Between 1965, when the events in Kingsley Amis' James
Bond novel Colonel Sun took place, and 1981, when the
John Gardner-authored books began with Licence Renewed,
the literary Bond saw a distinct lack of active service. In
an updated and expanded version of one of his editorials,
Richard McGinlay wonders what 007 might have been up to during
this period, and asks whether the Bond movies could provide
two James Bond novels were published during the literary lull
that exists between Colonel Sun (published in 1968
but set in 1965) and Licence Renewed (1981). Screenwriter
Christopher Wood penned two adaptations of movie scripts:
James Bond, the Spy Who Loved Me (1977) and James
Bond and Moonraker (1979).
recently, between 1989 and 2002, each new Bond film - from
Licence to Kill to Die Another Day - has been
novelised. This leads me to wonder why no one has thought
to go back and adapt some of the other movies. Apart from
Dr. No, From Russia With Love, Goldfinger,
Thunderball, On Her Majesty's Secret Service
and arguably the new version of Casino Royale, all
of which closely resemble Fleming's original works, the films
are sufficiently far removed from their source materials to
be adapted into novels in their own right.
you think the plots to such movies as Diamonds Are Forever
and Octopussy are too far-fetched or comical for the
literary Bond to inhabit (a fair point), it's well worth tracking
down the aforementioned Wood novelisations, which ably demonstrate
how the transition can be achieved. For example, in James
Bond, the Spy Who Loved Me, the quip: "All those feathers
and he still can't fly," becomes a cynical muttered comment.
In James Bond and Moonraker, the outlandish plot development
of a journey into space is offset by 007's very realistic
terror at entering this new and hostile environment.
James Bond and Moonraker in its current form cannot truly
inhabit the same universe as Ian Fleming's Moonraker
because, presumably under pressure from his publishers, Wood
retains the names of the villain Drax and the titular spacecraft.
By contrast, the author changed the name of the KGB's General
Gogol in James Bond, the Spy Who Loved Me to Nikitin,
thus establishing a point of continuity by making him the
same character who appeared in Ian Fleming's From Russia,
with a simple change of designation for the shuttles, such
as Starseeker, and a change of name and appearance
for the villain, James Bond and Moonraker could be
fully integrated into the literary canon. Wood reuses Fleming's
description of the red-haired, scarred Drax, rather than reflect
the visage of the actor Michael Lonsdale. This description
could easily be changed to a different but suitably Fleming-style
likeness, along the lines of: "With his slicked-back dark
hair and Van Dyke beard, Drax might have appeared satanic,
had the man not been so grossly overweight."
Gardner's adaptation of Licence to Kill comes similarly
"close but no cigar", by almost but not quite fitting into
the canon. This is because the author retains script elements
that had been lifted from Fleming's books: the stingray whip,
the names of Milton Krest and his vessel, the Wavekrest,
from the short story The Hildebrand Rarity; and Felix
Leiter getting fed to a shark, from Live and Let Die.
Gardner seems to overlook the repetition of the Hildebrand
elements entirely, and claims that the shark attack is an
unlikely coincidence, a case of "lightning striking twice".
slight editing, though, these problems could have been ironed
out. Krest could become the son of the character in Fleming's
short story. He could have inherited the Wavekrest
and whip from his father, and given the latter to Sanchez
as a gift when it took the drug lord's fancy. Instead of being
a coincidence, the shark attack could be a punishment deliberately
and cruelly selected by Sanchez with Leiter's personal history
in mind. Sanchez's men could leave behind a note that reads:
"We tried to make a matching set of stumps."
processes such as these could be applied just as effectively
to the remaining Bond films, if they were to be novelised.
Fleming characters could either be renamed or changed into
those characters' descendents. For example, Blofeld in You
Only Live Twice, Diamonds Are Forever and the opening
sequence of For Your Eyes Only could become some new
member of SPECTRE - or indeed a succession of them, since
the characterisation and even the nationality of Blofeld seems
to vary from one movie to the next. The gap of almost 20 years
that exists between the literary Live and Let Die and
its cinematic counterpart means that Solitaire in the latter
version could actually be the daughter of the original tarot
reader - though not, I hasten to add, a daughter by Bond,
because of course he ends up sleeping with her!
repeated characters could simply be the same person meeting
Bond once more. Bond's dealings with "Tiger" Tanaka in the
cinematic You Only Live Twice could become their second
encounter, taking place a few years after events in the original
few and far between plot elements that significantly resemble
Fleming's works could be played down to avoid unlikely repetition.
