Jonathan Pine, orphaned only son of a cancer-ridden German beauty and a British sergeant of infantry killed in one of his country’s many post-colonial wars, graduate of a rainy archipelago of orphanages, foster homes, half-mothers, cadet units and training camps, sometimes army wolfchild with a special unit in even rainier Northern Ireland, caterer, chef, itinerant hotelier, perpetual escapee from emotional entanglements, volunteer, collector of other people’s languages, self-exiled creature of the night and sailor without a destination. (p.57)
Jonathan Pine is a haunted man. He was in the British Army in Northern Ireland, where he killed two IRA men in an ambush. He still has nightmares about their heads blowing off (pp.129-30) and flashbacks recur scores of times throughout the text to emphasise just how haunted he is. He quit the forces and hid away as the manager of a luxury hotel in Cairo. Here – in a very flimsy scene – Sophie, the beautiful Arab moll of a powerful Cairo criminal, Freddie Hamid, asks him to keep some incriminating documents in the safe overnight: Hamid is doing a big arms deal with some Brit called Roper, Richard Onslow Roper.
Intrigued, Pine reads the documents, photocopies them and – despite her warnings that Hamid is jealous/watching her/has contacts in British Intelligence – Pine gives a copy to a man he knows is British Intelligence in Cairo, Mark Ogilvey. Although Pine then spirits Sophie away to Luxor, where they fall passionately in love, have lots of warm weather sex etc, he returns to the apartment one day to find her brutally murdered and disfigured. Hamid caught up with her and punished her for her betrayal. A guilty, haunted man he flees to another hotel, Meister’s, far away in the Austrian Alps, where he now suffers from flashbacks of killing the IRA men and memories of murdered Sophie.
In other words, he is the stereotypical thriller protagonist – the psychologically wounded, self-pitying, hard drinking, no-nonsense, loner hero of a thousand spy novels.
Then, one day, into the Austrian hotel arrives the very Richard Onslow Roper he’d heard so much about, and his creepy entourage of accountants, fixers, bodyguards and the (inevitable) over-glamorous dolly bird, Jemima (aka ‘Jed’), who flirts dangerously with Pine. Worried they might know or discover his association with the murdered Sophie, that they might realise he knows about Roper’s activities, Pine makes his way to the British Embassy in Zurich and, after passing a message to the consul, finds himself being handed on to an Intelligence officer named Leonard Burr.
Here begins the plot proper, for Burr wants to recruit Pine and infiltrate him into Roper’s inner circle in order to nail the man who, we now have it confirmed, is a major league international arms dealer.
Exaggeration and self importance
And it’s about here that le Carré’s particularly inflated style, his mannered worldview and approach really kick in because as we find out more about them, Burr and his small team – mandarin Rex Goodhew and pipe-smoking Bob Rooke – are treated as legends in their own lunchtimes. Rex was once called ‘Whitehall’s Talleyrand without the limp’ (p.82), Bob Rooke ‘was Burr’s restraining hand, a retired soldier with grizzled hair and a rugged, weather-beaten jaw’ (p.82), ministers are always ironically referred to as ‘our masters’. The Pine Case soon becomes a ‘legendary’ business, for Roper isn’t just a criminal under investigation, he is Burr’s ‘personal Antichrist’. After all ‘there were few insiders who did not remember Burr’s vendettas’ against various crooks — in fact, Burr himself is so legendary that there are people in the Department who the narrator calls ‘Burr-watchers’ (p.86), who study and ponder his every move.
But it is not just Burr who is a legend: When the American team arrives to co-ordinate the investigation into Roper, the first to land is ‘the celebrated Joseph Strelski from Miami’ (p.93). Strelski’s assistant is Pat Flynn from US Customs and ‘legend attached to Flynn’ (p.94). Of course it does.
Even old Pearl, the lady who trundles a trolley with files about ‘the Antichrist’ along the dirty corridors, well, it turns out that ‘they’ – ie Burr’s legions of adoring fans – even give her wonky squeaking trolley a legendary name – ‘They called it Roper’s tumbril.’ (p.87)
Nothing goes unlegended or just simply, factually reported. When Burr gives Pine a radio to keep in touch, it isn’t referred to as a radio. It is ‘the magic box’ (p.396). Everything seems overblown, turned up too loud, exaggerated – the sense of careful detail slowly accumulated which gave the classic Smiley novels of the 1970s their plausibility, has somehow been lost.
Thus the Americans are never the Americans, nor the CIA the CIA: they are ‘our gallant American cousins’ (p.91). The illegal arms traffickers are ‘Burr’s declared foe’. The people who know about Burr’s plan are not just in the know, they are in ‘the charmed circle’. Strelski’s source isn’t just a source, he is ‘his most sacred and delicate source, and this was holy ground.’ (p.95) The civil servants at MI6 aren’t the civil servants at MI6, they are ‘the wayward barons at the River House.’ (p.101) Saddam Hussein isn’t Saddam Hussein, he’s ‘the Thief of Baghdad.’ (p.106) Sophie isn’t the girl he loved who was murdered, she is ‘his accusing angel’ (p.161). The arms dealer Roper is ‘the Roper’, if not (frequently) ‘the worst man in the world’.
