Trigger Mortis by Anthony Horowitz
A contemporary continuation of the James Bond series from authors chosen by Ian Fleming’s estate
Set just a couple of weeks after the events of Goldfinger, Bond is assigned to compete in a deadly Grand Prix to counter a Russian assassination plot, eventually leading to a diabolical plot from SMERSH and the mysterious multimillionaire Jason Sin, to disrupt America’s space program!
Nails the voice of Ian Fleming’s Bond novels. It’s been decades since I’ve read any of them, but this is exactly how I remember them. Contains previously unpublished material by Fleming, written for a Bond TV series that never happened, and even after reading Horowitz’s afterword, I’m still not able to figure out exactly which parts are his and which are Fleming’s. Like everything else I’ve read by Horowitz, it’s engaging and fun to read throughout; he can somehow make the slower moments as compelling as the exciting ones and make the whole thing flow. Steadfastly and apologetically set in the 1950s, but still brings contemporary sensibilities to the plotting, without feeling like a parody or a modernized adaptation. Goes to locations and puts Bond in situations that I haven’t seen before. Good character resolution for Pussy Galore. Has a character named Harry Johnson, which is hilarious. Great title for a Bond novel, although it ends up being used in the book just a couple times too often.
Nails the voice of Ian Fleming’s Bond novels. There’s a reason that it’s been decades since I’ve read any of them. If you’re turned off by casual misogyny and xenophobia, you’ve come to the wrong place reading a Bond novel, but what I’d forgotten were the run-on sentences, and Fleming’s bizarre, almost Kardashian-like obsession with brands. The “supervillain reveals his entire plot” monologue is a staple of Bond stories, so it’s not the inclusion that feels off here, but that it actually makes the villain more sympathetic, not less. Feels pretty low-stakes for a Bond adventure, and the action set pieces were on the smaller side; I kept wondering whether Horowitz were subconsciously bringing his TV-screenwriter frugality to a Bond novel.
I doubt this would convert anyone over to the James Bond franchise, but it feels to me like a solid continuation of the series. Makes me even more convinced that the movies should’ve set Daniel Craig’s version of Bond in the 50s instead of trying to keep them current. I think the stories are so much more interesting when they can embrace the idea that Bond has a very specific sensibility from a very fictionalized version of a very specific time period, instead of trying to keep the “women want him, men want to be him” idea going for decades past its prime.