For instance, the smuggled diamonds in Diamonds Are Forever
could be exchanged for some other precious jewels, while Melina's
crossbow in For Your Eyes Only could become a rifle.
titles of the novelisations could also do with changing, to
give them identities distinct from Fleming's originals. The
same principle could apply to reprints of the Christopher
Wood novelisations. These titles should reflect their movie
origins, in order to highlight their tie-in status.
lyrics of many James Bond theme songs provide inspiration
for titles that would evoke the movies. For example, a novelisation
of Live and Let Die could be called Give the Other
Fellow Hell; The Man with the Golden Gun might
become A Million A Shot; James Bond, the Spy Who
Loved Me could be retitled Nobody Does it Better;
and A View to a Kill could be published as Dance
into the Fire or That Fatal Kiss.
names and situations from the movies also offer up suitably
"Bondian" titles. The novelisation of Live and Let Die
could also be called Fillet of Soul, after the chain
of restaurants in the film; For Your Eyes Only might
be renamed Operation: Undertow or just Undertow,
after the designation of Bond's assignment; and A View
to a Kill could alternatively be titled Mainstrike,
after the mine that Zorin exploits.
tagline or flash on the cover of each book could explain its
nature as an adaptation of a movie script. The cover design
could depict scenes from the movie in question, or even duplicate
the packaging of the recent DVD release, for added tie-in
Below, in more specific detail, is how each novelisation could
Only Live Thrice
Based on the screenplay You Only Live
discussed above, the character of "Tiger" Tanaka could be
reprised from the Ian Fleming novel, making this his second
meeting with 007. Bond's initial wariness of Tiger could be
attributed to awkwardness resulting from the circumstances
of their last encounter, in which Tiger was arguably a party
to Kissy Suzuki's deception of the amnesiac Bond.
herself could also reappear, with Tiger deciding that 007
should resume his ready-made cover as the girl's fiancé. Kissy's
initial frostiness in the film could be transferred to Bond
in the novelisation, as he might understandably harbour some
bitterness towards the woman who took advantage of his memory
loss. Bond could also be shocked to learn about the birth
of his son, James Suzuki (a character mentioned in John Pearson's
The Authorised Biography of 007 and the Raymond Benson
short story Blast from the Past), and angry that Kissy
didn't tell him sooner.
the other hand, the Henderson of the movie is so far removed
from Fleming's "Dikko" Henderson that the character's dialogue
would have to be significantly rewritten. It would be far
simpler to just rename him as a different character.
the proposed novelisation is very much a sequel to Ian Fleming's
You Only Live Twice, I have emphasised this factor
in its suggested title, You Only Live Thrice. Following
Bond's apparent death in Ian Fleming's novel, and the agent's
faked demise at the start of the novelisation, 007 is now
therefore on to his third life. Dialogue between Bond and
the (renamed) villain, SPECTRE's new Number 1, could read
something like this:
bald man inspected Bond intently. "James Bond," he intoned.
"Allow me to introduce myself. I am [insert new name here].
They told me you were assassinated in Hong Kong."
replied Bond, "this is actually my third life."
will prove to be your last, Mr Bond."
involvement of this new Number 1 need not negate the original
stories that were told in the syndicated James Bond
newspaper strips, which established a woman called Spectra
as the head of a regenerated SPECTRE. Number 1 could be a
field commander who serves Madam Spectra, just as Largo bore
the designation Number 1 while serving under Blofeld in the
novel Thunderball. (See appendix
001 for a guide to how the newspaper strips might
fit in with these novelisations.)
Though the screenplay of From Russia With Love differs
insufficiently from its source material to warrant a novelisation
of its own, bits of it could be incorporated into You Only
Live Thrice (and into other stories, but more on that
later). The notion of SPECTRE stirring up East/West hostilities
is a major plot point here too, so certain dialogue exchanges
between the villains could be relocated. In particular, the
fighting fish scene with Blofeld, Rosa Klebb and Kronsteen
would work just as well using the characters of the new Number
1, Helga Brandt and Osato. The villain's love of fish would
tie in well with his infamous pool of piranhas.