When Pine stays in Madame Latulipe’s guest house in a remote Canadian town, she is of course the famous Madame Latulipe, who knows everything that goes on in the small town and who everyone knows and loves. When Pine is working as a cook in a restaurant in the Bahamas, the owner is, naturally, a legend on the island who every night performs for the rich tourists in ‘his famous black basket and riding crop.’ (p.275) Later, on Roper’s private Caribbean island, there are stories about Woody, old Woody, you remember old Woody, ‘Everybody knew who Woody was.’ (p.388). When Pine asks Corky where Roper met Jed, Corky replies: ‘Legend has it, at a French horse sale.’ (p.391) Because all these larger-than-life characters can’t move without myths and legends attaching to them.
Thus Pine, once ensconced in Roper’s circle, is less and less referred to by name, and more and more referred to as ‘the close observer’. Now it becomes clear what the whole Army and Ulster back story was for – all the flashbacks to Ulster showing us Pine lying ‘doggo’ in ditches and hides for days on end waiting for the bad guys to appear. It is to create and justify the attitude of the detached observer which is what le Carré really wants to convey: the book is less about the ‘plot’ than exploring the psychology of being ‘the close observer’ of the shenanigans of a disreputable crew, about being an ‘outsider’, a detached, trained, tough observer. And haunted.
Even when Pine is hiding out in a tiny Cornish coastal village, le Carré immediately makes it a club or school where, once again, everyone knows everyone and has jolly nicknames for each other, old William down the pub, he’s always got a tale or two worth the telling, there’s hunting and shooting and fishing, the woman he stays with is legendary, as is her randy daughter. When Jed reminisces about her youth back in Shropshire, going to horsey events, gymkhanas and such, she tells the story of a certain local named Archie because, inevitably, ‘Everyone loved Archie.’ (p.446). When Corky takes Pine on a bar crawl in Nassau, ‘Everyone seemed to know Corkoran’ (p.455). There are no anonymous characters. Everyone is famous and well-known and a legend and tells cracking jokes and the whole room explodes in jolly laughter.
The actual Britain, the country of big anonymous cities, crappy council estates, windswept shopping centres, of the millions of people who commute to jobs in factories, offices, hospitals, supermarkets, of huge alienated environments, of loneliness, is nowhere in these novels. Instead le Carré’s novels recreate again and again small, self-contained and self-important communities, awash with dashing characters who all bathe in each other’s admiration and play out their romantic and improbable plots in isolation from the rest of the world.
Public school mindset
A lot of the exaggeration is schoolboy – specifically English public schoolboy – slang, and the entire book is dogged by this tone of exaggerating, mocking, superior banter. When there’s a long pause in a phone conversation, Rex doesn’t say, ‘Leonard, are you still there?’ he says, ‘Leonard, art though sleeping there below?’ quoting the poem Drake’s Drum (1897) by the late-Victorian poet, Sir Henry Newbolt, author of the quintessential public school and Empire poem, Vitaï Lampada, with its refrain, ‘Play up, play up, and play the game.’ They’re all chaps together and they all get the same spiffing jokes and references.
In my review of Le Carré’s previous novel, The Secret Pilgrim, I pointed out how the self-congratulatory, self-mythologising tone of Ned the narrator, an about-to-retire Intelligence officer, sounded just like Mr Chips, like a senior master at a jolly public school reminiscing about some of the rags and japes he got up to as a young master, albeit tempered by more mature respect for the old school and its legendary senior masters: ‘It may have its faults, but St Bede’s is not such a terrible place, you know, I think you’re going to like it here, young Chalmondeley.’
As rugged old Bob Rooke takes the pipe from his mouth to respond to another jesting sally from the legendary Leonard Burr, the scene is straight out of the Common Room of a provincial public school, circa 1950. You expect Ian Carmichael to come running through the door, asking if any of his fellow masters can help out at this afternoon’s upper-fifth rugger match.
Thus Burr and the chaps in his close circle have the habit of referring to the bad guys not by their names but as ‘brother this’ and ‘brother that’ and the police aren’t the police, but the ‘heavy-footed brethren’. And Corky turns out to have the same habit, referring to ‘Brother Harlow’ (p.358) and ‘Brother Meister’ (p.361). When Pine thinks back to the period before the mission began he doesn’t call it the period before the mission began, he calls it ‘the days of his youth.’ (p.452). When Rex Goodhew considers his career in Whitehall it isn’t described as his career in Whitehall, it is his ‘quarter-century before the Whitehall mast.’ (p.465) The Foreign Office Registrar doesn’t have an office – he has a lair. Like a dragon in a fairy tale.
