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CARTE BLANCHE The New James Bond Novel (SIGNED COPY)

DEAVER, Jeffrey

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ISBN 10: 1444738216 / ISBN 13: 9781444738216
Edité par Hodder & Stoughton, London, 2011
Neuf(s) Etat : New Couverture rigide
Vendeur L & S.D. GREEN (THORNTON-CLEVELEYS, Royaume-Uni)

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Limited Edition of 1500 signed copies, this is number 1305, Indi edition with Black D/W Size: 8vo - over 7¾" - 9¾" tall. N° de réf. du libraire 12223

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Détails bibliographiques

Titre : CARTE BLANCHE The New James Bond Novel (...

Éditeur : Hodder & Stoughton, London

Date d'édition : 2011

Reliure : Hard Cover

Etat du livre :New

Etat de la jaquette : New

Signé : Signed by Author

Edition : First Edition, First Impression.

A propos de ce titre

Synopsis :

A Christmas edition of CARTE BLANCHE bound in red Bentley leather, numbered and limited to 500 copies. 'The face of war is changing. The other side doesn't play by the rules much any more. There's thinking, in some circles, that we need to play by a different set of rules too ...' Fresh from Afghanistan, James Bond has been recruited to a new agency. Conceived in the post-9/11 world, it operates independent of Five, Six and the MoD, its very existence deniable. Its aim: to protect the Realm, by any means necessary. The Night Action alert calls Bond from dinner with a beautiful woman. GCHQ has decrypted an electronic whisper about an attack scheduled for later in the week: casualties estimated in the thousands, British interests adversely affected. And 007 has been given carte blanche to do whatever it takes to fulfil his mission.

Review:




Amazon Exclusive: Olen Steinhauer Reviews Carte Blanche

Olen Steinhauer's latest novel, The Nearest Exit features former CIA agent Milo Weaver, whose story began in the New York Times bestselling thriller, The Tourist. His previous work includes a pentalogy of thrillers set during the Cold War, beginning with The Bridge of Sighs and concluding with Victory Square.

How do you bring a character created in 1953 into the modern world without disappointing that character’s millions of followers in the process? This was the challenge faced by Jeffery Deaver when Ian Fleming Publications handed him the responsibility of writing the next official James Bond novel, Carte Blanche. I don’t know how I would have done it, but I do know one thing—Deaver, a specialist in the art of crafting nail-biting suspense, has done it better than I ever could have.

It’s a tightrope walk, balancing the tradition with the requirements of contemporary life, and Deaver handles it with panache. Beautiful women with unlikely but mesmerizing names? Check. (See Ophelia Maidenstone and Felicity Willing.) A top-drawer set of wheels with occasional soliloquies to its grace and power? Check. (The Bentley Continental GT coupé, in this case.) M, Moneypenny, Mary Goodnight, Bill Tanner, Felix Leiter? Check on all counts. A drink on hand that requires extra care from a bartender, but has yet to be named? Check. License to kill? Check, but under a different name: carte blanche.

How about the subtly and unsubtly perverse villains? Naturally, and they come in two sharply defined forms: Niall Dunne, "The Irishman," a brilliant tactician who brings to mind From Russia With Love’s Kronsteen, and his boss, Severan Hydt, the head of a global refuse-collection empire, whose love of decay in all its forms borders on necrophilia. Time spent with Hydt will make you long for a shower.

But what the Fleming aficionado will inevitably notice here are the differences, which turn this latest escapade into what feels, and should feel, like one of those things that are very popular these days: a reboot.

James Bond, a veteran of Afghanistan, is an ex-smoker. Despite run-ins with an MI5 twit named Percy Osborne-Smith, this Bond is more of a team player than I remember him ever being. But where one really notices the encroachment of the contemporary world is in his relations with women. James Bond has become . . . sensitive?

Actually, yes, but never to the point of priggishness. The hard Bond remains, but it’s a different world than it was in 1953, and the women in Carte Blanche—the Bond girls, if you will—are of equal measure to the men. Ophelia Maidenstone, a coworker at ODG (Overseas Development Group, tenuously connected to MI6), besides being ravishingly beautiful, is indispensible—without her, Bond would be dead in the water. And when romance begins to bloom between them we find that, even after he’s left town, she remains, haunting his thoughts so much that after a night with another woman Bond feels, of all unlikely things, guilt.

If this seems very un-Bond, it is, but it’s a testament to Deaver’s strength as a storyteller that the reader so easily accepts that this is Fleming’s world 2.0, and it’s just as dangerous and exciting as it was when Le Chiffre glared from across a card table.

Don’t run from this new world, aficionado, for you’ll be rewarded. Not only with a gripping installment, but with a fascinating subplot concerning Bond’s parents, one that not only piques the reader’s interest but, by the end of the novel, begs for a continuation in the next Bond adventure. This new Bond may be a modern man, but his roots are deep in the past, and if Carte Blanche is any indication, the past will soon catch up with him. I, for one, will gladly be on hand to witness that confrontation.



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