlantic.
Far from it.
As this interesting article in the UK"s Spiked magazine shows, the simple act of collecting an old or out of print edition of a book is now a radical political act, on a par with the publication of samizdat editions of books in the old Soviet Union.
Sure, the author exaggerates a little to make a point. But it does highlight concerns I and other collectors have about the growing readiness of publishers to revise new editions of established works - often using the services of the delightfully termed 'sensitivity reader' - and excise from them any sort of "problematic" wording.
Problematic to whom? Who declares it a problem? Is this agreed by everybody? Is it a genuine assessment, or the opinion of some fruitcake with a Twitter handle?
I hate the word "problematic".
It's so mealy-mouthed, and redolent of much of the official corporate jargon that's now a feature of publishing, as well as other industries, for which the risk of offending somebody or some online group now takes precedence over, well, the integrity of the novel, of art, of history.
This is a new phenomenon - the whole sensitivity industry (for that's what it is) has grown up maybe in just the last decade. But it is affecting many authors that readers of this blog will be familiar with.
Roald Dahl's children's books are a famous victim of this seemingly benign, but in truth dangerous trend to - literally - rewrite the past.
In the world of spy fiction, Ian Fleming's novels are now undergoing the same treatment, to remove some of the so-called 'problematic' references which the publisher is worried about.
In both those (and other) instances, the novelist has passed away and their estates - charged with looking after the interests of the author's works - are, seemingly, happy to go along with this.
The judgement must be that today's readers, growing up in a society where everything offends someone, should be pandered to; and you can perhaps see a commercial case for doing so. Why risk a Twitter 'pile-on' and put sales under threat.
But, it's such a cowardly act, I think, not least because it changes the author's words, often without their permission.
Should we repaint the Last Supper because it is insufficiently diverse? Should Wagner's operas be expunged of any notes that might hint at German nationalism? Do we change the lyrics of 'Dear God' by XTC because the religiously minded don't like it?
Where does it stop? And who decides?
The author, I think, must be the arbiter.
To my knowledge, in the most recent Penguin reissues of Len Deighton's novels, there have been no edits or excisions prompted by sensitivity readers.
That may be because, although they are written in the sixties, seventies and eighties and nineties, they are not replete with egregious examples of racism, sexism or any other -ism you can think of.
Sure, there are a few words and characters which a sensitivity reader might baulk at; but, having read most of the novels at least a couple of times, to me these words - auxiliary though they may be - are just as important as any of the key passages or bits of dialogue.
They were chosen by the author.
And as a reader, I want to read what the author wrote. I don't want to read what someone thinks I should read.
The question here is one of integrity.
Any book, by its very nature, is of its time, and so will also reflect the sensibilities and language of its time. And to that extent, I can see perhaps the sense of adding a publishers' note in the end papers advising readers of that fact. It's merely a guide, a sop to the more sensitive reader, that leaves the book unsullied
But change the language?
That feels like a step too far. Any novel represents the author's vision and story, and language and description and dialogue is integral to that. Changing one word, one sentence, one paragraph, or a character's name or description, undermines that cohesive vision.
There's often a reason an author may have used a racial slur in a book, or gave a character a certain character trait, or presented a character with a physical difficulty. We don't know that reason - and nor should we - so it's not for us to second guess why it's there.
But it is there, and it should remain there. We can acknowledge it; comment on it; wince at it. But, change it?
If you're offended by it, well, don't read the book; or, just put the book to one side.
To push for having the book altered to suit your own sensibilities or that of a certain group in society seems utterly selfish and self-important.
So, going back to the original article's point, I am, evidently, now a radical.
I don't feel like one. But I understand the (incredibly minor) role I play as a collector in keeping reality, and truth, and artistic integrity alive.
Indeed, I also have a full collection of Spike Milligan's works - loved by children and adults alike but, in their subversiveness and (in the case of his war memoirs) unexpurgated frankness, they are ripe for the sensitivity readers chopping block.
Same with my Tintin first editions.
Much of their contents would make the average Gen-Z aploplectic. But, I enjoy them, nonetheless.
By keeping them on my shelves, and perhaps in future passing them on to someone else or selling them through a dealer, I feel some solace that I am undertaking an entirely passive, but revolutionary act, in the name of truth and reality, during this current period of cultural perturbation.
As if I needed another reason to keep my collection safe, and growing!