Public school slang. Self-mocking grandiosity, Latin tags and scraps of Victorian poetry – the book and its characters are saturated in it.
I was especially staggered on page 98 when Rex Goodhew ( ‘Whitehall’s Talleyrand without the limp’) is at his Whitehall club, taking a bit of chafing from the other chaps, senior civil servants, Tory MPs, you know the sort — until one of them particularly needles him and Rex replies: ‘Sheer balderdash!’— Sheer balderdash? Maybe these characters aren’t from the 1950s, they’re from the 1920s. Or the 1880s.
Public school characters
Pine is meant not to have come from a traditional professional upper-middle-class background. It is carefully explained that his father was a sergeant in the Army, who died a hero in some hush-hush operation and who Pine has always tried to live up to – and his mother died of cancer, after which he was brought up by various aunts. But when he is recuperating from a beating, he remembers the chaps ragging him at his boarding school and various beastly tricks they played on him. Jed’s voice as he lies in bed sounds like the matron. Matron? When he visits his ex-wife he remembers she’s now married to a chap who’s something in the local hunt. The local hunt? His unpublic school persona keeps slipping, to reveal the basically privileged, elite worldview of the narrator.
And the circle of bad guys he is sent to infiltrate is overwhelmingly, stiflingly posh. Roper (not a cynical arms dealer, remember, but ‘the worst man in the world’) affects an upper-class drawl. And so does his sidekick, Major Corkoran (‘I’m rooting for you. So’s the Chief. This isn’t England. Men of the world, all that.’). And Roper’s moll, Jed, is described as ‘an upper-class waif’ (p.164) who ran away from her posh boarding school, got in with a crowd of Hooray Henries in London, before being picked up by ‘the Roper’. And one of the Roper’s key associates is fellow posh British arms dealer, Lord ‘Sandy’ Langbourne and his phenomenally posh wife, Caroline. At one remove is Sir Anthony Joyston Bradshaw, Roper’s man on the ground in the UK (and who we were introduced to in the very last pages of The Secret Pilgrim) posh, very. All these frightfully upper-class chaps means that the majority of the conversations are in the slurred, dismissive, entitled, exaggerating tones of the very posh English upper classes. Slightly different characters, slightly different takes on it, but all within a very narrow range.
Reading this novel is a bit like being stuck in a garden party thrown by a millionaire at his Berkshire mansion during Royal Ascot: occasionally you hear the rough voices of the servants or some state school oik, but overwhelmingly the sound is of the guffawing and braying of the ruling classes behaving disgracefully. 700 pages is a long time to have to spend in their company.
Jemima, also known as Jed
‘Gosh, Arno! But, darling, you’ve lost pounds! Georgina, darling, how are you? Super! Gosh Hullo!‘ (p.404)
Daniel, Roper’s 8-year-old son, known as Dans
‘Why’s Roper in a bait with Jed?’ (p.413)
‘Message from the Chief for you, Mr Pine. H-hour is upon us. Prepare to kiss Crystal and everybody else goodbye. Firing squad assembles at dawn.’ (p.453)
‘Fuck should I take orders from you, Christ’s sake?… No executive powers, lot of wankers on the touchline.’ (p.634
‘Whole things a stag hunt… You trek, you wear yourself out. Things pull you down, trip you up, you press on. And one day you get a glimpse of what you’re after, and if you’re bloody lucky you get a shot at it. The right place. The right woman. The right company. Other chaps lie, dither, cheat, fiddle their expenses, crawl around. We do – and to hell with it! Goodnight gang. Thanks, cook. Where’s the cook? Gone to bed. Wise chap.’ (p.562)
Was this really the face, the voice, of international arms dealing in the 1990s?
Le Carré often has his common rooms laughing at jokes which aren’t really funny at all. Burr asks Joe Strelski to stop going for daily jogs because just thinking about it is giving his team heart attacks. ‘Everyone laughed.’ (p.94). Is it that funny? The only woman in the team running Pine is an American called Katherine Dulling but in this little self-congratulatory world she is nicknamed ‘Darling Katie’. At the one big meeting with the ‘gallant American cousins’ she accuses an attending senator of calling her a femagogue and claims she is as harmless as a mouse. ‘Jolly laughter fills the room’ (p.180). Really? That funny? (Jelly’s off p.486) In the guerrilla camp in the jungle Roper is the centre of attention and holds court at the evening, telling humourless jokes which have everyone roaring. ‘Remember Mickey?’ he asks Langbourne.
‘Oh too bloody well,’ Langbourne drawls, and once more earns the merriment of the house: these English lords, you’ve got to hand it to them! (p.560)
Funny? Nope. Like the legends and nicknames and tags, it is all exaggeration. Le Carré asserts that his characters are funny; but they never are. There’s a lot of chafing and ragging and people telling duff jokes ‘to the helpless mirth of all’ (p.560) but in fact, nobody says or does anything remotely funny in the whole 700 pages. It is a remarkably humourless book.
