Ian fleming

As Hilary Mantel memorably noted, history represents what people try to hide, and researching it is a question of ferreting out what they want you not to discover. Claire Hubbard-Hall’s plan to unearth the identities and lives of the legions of women who have worked unheralded in the British secret services was bold: looking for secrets in a doubly secret world. Miss Pettigrew was a ‘formidable grey-haired lady with a square jaw of the battleship type’ The first bureau was founded in 1909. It is perhaps not altogether surprising to learn that neither MI5 nor MI6 were very good to the female employees on whom they came increasingly to depend.

‘Better use your sense,’ advised Bob Dylan: ‘take what you have gathered from coincidence.’ John Higgs is a master of taking what he can gather from coincidence – or, as he would insist, synchronicity. From the filigree of connections and echoes in the KLF (Discordianism through the lens of 1990s pop provocateurs) to the psychogeography of Watling Street to more recent deep dives into William Blake, he confronts the modern Matter of Britain: who wields power, and who resists it? Love and Let Die starts with another perfect coincidence, namely that it was 60 years ago – to be precise, 5 October 1962 – that saw the first Beatles single appear in shops and the first James Bond film appear in cinemas.

Last year I wrote a piece about James Bond for the ‘Freelance’ column of the Times Literary Supplement. All true Bond lovers — of the novels, I mean — know that he lived in a ‘comfortable flat in a plane-tree’d square off the King’s Road’, as Ian Fleming described it in Moonraker. Further internal evidence in Thunderball indubitably established that it was Wellington Square — but there was considerable mystery and doubt about exactly which house contained the Bond apartment. In my article I claimed to have identified it as No. 25, based on a certain amount of sleuthing and, I thought, convincing circumstantial evidence. No.

I once asked Baroness Manningham-Buller, the former head of MI5, what she did to relax. Nailing me to the wall with her no-nonsense look, she said: ‘I keep sheep.’ A similar association with the animal kingdom resounds through Henry Hemming’s excellent new life of Maxwell Knight, the famous spymaster and possible archetype for Ian Fleming’s ‘M’. Knight’s family and friends observed that, at an early age, he had a particular way with animals that allowed him to bring them under his spell. As a young man he kept a menagerie in his small London flat consisting of a bulldog, a bear and a baboon.

Jack Higgins’s writing routine was said to start with dinner at his favourite Italian restaurant in Jersey, followed by writing through the night until dawn, when he rounded off the working day with a glass of champagne and bacon and eggs. With his estimated lifetime sales of 250 million copies, his routine seemed to work. Len Deighton, on the other hand, takes a more austere view of his craft, arguing that the biggest dangers for a writer are alcohol and praise. He has a weakness for writers’ gadgets, though — in 1968, he leased an IBM Magnetic Tape Selectric Typewriter weighing 200lbs. The front window of his house had be to removed in order to deliver it. That’s true dedication.

The name Maud Russell creeps almost apologetically into a few 20th-century diaries such as those of her friend Violet Bonham Carter. Generally, she keeps her head below the parapet — not a bad place for a diarist, since it allows her to observe without being noticed. She is certainly worth knowing about. The wife of a banker, Gilbert Russell, a scion of the great Whig family, whose cousin was Duke of Bedford, and daughter of Paul Nelke, a seriously rich stockbroker of German Jewish origin, she was from the mid-1930s chatelaine of Mottisfont Abbey, a beautiful 2,000-acre estate in Hampshire, now owned by the National Trust. There, in her mid-forties, she surrounded herself with top-notch artists, writers, politicians and aristocrats.

As I read the last chapter of this book, news broke that the Russian ambassador to Ankara, Andrey Karlov, had been shot multiple times at close range by an off-duty Turkish police officer. Despite shocking live footage of the incident, it was unclear immediately whether this was political assassination or terrorist attack, or who was ultimately behind it. The assassin was quickly ‘neutralised’. Speaking from the Kremlin, Putin praised the slain ambassador, ordered security at Russian embassies to be stepped up, and said he wanted to know who had ‘directed’ the gunman’s hand. This is the crucial question. Not who the killer was, but for whom he was acting and with what intent.