What do you think?
Friday 3 March 2023
|Berlin Game audiobook on cassette, read by Paul Daneman|
To that end, there were also postings on Deighton Dossier facebook group asking why readers could no longer get many of Deighton's stories on audiobook format in the US (according to the author's agent, this is a temporary phenomenon, as the rights to said audiobooks is currently being renegotiated).
Judging by a number of posts indicating people prefer to read/listen to Deighton's book in audio form, there's clearly demand for this author's books - and, indeed, many authors' books - in listenable format.
As a collector of Len Deighton books I have - alongside my first editions, special editions, paperbacks and other phenomena - many of his books as audiobooks. Yet, I've never listened to an audiobook from start to finish.
Why is that?
I have nothing against audiobooks per se. They are a perfectly legitimate form of media alongside the printed page, and their popularity has grown massively over the past thirty years or so, particularly with the rise of comapnies like audible.com.
I can see how they can provide a different experience to a reader, akin to listening to the radio.
Thinking about them prompted me to take another look at (or should that be, listen to) some of the audiobooks of Len Deighton's novels and see if my feelings were still the same.
Wednesday 21 September 2022
An email conversation with a fellow collector recent alighted upon the topic of "The Assassination of President Kennedy", the folder (not book) of essays and pictures about the assasination of the US president compiled and designed by Michael Rand, Howard Loxton and Len Deighton.
The conversation was prompted by seeing an eBay listing for a pristine, signed copy of the Jackdaw Folder, valued at over £1,000! The price perhaps reflects that it's signed by the author, but even so, it's pretty steep. As a collector I've been tempted many times to pay over the odds for a rare Deighton, but that took my breath away. I fear the seller may have to temper their outlook.
Nevertheless, it prompted me to take my copy off the shelf, and look at it again, something I haven't done for a number of years in point of fact. And, to consider its value as a 'book', a collectable item, and its place within the wider canon of Deighton books.
It's one of the favourite items I own with a Deighton collection, for many reasons. It's format is unusual, and well designed. It's an interesting subject matter. It's rare, which is always a draw for a collector. And, perhaps, given the subject material, it's an even-handed attempt to address the most controversial of topics for which there are a thousands of books all telling a different angle on the story.
If you've only read Deighton's novels, you may not be aware of this unusual entry in his catalogue. Let's explore it further.
What is it?
This item is certainly an outlier in Deighton's catalogue. For a start, it's not a book. It's a folder, containing a number of loose-leaf items pertaining to the 1963 assassination, thematically presented to provide the reader with the basic information about the case and an insight into the discussion around it. These are:
- A scale model in card paper of Deeley Plaza, which the reader can build to better understand the mise en scene of the assassination
- A facsimile of an anti-Kennedy poster circulated in Dallas
- A photograph of the assassination
- A summary of the autopsy report included in the Warren Commission
- Illustrations of the President's wounds
- The FBI report on the autopsy
- A descriptive sheet of the autopsy
- A photo of the President's bloodied shirt
- Jackie Kennedy's official testimony to the Warren Commission
- Warren Commission document 767
- An advertisement for the rifle used by the assassin
- A reproduced of the alleged weapon
- A list of questions raised by the evidence
- Five broadsheet essays covering the different aspects of the case.
However, it's not by any means a source of information for conspiracy nuts. It's a reasoned, well put-together and interesting alternative to a dense book, for someone coming to the subject first time, such as school children.
Friday 24 June 2022
A recent comment on this blog asked for some examples of the work of Shirley Deighton (nee Thompson), the artist and illustrator (Deighton was also an illustrator and graphic designer), who was Len Deighton's wife until they divorced in the late 'sixties. He the writer, she the artist, they were very much the creative pair in sixties swinging London.
Here are some of the paintings and images I have on file, some of which are taken from an episode of The Antiques Roadshow, in which a number of her illustrations were bought along for valuing:
Sunday 12 June 2022
|The crossword competition laid in the first edition|
The article looked in particular at Horse Under Water, the second book in the series but the only one of the four main books not turned into a film starring Michael Caine (the producer Harry Saltzman chose to film Funeral in Berlin first, because in the mid-60s the city had become the hot-spot of the Cold War, so to speak, and he thought it would make a better movie. While there were some early plans for a Horse Under Water film, nothing - sadly - ever materialised)
The piece recalls that, famously, the chapter headings in Horse Under Water are in the form of crossword puzzle clues, and that the crosswords on the endpapers of the original first edition drew on clues which in effect, when solved, created a sort of table of contents for the book.