(or Stockpile, or Death
Based on the screenplay Diamonds Are
the movie version of OHMSS is very faithful to its
source, and therefore not suitable for novelisation, the next
adaptation would be of the screenplay to Diamonds Are Forever.
To avoid having a four-year gap between Bond's literary assignments,
I have brought the dateline of this story forward by two years.
names of Blofeld, Wint, Kidd, Tiffany Case and Shady Tree
would all need to be changed, as their characters are very
different from their counterparts in Fleming's books. Blofeld
could be replaced by the new Number 1 from You Only Live
Thrice - 007 could be chasing him at the outset to exact
revenge for his role in the murder of Aki. Alternatively,
since Charles Gray's characterisation in Diamonds Are Forever
was almost completely at odds with that of Donald Pleasence
in You Only Live Twice, he could be an entirely different
smuggled diamonds could be replaced by any kind of precious
stone, and the dentist could be removed from the smuggling
prose adaptation of the movie, by Vic Davis, appeared in the
Daily Express newspaper during December 1971 (but was
prematurely curtailed). This could be used as a starting point
for the novelisation.
the Other Fellow Hell
(or Fillet of Soul)
Based on the screenplay Live and Let
avoid having a four-year gap between Bond's assignments, I
have brought the date of this story forward by one year.
As discussed above, the novelisation's version of Solitaire
could be the daughter of the tarot reader from Fleming's Live
and Let Die novel. She would be about 16 or 17 by now.
This would tie in well with the screenplay's references to
how Solitaire's mother fulfilled a similar role until she
lost her power to read the cards.
Big" could be a title that has been held by a succession of
gangland bosses, a position that Kanaga has now adopted as
an alias. The names Tee Hee and Whisper would need to be changed,
though Quarrel junior could remain the same character.
Million A Shot
(or Silvershot, or Solex)
Based on the screenplay The Man with
the Golden Gun
from the name Francisco Scaramanga, his nickname "the Man
with the Golden Gun", and the presence of Mary Goodnight,
the movie version of Golden Gun has little in common
with Fleming's original novel. Goodnight is a recurring character
in the books anyway, so there would be no problem with her
keeping her name in this novelisation.
the only major changes that would be necessary to incorporate
this story into the literary canon would be to the villain's
names. He could use silver bullets and/or a silver-plated
gun - hence the nickname "Silvershot" suggested by my alternative
title, above - or some other gimmick instead of gold. The
villain's personal history would also need slight alteration
to avoid duplicating that of Fleming's Scaramanga.
to weaponry, according to page 48 of John Gardner's Licence
Renewed, Bond stopped using his Walther PPK in 1974, in
favour of the Colt .45 and the .38 Cobra. This development
could be written into the novelisation, and applied to all
with Diamonds Are Forever, Vic Davis penned a prose
adaptation of The Man with the Golden Gun for the Daily
Express, which appeared during December 1974 (and was
allowed to run its course this time). Again, this version
could be used as a basis for the novelisation.
Nobody Does It Better
Based on the screenplay The Spy Who
would be a retitled reprint of the movie novelisation James
Bond, the Spy Who Loved Me by Christopher Wood. This book
fits in very well with the Fleming novels, though subsequent
revelations in the Gardner books mean that it might be worth
amending references to Bond's choice of gun.
make room for the first few Gardner books, and the slack period
that Bond is supposed to experience prior to Licence Renewed,
the datelines of this and subsequent stories have been brought
forward by a year or more.
(or Operation: Undertow, or ATAC)
Based on the screenplay For Your Eyes
end of the Spy Who Loved Me movie claimed that James
Bond would return in For Your Eyes Only, even though
Moonraker ended up being the next movie made. However,
For Your Eyes Only is a more suitable follow-up to
Spy, for a couple of reasons. Bond's use of a Lotus
Esprit in both movies suggests strong continuity between the
two stories. More importantly, the villain's scheme in Moonraker
is very similar to that in Spy: the destruction of
the supposedly decadent human race, a massacre from which
the villain's base, situated in a hostile environment (the
sea in Spy, space in Moonraker), would be protected.
The placement of Undertow immediately after Nobody
Does It Better would make for better variety.
movie For Your Eyes Only uses characters and situations
from the short story of the same name (the Havelocks and Gonzales),
the short story Risico (the rivalry between Kristatos
and Colombo) and the novel Live and Let Die (the villain
dragging Bond and the heroine across a coral reef).
surnames would obviously have to be changed. Otherwise, the
For Your Eyes Only segment would need very little adjustment,
since it is structured quite differently from the short story.