In a similar gap between promise and delivery, le Carré has a regular manoeuvre of describing someone’s pronouncements (particularly Smiley’s) as profound, insightful, the fruit of years of legendary experience – but when they’re actually quoted so that we can read them for ourselves, these pithy sayings all too often turn out to be disappointments: ‘The Russians are only human, you know.’ John Sutherland, in his London Review of Books review of The Secret Pilgrim, declares that Smiley’s lectures to the young students reveal him, alas, to be a bore – ‘Like other old-boys, his speech-day truths sound pompous and self-important’. The same is true of too many of the characters in this book, as well as the smug and sentimental narrator.
Pine’s self-pitying self-image seems scandalously overblown: repeatedly we overhear him thinking, God, I am such a tough guy, I am a loner, every woman I touch is doomed.
‘Stay away from me. I betray. I kill. Go home.’ (p.165)
‘That’s what I do for a living, he thought: I obliterate faces.’ (p.253)
And in the last few pages, despite having been beaten to a pulp, he is still self dramatising:
I kill, I do wrong, there is good and bad and I am bad! (p.706)
Must be hard being such a tough guy. And yet so sensitive. So stricken with sensitive guilt.
But just in case the Pine character didn’t seem sufficiently self-important and doomed and tough and haunted, the narrator and character add in a dollop of Catholic guilt and Christian imagery. The night before he and Burr’s team are going to stage manage the ‘death’ of his business partner and his own flight from the little Cornish village (all part of giving Pine a convincing criminal back story for when he infiltrates Roper’s setup and they check his background), Jonathan knows that ‘the ordeal that awaited him was a mere foretaste of a lifetime of penance.’ (p.167) When he goes to see his ex-wife one last time because he knows he’s going to end up either dead or with a new identity, it is a journey ‘in search of atonement’ (p.174). He practices what he’s going to say to her until it becomes ‘a heroic song in his mind’ (p.174). Earlier in this review I quoted references to the Antichrist, to holy ground, to Sophie the accusing angel. When Pine meets his ex briefly and they discuss her attempts to become an artist, he doesn’t make a reasonable assessment of her skills, her strengths and weaknesses, whether she had any shows or sold anything, nothing factual and, potentially, interesting – no, everything is cast in a tone of Victorian melodrama as he remembers how:
they had both worshipped her great talent, how he had abased himself in order to elevate it, cooked and carried and swept for her, believing she would paint better for his self-denial. (p.175)
At a late stage Burr discovers Joyston has been ripping off Roper, as he goes round Europe buying up illegal arms, but Burr doesn’t set about tabulating the embezzlements, he sets about ‘the length record of Joyston Bradshaw’s sins.’ (p.615) Similarly, when Jed confronts Roper with the truth of his activities as an arms smuggler, she ‘taxes him with his sins’ (p.489). When Roper takes Pine to see the actual shipment of arms in their vast containers in the port, he stands in the darkness of one of the containers surrounded by ultra modern weaponry and
He was in the presence of his own accomplishment. He was in a state of grace. (p.521)
And the last word of the whole novel is souls.
But I don’t think there’s any theology in these statements. There isn’t the slightest sense of religion or the numinous. It’s just another rhetoric, another set of tags and quotes and exaggerations, like the bits of Bible and bobs of Victorian poetry, which can be used to over-egg the situation, a self-mocking inflation of language.
Like the jokes which aren’t funny and the wisdom of Smiley which is banal and the protagonist who thinks he’s a medieval crusader but is in fact just an ex-soldier going undercover – in a similar way the narrator talks up the plots themselves in these later novels, plots which take hundreds of pages to describe and yet which, on closer examination, don’t really live up to their own billing.
Jonathan Pine is an ex-British soldier. He is recruited by a section of British Intelligence led by legendary Leonard Burr to infiltrate the social circle of British arms dealer, the Roper. They name it Operation Limpet. To build up a back story as a bit of a crook he is sent to live for a while in a small Cornish community where he makes just enough impression – especially on the good looking and willing local totty, Marilyn – before disappearing after having, apparently, murdered his partner (an actor put up to the job, just as the local police are recruited to make the whole elaborate scam look real). Then he is sent to a small town in Canada where he makes just enough impression before being chased out of town by the hotel owner where he’d been working, for seducing his beautiful and very willing daughter, Yvonne.
Then – still part of the elaborate scheme – he gets a job at a restaurant by the beach in some island in the Bahamas where Roper’s cruiser often puts in for meals. Here Burr’s team pull off an elaborate scam: on the night the Roper and his entourage dine there, the team arrange for two CIA-arranged goons to stage a phony hold-up of all the guests; the goons not only relieve the guests of all their jewellery and money but begin to make off with the Roper’s 8-year-old son, Daniel as hostage. This is Pine’s cue to intervene and heroically save Daniel. Unfortunately, the red mist descends – suddenly his mind is full of flashbacks of those IRA men through the night scope of his rifle, and the look of Sophie’s badly beaten face – and he overdoes it, breaking one of the ‘friendly’ goons’ arms, whereupon the other goon goes nuts, hammers him in the face with his gun, knocks him to the ground and kicks him in the head and balls, before they both run off.