I'm pleased - after getting in touch - that they used a couple of my images and provided a link to the page I have on the main Deighton Dossier website specifically to do with the crosswords in this book. In the Bernard Samson series, in London Game, Bernard Samson too is found toying with a crossword, using it to elicit a false answer from Giles Trent's sister to get to the bottom of the former's attempted suicide and his potential guilt as a London Central spy.
Sunday 15 May 2022
Recently I purchased three original marketing photographs produced by Jonathan Cape's marketing team for the 1970 launch of the first edition of Bomber, Len Deighton's magnum opus about the experiences of the wartime bombing raids over German which is often regarded as on of his best novels (certainly, of his non-spy fiction books).
The novel is also, famously, the first modern novel written on a true IBM PC, which at the time took up much of the room in Deighton's office in his ground floor flat in London, as I wrote about a number of years ago.
Although it missed out on being shortlisted for the Booker Prize in 1970, Bomber was lauded by writer Anthony Burgess as one of the 99 best novels of the twentieth century in the English language.
Part of the reason for the particular success of Bomber (which was also turned into a Radio 4 play) is Deighton's attention to detail. As a writer it has often been acknowledged by readers and critics that Len Deighton's books are full of exquisitely research details, particularly when it comes to military materiel and historical occurrences. Some readers have found this propensity for technical minutiae off-putting, but many others - myself included - feel it adds a level of realism that grounds the story and reassures the reader that they story they're reading is as true to life as it can be.
Saturday 19 March 2022
|Dalby, Harry and Jean ready for action|
Well, after months - and I mean months - of hype and pre-publicity, the new tv adaptation of Len Deighton's The Ipcress File has broadcast its first two episodes on commercial channel ITV in the UK (and all six episodes made available on ITVhub streaming).
And the verdict from this viewer is ... it's pretty good. Indeed, very good. An adaptation worthy of the book.
Sure, it's not the original Michael Caine film of the same name, and that's probably a good thing, so strong is the cultural imprinting of that performance on the British viewing public. If you remember that, then this new series - and the new Harry Palmer portrayed by Joe Cole - provides six hours of very entertaining, stylish, engrossing and believable drama.
Thursday 3 March 2022
This Sunday in the UK - and in many of the international TV markets to which the rights have been sold - the new adaptation of The Ipcress File by ITV will be seen for the first time.
This week has seen a lot of the weekly TV listings guides in the UK publish feature articles about the series, focusing on the lead actors - Joe Cole as Harry Palmer, and Lucy Boynton as Jean Courtenay (Jean Tonneson in the book) - as well as providing some background on the book.
Much of the advanced publicity around the book has, not unsurprisingly, focused on comparisons between the new series and the original 1965 movie starring Michael Caine. Interestingly, all the signs are from the producers and the actors that while there are the odd 'tributes' to the original movie, this TV series will be different.
One advantage for the TV series of course is a bigger budget, allowing the producers to film more of the overseas scenes in the book (such as in the Pacific Atoll where a nuclear bomb test is due to take place) which the original film budget didn't stretch to.
Saturday 19 February 2022
... for yesterday (I forgot to post this up yesterday!).
On 18 February, Len Deighton celebrated his 93rd birthday, having been born in London - Marylebone to be exact - on that day in 1929.
Readers of his novels, his histories, and his cookbooks from around the world will I'm sure join the Dossier in sending good wishes to the author.
2022 is something of a marquee year for the author - next month, ITV broadcasts its lavish remake of The Ipcress File - and the year also marks the sixtieth anniversary of that novel's first publication in London - the first edition sold out almost on the first day, and has sold consistently well ever since, right up to last year's Penguin reissues.
|Len Deighton in a 1983 publicity photo|
Monday 24 January 2022
UK commercial broadcaster ITV has released the first teaser trailer for the new TV series of The Ipcress File, which will be broadcast in the UK in March (details for other locations to be confirmed).
While little of the plot is given away, it's clear that the series will make some significant departures from both the book and the 1964 original film starring Michael Caine, such as the more active agent role for Jean, played by Lucy Boynton, evidence of the backstory of the 'unnamed spy' - Harry Palmer - and his role in the Berlin black market which led to military prison and ultimately, the job with W.O.O.C.(P)., plus the sidebar story involving the nuclear test in the Pacific, which is a big part of the book but which was of course not featured in the original film.