The name Melina could be retained, since the character in
the short story is called Judy, and her weapon of choice could
be changed from a crossbow to a more conventional rifle.
Risico aspects would be hard to play down, since they
are so crucial to the rest of the screenplay's plot. We may
have to live with the repetition of a very similar feud going
on between the renamed characters. However, their respective
crimes could be changed from smuggling to organised crime
in general (perhaps one engages in contract killing whereas
the other merely dabbles in money laundering) and the attack
on the warehouse could be omitted.
the movie version of Dr. No is unsuitable for novelisation
as a whole, bits of it could be incorporated here to replace
certain Risico elements. Instead of waking up on board
Colombo's yacht, as he does in the short story, Bond could
find himself in the back of the renamed character's restaurant.
Cue an altercation between 007 and the apparent villain's
henchmen, which could be loosely based on the scene with Quarrel,
Pussfeller and Leiter in Dr. No. The restaurant's chef
could be given Pussfeller's memorable line, "Well, nobody
died from my cooking... yet."
replace the warehouse scene, Bond's newfound ally could help
him prevent Locque from committing another murder. The cinematic
Dr. No could be drawn upon once again, by basing Bond's
confrontation with Locque upon 007's face-off with Professor
Dent. However, on this occasion the opponent could escape
after Bond has delivered his famous line: "It's a Smith and
Wesson. And you've had your six." Bond gives chase of course,
leading to the car-on-cliff-edge scene from the movie version
of For Your Eyes Only.
Live and Let Die keelhauling segment could be simplified
so that the villain merely tries to run Bond and Melina down
with the boat.
would, of course, also want to lose the ridiculous Margaret
Thatcher scene from the end! To compensate for the omitted
material, script elements that never made it into the finished
film could be reinstated, such as Melina's refusal to sleep
with Bond until after she has fulfilled her vendetta, and
Brink's sexual interest in Bibi.
he wrote James Bond, the Spy Who Loved Me, Christopher
Wood changed the name of General Gogol to Nikitin. However,
he retained the name Gogol in James Bond and Moonraker.
The General also appears in all of the Cubby Broccoli Bond
movies of the 1980s. Undertow could, therefore, establish
Gogol as Nikitin's successor. Alternatively, Gogol could be
changed to Nikitin in each of the affected novelisations,
Heaven and Earth)
Based on the screenplay Moonraker
would be a retitled edition of Christopher Wood's movie novelisation,
James Bond and Moonraker, with changes made to the
names of Hugo Drax, his Moonraker shuttles (hence my
suggested title of Starseeker), the description of
the villain's appearance, and possibly (as with Nobody
Does it Better) Bond's weapon of choice.
Kiss Kiss Bang Bang
A collection of short stories
the movie versions of From Russia With Love, Goldfinger
and Thunderball are mostly faithful to the books that
inspired them, they do contain elements - in particular their
pre-titles sequences - that are largely original. These elements
could be adapted into short stories. In addition, the pre-titles
sequences of For Your Eyes Only, Octopussy and
the 2006 version of Casino Royale are either largely
or entirely unconnected to the main plots of the respective
films, so they would work better in isolation than at the
beginning of each novelisation. In total, eight such stories
could be presented in an anthology volume.
Dateline: 1945. The pre-titles sequence to the 2006 movie
Casino Royale depicts the first two kills carried out
by Daniel Craig's 007. The original novel of the same name
states that Bond earned his Double-0 status by killing a Japanese
cipher expert and a Norwegian double agent, both during the
Second World War. The incident from the movie could be adapted
so as to tell the story of Bond's first two assassinations
after having earned his number - in other words, his
third and fourth licensed kills.
Grant Me Death Dateline: 1957.
The pre-titles sequence to the movie From Russia With Love
could be adapted to act as a short prequel to the novel of
the same name, depicting Grant training for his execution
for a Shock Dateline: 1959. The pre-titles sequence
to the movie Goldfinger is based on brief references
in the novel to Bond's most recent mission. This sequence
could, therefore, become a short story set immediately before
and Boating Dateline: 1965. The helicopter buzzing
and boat chase sequences in the movie From Russia With
Love are not drawn from Fleming's novel. They could be
adapted into a short story, with Bond being pursued for some
newly concocted reason. His female companion could be changed
to Sylvia Trench, the recurring character from the movie versions
of Dr. No and From Russia. Her scenes from Dr.