As he lies bleeding he hears Roper and his entourage come running up and Roper ordering his sidekick, Corkoran, to ring up his private helicopter to take the man who saved his son’s life to a private hospital where his private surgeon will fix him. Thus, at around page 320, Pine has finally arrived in the Roper’s world, and his mission can begin.
Plot part two
Pine recuperates on Roper’s island in the Caribbean, observing the luxury lifestyle of posh Roper – the Roper – glamorous girlfriend Jemima ‘Jed’ Marshall, camp ex-military fixer Major ‘Corky’ Corkoran, Roper’s son by his first marriage Daniel ‘Dans’, several security guards (even the security guards have schoolboy nicknames, ‘Frisky’ and ‘Tabby’), Lord ‘Sandy’ Langbourne and an ever-changing population of the international elite, the elite of arms smuggling, that is.
His controller, Burr, told Pine on no account to break into Roper’s inner sanctum nor to have an affair with his dolly bird, Jed, but Pine, inevitably, does both. For just at this moment Jemima has suddenly realised what a crook Roper is and what a fool she’s been! And immediately responds by sneaking out of the big mansion and down to Pine’s quarters for soulful conversations and snogs. Obviously Pine has never seen a James Bond movie or he’d know that plooking the billionaire bad guy’s dishy girlfriend is always a bad idea. And he is a 1,000% aware that’s he’s repeating the pattern of Sophie – screws billionaire crook Hamid’s dolly bird; she is beaten to death: screws billionaire Roper’s dolly bird.. what do you expect?
A Darker plot
Meanwhile, a major new thread and theme emerge. The team back in London running Pine become aware that another Intelligence section, the Procurement Studies Group, run by a man named (rather ludicrously) Geoffrey Darker, has embargoed many of the files and much of the information about Roper, under the codename of an operation ‘Frigate’. It turns out, without much probing, that leading people in British Intelligence and US Intelligence are directly involved in Roper’s latest, biggest deal – the selling of a huge shipment of European, American and British arms to Colombian drug cartels in exchange for vast amounts (‘tens of tons’ p.481) of cocaine, which will be shipped back to Europe.
It’s odd this storyline, because there’s no suspense in it. After a routine meeting with ‘the Cousins’, one of them takes Goodhew for a walk down to the Embankment and there tells Goodhew to back off Roper or they’ll kill him. No suspense whatsoever. A different novel might have focused on the slow revelation of this dark secret, with an investigator peeling away layers over hundreds of pages. Here it is tossed away in a few paragraphs.
After casually blowing the secret at the centre of the story, Le Carré goes on to mention that various senior bankers and other Establishment figures are piling in to invest in the deal — the widespread corruption of the Establishment is not any kind of revelation, but a given. On page 478 the upright civil servant Rex Goodhew learns that his contact inside the Procurement Studies Group, a lily-livered, alcoholic, civil servant lawyer named Palfrey has made a gross error. Palfrey has revealed to Darker the secret that one of Roper’s associates – a Latino named Apostoll – is working for the CIA, is in fact the key source and lynchpin of the US project to penetrate Roper’s operations. And Palfrey further revealed to Darker that Apostoll was briefed specifically to blacken Corky’s name, to discredit Corky so that the infiltrated Pine will be installed in his place, thus giving Pine access to full details of Roper’s operations. In the last 100 pages Burr’s efforts to nail Darker and expose Operation Frigate become a lot more prominent in the story.
This ought to be exciting, there ought to be something at stake: but the novel fails to generate any real tension: it is much more interested in the psyche of Pine, the orphaned child and lonely watcher, the detached observer, his tortured soul and his doomed love affairs, and the garden party atmosphere of Roper’s private island, than in conventional mystery, suspense and so on.
On around page 520 Burr, who has flown to Miami to be closer to the operation he’s running, realises it is going badly wrong. First of all he is called in by ‘the Cousins’ to a crime scene packed with ambulances and cops to find that Apostoll has – almost certainly as a result of Palfrey’s blabbing – been blown, and promptly tortured to death (along with the unlucky girlfriend they found him with). Confirmation that the supposed Brit intelligence officer Darker is passing secrets straight on to Roper’s gang. And which ends the close working relationship Burr had forged with ‘the celebrated Joseph Strelski from Miami’.
But worse, the rattled civil servant Goodhew reveals to Burr that he tried to stir his minister to action by showing him a detailed list of all the investors in Roper’s big deal (p.528). He innocently assures Burr that he changed the page layout and implied it came from a different source, but Burr is horrified nonetheless. There was only one source list and Pine photographed it when he broke into Roper’s office and Roper’s gang will realise that immediately. Should Burr signal Pine to pull out immediately? Yes. But he doesn’t.