The music, too, is very different to John Barry's original film score, which may be no bad thing; it certainly hints at a more obvious thriller tone to the TV series, and there are obvious hints at more visceral action scenes than was the case in the original film.
So, early encouraging signs perhaps that this isn't just a pastiche, by-the-numbers remake, but a serious attempt to retell this classic spy story.
But the proof of the pudding will be in the eating, or in this case, the viewing. Set your TV calendars for March.
Thursday 23 December 2021
'"Cheer up, Werner. It will soon be Christmas," I said.'
Thursday 7 October 2021
|View over Southwark|
But as someone born in London, who lived there during much of his early life until his career as an author really took off, he might appreciate a blue plaque there in his name.
The Southwark Blue Plaque scheme is currently seeking support for nominees for recipients to honour those who've lived in and contributed to the London Borough.
One of the nominees is Len Deighton, who lived in a flat in Southwark during the sixties and wrote many of his books while resident in the borough.
Dossier readers are welcome to add their support for the nomination.
Thursday 30 September 2021
Today I've received in the post a further five books from the Penguin Modern Classics editions, which have been dropping onto booksellers shelves throughout 2021.
The latest editions are:
- Yesterday's Spy
- Spy Story
- Twinkle, Twinkle, Little Spy
- An Expensive Place to Die.
The bold cover designs by Richard Green continue to be visually interesting - each book features the Ray Hawkey-inspired chevron motif linking back to his original Penguin covers from the 1960s, with some bold colour choices, each too with the 'dot matrix' B&W photo pointing to the themes explored in the novels.
The cover of Yesterday's Spy bold, with its bold white cover, hints at a nod to the original Hawkey first edition covers for the unnamed spy stories in the 'sixties, which for the time were groundbreaking in their use of white on the dustcovers, which was traditionally avoided by book designers due to its propensity to show the dirt, where customers for example picked them up to browse.
There are a few more still to come out later in the autumn, including Goodbye Mickey Mouse and City of Gold.
I've been very impressed with Penguin's approach and its readiness to go all-in on the design motif that connects each and every book being republished and honours the company's long standing connection to the author. They've evidently taken a lot of time and care over each edition, which no doubt will help with attracting new readers to the novels.
Saturday 7 August 2021
I recently did some searching of various newspaper archives and found this interesting article from the Daily Mirror newspaper from late in 1987, during the filming of the Granada TV mini-series Game, Set and Match, based on the three Len Deighton novels of the same name (which was broadcast in Autumn 1988).
Famously, it recounts how - given that the Berlin Wall still existed at the time, and filming behind the Wall was, unsurprisingly, not allowed - the producers had to improvise when filming the many scenes requiring actor Ian Holm (as Bernard) and others to be in Eastern Europe.
For the scenes in Gdansk Railway Station, Manchester's Victoria Station (now majorly different in layout) stood in, thanks to the addition of some Polish signage and Eastern Bloc cars.
For example, Bolton Town Hall stood in for Gdansk, in the scene where Bernard goes behind the Iron Curtain to meet with Yuri Rostov to seek his defection, the failure of which leads Bernard to flee Eastern Europe via an escape across the wall (a scene which is told in flashback in the books, but which provides the opening scenes in the TV mini series that provide a context for explaining Bernard Samson's position back in London Central, desk-bound.
Other filming was done in and around the North West (the series was produced by Granada TV, the regional commercial TV station in England which formed part of the ITV network). For instance, the village of Great Budworth near Northwich stood in for Cosham (which is actually on the south coast of England in the books), for the scene where Bernard and Werner discover the body of McKenzie in the departmental safe house, left there by Erich Stinnes, who is seeking to undermine Samson's position within London Central by pinning the murder on him.
The two-page article from the Daily Mirror, which explores other aspects of the production (including the filming in West Berlin and Mexico), was part of the pre-launch publicity around the series which, despite Granada TV's largest drama budget up to that point, ultimately failed to prove the smash hit that was expected. Famously, due to disagreements with the producers during the making of the film, the commercial rights for the series were withdrawn by Len Deighton, meaning the series - and its many North West locations - haven't ever been broadcast again on British TV, or released on DVD.