No could appear at the start of this tale. Her return
appearance in From Russia could take place before Bond's
assignment in the next story...
JB Dateline: 1965. This would comprise the pre-titles
sequence to the movie Thunderball. As it features the
modified Aston Martin DB5, the story could be interspersed
with flashbacks to Major Boothroyd briefing Bond on the car's
use, which would be based on the Q's workshop scene in the
Kiss Bang Bang Dateline:
1965. This story would be based upon the Junkanoo sequence
from the movie Thunderball. It could be preceded by
some of Bond and Fiona's scenes from the film, including their
first meeting and Fiona's famous "but not this one" speech.
Fiona could even be changed to Sylvia Trench, who proves to
be an enemy agent and is killed off in this tale.
Fright Dateline: 1977. This would derive from the pre-titles
sequence to the movie For Your Eyes Only, and would
see Bond finally dispatching the villain from You Only
Live Thrice and/or Priceless. The dateline reflects
that of the novelisation Undertow.
Time High Dateline: 1979. This would be based on the
opening Acrostar jet sequence from the movie Octopussy.
The dateline reflects that of the novelisation Octopussy's
Women (see below). Interestingly, the Acrostar sequence
was originally planned for the movie Moonraker, so
the date of 1979 seems kind of appropriate.
(or Octopussy's Circus, or The
Legacy of Octopussy)
Based on the screenplay Octopussy
screenplay of this movie is, with minor tweaks to the timeframe,
already a sequel to the short story of the same name, with
the character of Octopussy revealed to be the daughter of
Major Dexter Smythe. The novelisation could, therefore, with
similarly minor tweaking, be made to function within the literary
sequence at Sotheby's is lifted fairly faithfully from the
short story The Property of a Lady, but this could
be glossed over as a second-hand account of the auction told
by the character of Jim Fanning. The Fabergé egg could be
replaced by some other Russian treasure.
17 of Gardner's novel Licence Renewed implies that
MI6's Double-0 section was abolished in 1979. The announcement
could be made in Octopussy's Women, which would become
Bond's last assignment as an official Double-0. This would
add an extra layer of bitterness to Bond's vengeful line:
"And that's for 009" as he kills the knife-thrower Griszka.
He could be feeling hostile about the demise of the entire
Double-0 section, not just about the murder of 009.
follows a gap in the novelisations. This is to make room for
the first four John Gardner novels. (See appendix
002 for a guide to how these novelisations might
fit in with the Gardner and Benson novels.)
Say Never Again
even Never Say Never Again could be novelised! If the
tricky rights issues could be negotiated by Glidrose Productions
(the owner of the literary copyright to James Bond), there
are enough new elements here to distinguish the plot from
that of the novel Thunderball. The villains' schemes
are virtually identical in both plotlines, but the same can
be said of Christopher Wood's two screenplays, The Spy
Who Loved Me and Moonraker. With changes to locations
and character names, a talented novelist could get away with
makes much better use of the Bahamas than Never Say Never
Again does. The latter could, therefore, easily be set
elsewhere. The reuse of Shrublands need not pose a problem.
When Bond says "Shrublands?" to M, it seems as if the health
farm is already familiar to both of them.
Maximillian Largo's name would have to change: his given name
because Zorin, the villain of A View to a Kill, is
also a Max; his surname because it is the same as that of
Thunderball's villain, Emilio. The Petachis would also
require name changes - Derval, the equivalent surname used
in the Thunderball movie, could be utilised instead.
Their relationship could also be changed, from brother/sister
to father/daughter. Blofeld could be replaced by SPECTRE leader
Tamil Rahani, in line with Gardner's novels.
In fact, with its use of an active SPECTRE and an inactive
Double-0 section, Never Say Never Again fits in rather
well with the 1980s Gardner books. I have moved its dateline
back by two years, to allow the inclusion of Tamil Rahani.
good Bond historian could also augment the story with elements
from the many abandoned drafts of Thunderball and Never
Say Never Again.
