Sixth in a series of reviews. Previously: Diamonds are Forever.
Some power wants me to read these books. I happened across Blood Fever, Charlie Higson’s second Young Bond novel, in a charity shop – much the same way as I found its predecessor, Silverfin (reviewed here). This time, the book hadn’t even officially been published. Given how much I enjoyed both books I feel somewhat guilty that Mr Higson will have earned nothing from me for his labours. But then, given that he’s probably not sure of a bob or two, he probably wouldn’t mind that it went to worthy causes instead.
Anyway, Blood Fever is a good book, and a surprisingly adult one. There’s no sex, and Higson hasn’t gone for the gross-out on the violence, but otherwise it could pretty much pass as a book for adults whose central character just happens to be a teenager. And the writing is solid too: while Silverfin felt like a polished and accomplished book, Higson has clearly hit his stride this time out. Bond, his milieu, and the supporting cast are all drawn solidly and the effect is both compelling and surprisingly convincing. Higson’s careful attention to detail means that this adventure, unlike so many aimed at children, doesn’t require excessive suspension of belief.
One reason for that is his Higson’s vivid descriptions of Eton and Sardinia, which create a strong sense of place out of relatively few words. The secondary characters, too, are described economically but efficiently. There’s a feisty damsel in distress, a pugnacious bad-girl who gives Bond his first kiss, a trusty local comrade and assorted other personnel who fill out Bond’s world without becoming simple functionaries to the plot. Count Ugo Carnifex makes for a satisfying baddie with a detailed and surprisingly gritty backstory; his grim origins are one of the more surprising features of the book.
In fact, Higson’s descriptions are solid enough to make even Count Ugo’s mountain fortress seem plausible enough, and the threat of an international criminal conspiracy, propelled by the Count’s fascist tendencies, doesn’t seem as outlandish as it might. Nor is there any of the science-fictional feel of Silverfin, which helps to ground things further. Nonetheless, it feels like the Bond of Blood Fever is heading more towards the Bond of the movies than of Fleming’s original books – more specifically, towards the Timothy Dalton model.
Although really, Higson has made Bond his own. James is recognizably the same character as his film and literary counterparts, but not slavishly so. There are death-defying stunts; but then there’s also a hint of sadism. Blood Fever includes a torture scene that could have relatively easily been fitted into any of the Fleming novels that I’ve read so far: and James succeeds through his willingness to endure ceaseless physical torment. There’s much more of his inner life than I’ve become accustomed to reading; that makes him more sympathetic, but also makes it harder to see how he will take the path that leads towards a license to kill. But I’m pretty confidence Higson will make it work.
As for the sex: well, I wouldn’t bet against it making a suitably discreet appearance next time round: after all, we still have yet to learn of the housemaid-related indiscretion that got the young Bond thrown out of Eton …