So the last 150 pages or so are spent wondering whether the bad guys will realise Pine is a spy sent to gather incriminating evidence and foil the scheme and, if so, whether he’ll be beaten and tortured like James Bond always is, and whether the Baddy’s moll he’s seduced, Jed, will also be roughed up, maybe staked out for the crabs to eat as in Dr No.
Deal in the jungle
Blissfully ignorant of these murky doings back in Whitehall, back in the Tropics Pine is taken by Roper, Langbourne and various fixers to locations deep in the Panama jungle. There is a guerrilla training camp run by Latinos but staffed by mercenaries from round the world – renegade Russian special forces, pissed-off Israelis, bored Europeans. Here, in a vastly improbable but typical scene, Roper holds court at the evening meal, he and Langbourne reminiscing about arms dealers they have known in their languid London clubland voices and – this is the improbable part – holding the whole room of dirty killers from the world’s warzones, holding them enthralled, ‘delighting their admirers’ and making priceless quips ‘to the helpless mirth of all’ (p.560). Even though most of them can’t speak English? Yes, because wherever le Carré’s characters go they quickly install the atmosphere of a self-congratulatory and superior staff room.
The purpose of the visit is to fly on the next day to a good imitation mockup of an airbase complete with tanks, cars and a tame plane which flies overhead, all of which are shot up and exploded by the mercenaries demonstrating the effectiveness of the weapons Roper is selling, to an invited audience of potential buyers. After the war games Roper moves among the rich guests, pressing the flesh with Pine in attendance as his new fixer. But at the end of the day everything changes. Roper receives a telegram from Bradshaw back in England, confirming the information Goodhew and Palfrey had leaked ie that Corky was framed by (the now dead) Apostoll and Pine is a spy. Pine is bundled into a car by Roper’s heavies and they all drive to the Canal Zone.
Having had the scene where the buyers view the arms, now there is a scene in a vast warehouse where Roper and his people test the cocaine packed into innocent-looking crates labelled with coffee ads. It is the scene from a hundred drug dealer movies where the drug tester is wheeled in for one appearance, slashes packs of white powder taken from a random selection of crates, tastes it, subjects it to a few tests with his arcane equipment, and nods at the Head Baddy, getting to deliver his one, clichéd line: ‘A1 stuff’, or ‘Weapons grade’, or ‘100% pure’. Whereupon the Head Baddy nods wisely, the expert takes his wad and disappears, the two sides exchange suitcase stuffed with dollars or, in this case, sign the elaborate bills of lading and bankers drafts.
After which Pine is hustled away. He has a last few moments in a disgusting toilet where he scribbles a message, hides it in an envelope slipped into a pocket, planning to stash it with address and money to be found by whichever taxi driver drives them away from the warehouse. He knows now that Roper knows about him, and that he is going to die.
That’s on page 587. For the next 80 pages we hear nothing more of Pine. The point of view cuts to London, to Whitehall and to Leonard Burr worrying about his agent and his operation. Over the next few days they learn that ships are leaving the docks Pine indicated and passing through the Panama Canal, ships Burr is convinced are carrying weapons to the Colombian drug cartels and cocaine to Europe. But he meets dead ends as he tries to find out more: even old colleagues say they can’t help out, as the entire operation Limpet has been sequestered by the Joint Steering Committee, under a new operational codename, Frigate.
This conflict escalates to a formal meeting of the Joint Steering Committee, attended by the Minister, at which Goodhew, defending the independence of the Enforcement side of the Department, and Burr’s Operation Limpet in particular, takes on Darker, head of Pure Intelligence, and comes as close as he can to accusing Darker of squashing the investigation.
This long scene is a set-piece depiction of a high-level Whitehall meeting where opposing views clash before an innocent Minister while we, the reader, know Darker’s agency to be actively involved in a massive crime. And Darker and his sidekick win the contest by successfully blackening Pine’s name, by reinterpreting his record as that of a psychopath fantasist who murdered two Irishmen, beat his Egyptian girlfriend to death, was seriously involved in drug running and has been trying to hawk intelligence agencies rubbish information for years. And this, they say, is the source, the evidence, the basis for arresting foreign-owned ships in international waters? Goodhew is ridiculed and in fact stalks out of the meeting. The minister is persuaded. Darker has won.
Paralleling this scene, across the pond in Florida ‘the celebrated Joseph Strelski from Miami’ is called in by his boss who has received much the same briefing from CIA Langley ie rubbishing Pine as a source, a scene which leaves Strelski incandescent with rage. Strelski and Burr are the good guys. They are up against profoundly corrupt organisations.