Dance into the Fire, or That
Based on the screenplay A View to a
No changes would be necessary to this screenplay, except with
regard to Bond's choice of gun, the decommissioning of the
Double-0 section (so no references to fellow Double-0 numbers),
and the fact that May Day and Max Zorin would no longer need
to say: "What a view..." "...To a kill." (Which is no great
Based on the screenplay The Living Daylights
basic plot of the original Living Daylights short story
forms the starting point of the screen plot (Bond's subsequent
pursuit of Kara and various gags involving the cello and its
case) and as such this element is practically impossible to
remove. It would be best, therefore, to just go with the coincidence
and make something of it. It could be that Koskov was inspired
by stories of the assassin known as Trigger when he concocted
plans for his phoney defection, though he might not have realised
that Bond was the man who let Trigger live, otherwise he wouldn't
have requested the agent as a marksman.
has a rather similar name to Sender, the analogous character
in Fleming's short story, so it might be advisable to change
his name. The role of Felix Leiter could perhaps instead be
fulfilled by Cedar, Leiter's daughter in the Gardner novels.
would be an amended edition of John Gardner's novelisation
of the movie.
I have described, Milton Krest could become the son of the
character in Fleming's short story The Hildebrand Rarity,
who inherited the Wavekrest and the stingray whip from
his father, then gave the latter to Sanchez. Instead of being
a coincidence, the shark attack upon Leiter could be a punishment
deliberately and cruelly selected by the villain.
I have brought the dateline forward by one year, so that Licence
to Kill takes place before Bond's promotion to Captain
in the Gardner novel Win, Lose or Die.
Datelines: 1986, 1995
that Raymond Benson refers to Bond as a Commander throughout
his novels, we must assume that 007 gets demoted for some
reason between John Gardner's SeaFire and GoldenEye.
Perhaps Bond accepts demotion for allowing Fredericka (Flicka)
von Grüsse and Felix Leiter to get captured and tortured in
Similarly, the Watch Committee MicroGlobe One is never heard
from again after Gardner's COLD. This could be connected
to the fact that the ailing old M is replaced by the new female
World is Not Enough
have pushed the dateline of this novelisation back by a year
or two, to help fill the gap between Bond's assignments.
Know My Name
Based on the screenplay Casino Royale
the latter half of the 2006 movie is a relatively faithful
adaptation of Fleming's novel, the first half is an entirely
original story. It could, therefore, be adapted into a novelisation
or at the very least a novella.
casino scenes could be pared down to the bare minimum and
their similarities to Fleming's Casino Royale thus
reduced. The character names of Le Chiffre, Vesper Lynd and
Mathis could be changed and Felix Leiter removed from the
plot altogether. The villain's torturing of Bond could be
rendered sufficiently different from that of the original
book if 007 were to be strapped down between two chairs or
tables rather than seated on a cut-open chair. OK, so the
plot still revolves around the agent beating the villain at
a game of chance and then getting tortured, but this basic
pattern is a recurring one in the Bond series anyway.
than being newly promoted to the Double-0 section, Bond could
instead be readjusting to his role following his lengthy captivity
in Die Another Day. M's doubts about his abilities
could stem from this factor.
Alternatively, the novelisation could depict an entirely new
agent, one who is being trained up to operate under the assumed
identity of James Bond. If so, the film's pre-titles
sequence could be part of the novelisation rather than a separate
short story as described earlier. This outlandish theory would
add an extra layer of significance to the title (which is
based on the song): we know the name but we don't know anything
else about the man using it. It would also suggest an explanation
for how Bond has managed to remain in active service for more
than fifty years!
even more outlandish explanation, but one that fits the books
better, is that Bond - and his colleagues M, Bill Tanner and
Miss Moneypenny, and also his friend Felix Leiter - is given
some kind of life-extending elixir. Win Scott Eckert theorises
that this is royal jelly elixir, developed by Sherlock Holmes
in 1921 and offered to MI6 by Holmes' brother Mycroft, a former
M himself - as established in John Lescroart's novel Son
of Holmes and Alan Moore's The League of Extraordinary
Gentlemen series of graphic novels.)
how about it, Glidrose? Wouldn't such a series of novelisations
be a perfect way to cash in on the excitement that inevitably
surrounds each new Bond film, especially given the current
lack of adult Bond novels? (The only new prose being published
at the moment is Charlie Higson's Young Bond range
of books.) Will Bond live on in print to fight another day?
I certainly hope so, because otherwise his world is not enough!
001: Newspaper strip and novel/novelisation chronology
002: Gardner and Benson novel/novelisation chronology