Читать книгу Twinkle Twinkle Little Spy - Len Deighton - Страница 6

I was flying to southern Spain with Kevin McClory who wanted to talk to Sean Connery about a James Bond film that he was planning. (Many rewrites later it became Never Say Never Again, its title based upon a remark made by Sean’s wife after this meeting.) Persuading Sean to return to his James Bond role was going to be a hard sell, and Kevin knew it. Immediately after take-off an attractive young woman passenger came forward to where McClory was seated. She recognized him and asked if he would like a game of backgammon. Yes, he said. Small stakes, she promised, for I have never seen a game of backgammon played other than for money. It’s a game of skill but it is a gambler’s game. During the flight – while they played backgammon – she told me that she was a professional gambler. Every month there was a major tournament somewhere in the world and she attended every one of these gatherings, winning enough to provide a comfortable lifestyle. She had recognized McClory from his presence at a backgammon tournament in the Bahamas. Although I spent no more than two hours talking with this woman, I took her skills and audacious lifestyle as a background for the character Red Bancroft in this story.

For a few weeks after this chance encounter, I lived in the beachside home of Kevin and worked on a James Bond script. To research it I had gone on a trip around Florida, attended long, long, New York meetings and endured a splashy exploration of the dark Manhattan sewers for a sequence that I later deleted. (Despite persistent stories otherwise, there were no alligators living there as far as I could see.) Recovering in the sunny Bahamas, I found myself in a community of actors, writers and musicians. Backgammon was the common obsession and, until I found a ‘teach yourself backgammon’ sort of book in a local shop, I found it baffling. But once I understood the rules and skills of the game I found it to be a rewarding spectator sport. I never did play against McClory or any of his friends; they were far too skilled and far too rich. But I did learn enough to keep Red Bancroft in play in this story.

It was another entrepreneurial friend – Wylton Dickson, an Australian – who invited me to go rally driving deep into the Sahara Desert. Wylton had married an art school friend of mine and from that day of their wedding onwards he was a valuable element of my life and a treasured adviser. He was a man of many parts, many trades and countless fresh and original ideas. Restless, in a way that Australians sometimes are, he was always brimming with energy. He had offices, and the most beautiful old houses, in many parts of London. I never saw him drunk or even tipsy, but every time I entered Wylton’s office he was opening a bottle of chilled champagne to pour a glass of it for me. French Champagne? Don’t be silly; only the best of the best was good enough for Wylton’s friends. A considerable proportion of all the champagne I ever drank must have been the bottles of the Australian champagne that I consumed in Wylton’s company. During my time as a film producer I rented my wonderful Piccadilly film office from him. The old high-ceilinged room overlooked Hyde Park Corner and the view was so captivating that it was difficult to tear myself away at day’s end. I worked with him to advertise Australian wine.

In 1974 he created a World Cup Rally and invited me to participate. I drove one of the specially tuned Peugeot cars, and joined the ‘marshals’ that timed and checked the progress of the contestants. The route went hundreds of miles into the Sahara. It was an adventure, and the desert sequences in Twinkle, Twinkle, Little Spy faithfully reflect my time in Algeria – at that time a forbidden and little-visited nation. Pounding along on the desert tracks with these professional drivers made me realize what a complicated and scientific business rally driving is for such men and women. I learned the Arabic word for oranges, heard some new profanities and improved my driving, too.

Although I do not favour giving my fictional characters the names of real people, I inserted the name of Charlie Kelly into this story because Charlie was one of the most highly regarded Irish detectives in New York’s Police Department and a good friend who opened many doors for me. It was Charlie who secured for me my honorary membership of the NYPD. And Charlie provided a characterization that he never recognized.

Is this a Harry Palmer story I am sometimes asked, and the answer is ‘yes’. But the principal difference in the story construction is having Major Mann with him. Conan Doyle was probably not the first fiction writer to discover the advantage of giving your principal character a close friend. Comedians in the Victorian music halls had proved the rich benefits that come from having a ‘straight’ man ‘feed’ the comic. But like his predecessor – Colonel Schlegel in Yesterday’s Spy – Major Mann turned the tables on me. I had hardly started the outline when I found that my memories of my times with US servicemen – flyers in particular – were demanding a voice in the story. And, unlike Dr Watson’s passive role, Mann’s participation was a vital and dynamic one. American syntax gave the galloping Major the primary role in the story and the Harry Palmer figure (Frederick Anthony in the book), is my Doctor Watson. But it is of course Dr Watson with whom the reader identifies, and so it should be in this story.

Another distinction that followed publication of Twinkle, Twinkle, Little Spy was that my use of ‘rat fink’ was recorded in a supplement to the Oxford English Dictionary. It was this vulgar expression that came to my mind when I heard that my American publishing house insisted upon changing the title of this book for the US market. It did not do much to warm my relationship with that concern or with the English friend who was the editor responsible.

Over the years many readers have told me that I write love stories and most of them are surprised when I agree with that verdict. Men and women share our world but do not share its rewards. Neither do they share the same dreams and pleasures. It is this fundamental mismatch that makes true love so sublime. It also makes observing the world around us so surprising, and writing about relationships so difficult and so sustaining. Twinkle is a love story but it does not celebrate the elation and unremitting joy that love is supposed to bring. Like many true love stories it is sad.

I usually feel a sense of deprivation when the writing ends. But that feeling is usually accompanied by dissatisfaction; knowledge that one might have done better in some aspect or other of the process. It is that dissatisfaction which starts us on the next book, swearing to do better. Twinkle was no exception to that sad feeling but this time I had the unusual belief that I had come near to what I started out to do.

Len Deighton, 2012