Which is why Burr, hearing about Goodhew’s defeat at the Joint Steering Committee meeting, takes matters into his own hands. He arrests the alcoholic lawyer Palfrey, and beats him up in an MoD cell until palfrey agrees tearfully to sign three phone intercepts, each to one of Darker’s offices. Then Burr drives out to Sir Anthony Joyston Bradshaw’s run-down country pile where he confronts him with the complete lie that Darker and his sidekicks have been arrested for treason and corruption: he makes Bradshaw phone Darker’s numbers, calls which are intercepted by Burr’s assistant, Rooke who, at the first address, impersonates the police and confirms Darker is under arrest; a further call to Palfrey himself has the wretched man quailing and reciting his lines that Darker’s under arrest, the game is up.
Burr goes on to tell Bradshaw the Americans are closing in on Roper, he expects Bradshaw himself might get off with ten years. What does he want? He wants Bradshaw to phone Roper’s yacht, the Iron Pasha and tell Roper that he will drop all charges if Roper releases Pine and the girl.
Pine in prison
On page 672, we rejoin Pine aboard Dicky Roper’s luxuriously appointed yacht, as it sets out for a cruise round the Bahamas, accompanied by various celebrity and high life guests, while Pine languishes in a secure room in the bowels of the ship being beaten to a pulp by Corky and his assistants. There are some intense pages describing Jed’s fear and guilt as she continues to perform the role of Roper’s hostess to the rich guests, and even lets him screw her every day. But all the time she is trying to find out where they’re keeping Pine and how to free him. Then there are several pages describing Pine’s state of mind, kept chained in the dungeon cabin, regularly beaten, punched, kicked, chained in agonising positions. Things look bleak for our heroes.
And then Roper is woken by the phone call from Bradshaw we saw him making under duress from Burr 30 pages earlier, the call claiming Darker has been arrested and the Yanks are onto Roper, but Burr will call all the arresting agencies off if he just releases Pine ‘and the girl’. So Jed finds herself told to dress in practical clothes and Roper orders the goons to unchain Pine, dress him in something clean; in a delirious semi-collapsed state the pair are loaded into the yacht’s dinghy and ferried over to the nearest island, presumably to contact the authorities.
The last chapter cuts away to a completely different scene, to the yokel-ish inhabitants of the little Cornish village where Pine had hidden out during the creation of his backstory. We don’t see or hear him or Jed, we just hear the matriarch of the village explaining to the denser inhabitants that, although it looks a bit like him, this is definitely NOT the Jack Linden who left under such suspicious circumstances all that time ago, that was explained to her very clearly by the senior policeman from Yorkshire who had a word (obviously Burr, the man whose sting appears to have freed Pine and saved his life).
The unnamed couple now living in the old cottage are going to breed horses and paint and lead a quiet uneventful life. She concludes her lecture to the yokels: ‘So I’ll trouble you never to talk out of turn again, because if you do, you’ll hurt two precious souls.’ (p.714)
What happened to Roper? What happened to the shipments of arms and drugs? What happened to Burr for breaking rules around phone tapping? What happened to Darker (did he just win?)? We are not told. All that matters is the happy couple are returned to Eden.
This is such a sentimental, consequence-free and improbably happy ending, that it brought a tear to my eye. Though whether at the Disney ending or simply from having made it through these 714 long pages, I’m not sure.
Le Carré and sex
Le Carré’s initial branding and positioning was as a gritty, realistic, street-level antidote to glamorous James Bond heroics, typified by the classic The Spy Who Came In From The Cold (1963) and easily contrastable with Fleming’s On Her Majesty’s Secret Service, published the same year. But thirty years later, le Carré is writing about a flashy international arms dealer, glamorous dolly bird on his arm, and the lone spy sent to bring him down – exactly as in a James Bond movie.
And the soulful-but-tough hero has a James Bond-like way with women as well: Pine’s ex-wife is gorgeous; he has an affair at the drop of a hat with the spirited Arab woman, Sophie; in Cornwall his strong silent good looks attract gorgeous young Marilyn; in Canada his strong, silent good looks lead to him having an affair with gorgeous young Yvonne. And once in the Roper’s circle he is immediately drawn to the flirtatious and stunningly attractive Jed, who he ends up having an affair with. Everywhere he goes women throw themselves at him.
This is pure Bond, isn’t it? Middle-aged male fantasy. And yet, the book is quick to point out, he is no normal shagger. Dear me, no. He is a soulful, sensitive shagger. A haunted shagger. A shagger with a dream of higher things.
He remembered his early women, no different from his later ones, each a bigger disillusionment than the last as he struggled to elevate them to the divine status of the woman he had never had. (p.163)
‘Divine status’? Pine is a sentimental, self-important James Bond.
But in fact everybody’s at it in this book. On the plane from his island to the mainland, we watch Roper flirt archly with the stewardess, praising her service and patting her bum. Later, at the hotel, Pine overhears Roper screwing her. Posh sidekick Langbourne is making his wife miserable by openly having an affair with the nanny; he comes down to Roper’s shack and asks to borrow his bed for some shagging. Corkoran generously informs Pine, when he first arrives on the island, that he is free to screw any of the women servants, just ‘no touchee Jed’. Corky is himself gay and free with his references to screwing and shagging and ‘having’ various partners.
