The name is Bond…Sexton Bond

From the Peter Haining papers, this typed manuscript  by the great researcher and expert on British comics and periodicals W.O.G. ('Bill') Lofts (1923-1997). It is interesting that Fleming got even close to writing a Sexton Blake, a bit like J.K. Rowling deciding to do a new Secret Seven adventure (actually not a bad idea..)



Sexton Blake and James Bond

I must confess that I greatly enjoyed the James Bond novels by Ian Fleming. Alas, there were only about sixteen of them as he died a premature death in 1964. Since then a number of other writers have penned them, but never read as well as the creator.

The first in 1955 was entitled 'Casino Royal' when the author an ex-M.I.5 man, certainly was authentic in every detail. The films that commenced in 1963 with 'Dr. No'*. I also greatly enjoyed, especially those featuring Sean Connery. Roger Moore his successor was just as good, though even more suitable to the Saint character, with his type of humour.

Likewise I enjoyed all the Sexton Blake stories in my younger days, as this world famous character must have entertained millions in his day, now alas seemingly put on the sideboards for quite some years. I must also admit that probably now doing so much detective work one can see the limitations in this field, by sloppy plots, as well as faulty backgrounds by some writers.

As well known, despite the myth of Leslie Charteris, Sax Rohmer, and Edgar Wallace supposed to have cut their eye-teeth early days of penning Blake yarns (records show they did not) there was once a time, when none other than Ian Fleming was contemplating writing a Sexton Blake story,

Interview with Robin Cook aka Derek Raymond

Found - loosely inserted in a copy of his novel A State of Denmark this typescript of an interview with Robin Cook aka Derek Raymond. At one point he says he is 60 which dates it at 1991. It does not appear to have been published. Many of the typos have been cleared up. It was probably transcribed from a tape recorded in a noisy pub with a break in a Chinese restaurant and back to the pub. Robin Cook, cult novelist and author of The Crust on Its Uppers was also known as Derek Raymond. He had to change his name as it was the same as the best selling author of schlock medical thrillers (Coma etc.,).

Dead man upright. Chap still walking around who really oughtnt to be.
Bit like your nameless policeman.
Yea, lots of policemmen like that esp the busted ones. All driving minicabs. What can you do after being a bent policeman? and you know London well what can you do next/
Dont do research with police. Had lunch once . Id rather do it from imagination. Better relations with French police. How to beat people up with a telephone book.
Known a lot of busted ones in my time, disciplinary reasons, sex casess, bisexual ones.
Back in West Hampstead. Been there a year until I finish the book.
Memoirs out next month
BBC series. Kenneth Trodd. Scriptwriter is a man called William Golding. The man in charge is Kenneth Trodd. First met him years agao back in 1962 when he wanted to make a film of Crust on its Uppers, used to have endless talks. He did singing tec with Dennis Potter. So its in as good hands as it could be. Three 50min episodes, they will draw on all 4 books.
Tom Bell, I thought of him.

Stacey Bishop, mystery writer & 'Bad Boy of Music'

Stacey Bishop. Death in the Dark (Faber, London 1930)

A thriller by the New Jersey born composer George Antheil (1900-1959) under the pseudonym Stacey Bishop. Self proclaimed 'Bad Boy of Music', championed by Ezra Pound, composer of over 30 Hollywood film scores, including the much rated Dementia (1955) and practicing “endocrine criminologist” he also wrote this scarce detective novel published by Faber (under the auspices of T.S. Eliot) in 1930.

The story behind the writing of the book goes something like this: from 1927 to 1933 Antheil lived variously in Vienna, Tunis, and Cagnes-sur-Mer, writing opera and stage works for productions in Vienna and Frankfurt; in 1929 he was summering in Rapallo, Italy something of an ex-pat artists colony. That year T.S. Eliot, Ezra Pound and W. B. Yeats came through and also the German writers Gerhart Hauptmann and Franz Werfel. All of these writers are said to have had a hand in the work, with some final editing done by Eliot for the London Faber edition. Antheil had been surprised to see that off-duty these highbrow writers tended to read detective writers such as Dorothy L. Sayers. Antheil had an interest in criminology through theories he had developed about the thymus gland and endocrinology in crime detection. So serious was Antheil’s belief in endocrinology that it is said the Parisian police made him an honorary lifetime member.

Antheil assured the assembled authors that he could write a detective story as good as anything they were reading and Death in the Dark was the result. Theoretically it should be a C item in the bibliographies of Pound, Eliot, Yeats, Hauptmann and Werfel as they are all said to have helped with its writing. The book's hero Stephen Bayard was based on Pound. The plot and style of the book is said to be derived very obviously from S.S. Van Dine who created the languid detective Philo Vance. Despite the involvement of 2 Nobel Prize winners and il miglior fabbro himself the book is generally considered almost unreadable. Rapallo will always be associated with Max Beerbohm and it would good to think he also dropped by to add a whimsical chapter.

Letter about Ian Fleming from his biographer.

Found in a copy of John Pearson's book and addressed to someone called Jeremy. Dated 30/10/70 from Knightsbridge. Pearson was a friend of Fleming and had been his assistant at the Sunday Times. The tone is friendly and urbane but very frank; it is important to record that John Pearson adds this postscript 'He did have a great sense of humour about himself which made it all tolerable...''

I have been thinking about what you said about Flem[ing] being sort of a rebel. You're right up to a point. He would certainly have agreed with you...As a pseudo-Marxist I would say he was at best -or worst - a phoney rebel. Whatever rebellion or rebelliousness he went in for began as a reaction against his money-grubbing family , his intolerable mother, his unbeatable brother and the memory of his impeccable father.

What is interesting about him is that the rebelliousness this produced never channelled into any political form at all although his teens coincided with the 1930s...He was far too narcissistic , too self-absorbed,too lonely to indulge in politics. There was also an extraordinary vein of caution or cowardice in him. He was not the man to kick against the system in any serious sense at all. He wanted money , social position , worldly success ; and his rebelliousness came from the feeling that these social goodies were being unjustly denied him - not that they were wrong in themselves.