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From a View to a Kill has Bond in Paris, outsmarting both the bad guys and the other European intelligence services to solve a murder mystery centred on stolen NATO documents. Cold-blooded murder aside, this is a gentle and engrossing story with some fine descriptive touches by Fleming.
In For Your Eyes Only itself, Bond is on an M-instigated revenge mission in the wilds of Canada and Vermont. Notable for its account of his enemy stalking and unexpected rendezvous with the beautiful Judy Havelock, For Your Eyes Only also portrays closely the relationship between Bond and M, whose inertia over the correct course of action Bond resolves: "It had come to the point where justice ought to be done ... But M was thinking, is this justice or is it revenge? M wanted someone else, Bond, to deliver judgement".
Quantum of Solace is a brief but diverting oddity in which Bond barely moves from his seat. The story is an after-dinner tale of human cruelty told by his host--probably prompted by his preconceptions of Bond's work--which elicits the response, "It's extraordinary how much people can hurt each other." After this interlude, Risico picks up the pace with a heroin smuggling, vendetta-inspired rollercoaster set against an Italian backdrop.
In the final story, The Hildebrand Rarity, Bond finds himself in deep water on a fishing expedition when emotional and physical violence lead to another "justified" murder which Bond covers up. Who committed the crime? Does it matter? This is Bond as agent of natural justice above and beyond institutional law. --Iain Campbell --This text refers to an out of print or unavailable edition of this title.
In "For Your Eyes Only", Bond enters highly murky waters by taking a more or less personal assignment from M to track down the killers of an old friend. It's a highly topical late '50s piece, involving a former Nazi as mastermind, and henchmen drawn from the ranks of Cuban dictator Battista. Interestingly (in hindsight), Bond expresses real sympathy with the rebel Castro's struggle! To act as M's executioner, Bond must travel to Canada and then sneak across the US border to operate in Vermont, which is kind of interesting. Things take a turn for the ridiculous when he stumbles across another revenge seeker, wielding a bow and arrow. The middle story, "Quantum of Solace" isn't a Bond story at all. Rather, it's a story of disaffected marriage told to Bond by his host after a rather boring dinner party. It's actually quite good, but has nothing to do with Bond.
"Risico" takes Bond back to action, and places him in Rome, where he is assigned to disrupt the flow of heroin into England. Fleming creates a rather prescient version of "The War on Drugs" by directing Bond to act against the insidious enemy of drugs. It's a classic Bond story in that Bond is easily duped, meets a pretty woman, meets an unlikely ally, and engages in near fatal gunplay. (And of course, at the end, the drug pipeline to England is all a nasty Soviet plot.) The final story, "The Hildebrand Rarity", is again, barely a Bond story—reducing him to observer status. He's not really on the job, but instead inexplicably agrees to hire himself out as a fishing expert in the Seychelles. Basically, he's just there as an audience for another marriage-gone-sour story. There is a villain, there is a murder, but Bond's not really a central character in it. The only real purpose to the story seems to be to allow Fleming to work out his own issues vis-à-vis American millionaires.
On the whole, these stories don't add much to the Bond canon. It would have been more interesting had Fleming chose to give us a taste of Bond's action in the Ardennes in WWII, or of the two assignments that led to his 00 designation (both of which are mentioned in Casino Royale). Still, the first story is worth a quick read, and "For Your Eyes Only" and "Risico" will be of interest to those who love the film versions.
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