Towards the end, even after they’ve had a fierce argument in which Roper doesn’t deny he’s keeping Pine prisoner and having him tortured, Jed still has sex with him. Really? And her memories are all sexual: she remembers being deflowered by a village tough, she remembers being raped by two brutes in Hammersmith, she remembers the orgies among the Hooray Henries. When he needs an example of Jed’s intuition about the atmosphere on board the ship, he cites the pretty Filipino maid and the eerie way Jed knows whether she’s been screwing the captain or the bosun or even ‘Sandy’ Langbourne. In fact, whenever a woman is mentioned in the text there is the strong possibility that it is her sexuality which will be described, humorously referred to, exploited.
If you add in Pine’s obsessive flashbacks/memories of lying next to a naked Sophie in the apartment in Luxor or, later on, his memories of Jed’s soft hands on his face (‘He remembered a morning when Jed wore a yellow blouse, and touched him with her eyes.’ p.554), the text is marinated in a particular kind of male fantasy eroticism.
Eventually, it’s hard to tell which is more tiresome, the soft porn atmosphere or the upper class banter. Both completely swamp the plot. This is le Carré for devoted fans only.
The Night Manager by John le Carré, published 1993 by Hodder and Stoughton. All quotes from the 1994 Coronet paperback edition.
John Le Carré’s novels
- Call for the Dead (1961) Introducing George Smiley. Intelligence employee Samuel Fennan is found dead beside a suicide note. With the help of a CID man, Mendel, and the trusty Peter Guillam, Smiley unravels the truth behind his death, namely he was murdered by an East German spy ring, headed by Mundt.
- A Murder of Quality (1962) Smiley investigates the murder of a teacher’s wife at an ancient public school in the West Country, incidentally the seat of the father of his errant wife, Lady Ann. No espionage involved, a straight murder mystery in the style of Morse or a thousand other detective stories.
- The Spy Who Came in from the Cold (1963) Extraordinarily brilliant account of a British agent, Alec Leamas, who pretends to be a defector in order to give disinformation to East German intelligence, told with complete plausibility and precision.
- The Looking Glass War (1965) A peculiar spy story about a Polish émigré soldier who is recruited by a ramshackle part of British intelligence, given incompetent training, useless equipment, and sent to his pointless death after murdering an East German border guard then blundering round the countryside before being captured. Smiley makes peripheral appearances.
- A Small Town in Germany (1968) Political intrigue set in Bonn during the rise of a (fictional) right-wing populist movement. Didn’t like it.
- The Naïve and Sentimental Lover (1971)
- Tinker Tailor Soldier Spy (1974) His most famous book. Smiley meticulously tracks down the Soviet mole at the heart of the ‘Circus’ ie MI6.
- The Honourable Schoolboy (1977) Jerry Westerby is the part-time agent instructed to follow a trail of money from the KGB in Hong Kong, which involves intrigue at various locations in the Far East. It is done on Smiley’s orders but the latter barely appears.
- Smiley’s People (1979) The assassination of a European émigré in Hampstead leads via a convoluted series of encounters, to the defection of Karla, Smiley’s opposite number in the KGB.
- The Little Drummer Girl (1983) A long and brilliant meditation on the Arab-Israeli conflict, embodied by Charlie, the posh young English actress recruited by Israeli intelligence and trained to ‘allow’ herself to then be recruited by Arab terrorists, thus becoming a double agent.
- A Perfect Spy (1986) Long flashback over the career of Magnus Pym, diplomat and spy, which brilliantly describes his boyhood with his chancer father, and the long tortuous route by which he became a traitor.
- The Russia House (1989) Barley Blair is a drunk publisher who a Russian woman approaches at a book fair in Moscow to courier secrets to the West. He is ‘recruited’ and sent back to get more, which is when things begin to go wrong.
- The Secret Pilgrim (1990) A series of vivid short stories describing episodes in the life of ‘old Ned’, a senior British Intelligence officer now in charge of trainees at the Service’s base at Sarratt in Buckinghamshire. When he asks George Smiley to come and lecture the young chaps and chapesses, it prompts a flood of reminiscence about the Cold War, and some references to how abruptly and completely their world has changed with the collapse of Russian communism.
- The Night Manager (1993) Jonathan Pine is recruited by British Intelligence to infiltrate the circle of British arms dealer Richard Onslow Roper, after first laboriously acquiring a persuasive back story as a crook. Once inside he disobeys orders by falling in love with Roper’s stunning girlfriend, but the mission is endangered by dark forces within British Intelligence itself which turn out to be in cahoots with Roper.
- Our Game (1995)
- The Tailor of Panama (1996)
- Single & Single (1999)
- The Constant Gardener (2001)
- Absolute Friends (2003)
- The Mission Song (2006)
- A Most Wanted Man (2008)
- Our Kind of Traitor (2010)
- A Delicate Truth (2013)