Fletcher Flora’s Park Avenue Tramp

Fletcher Flora’s Park Avenue Tramp was published in 1958.

Charity is a pretty blonde with a problem. She doesn’t know where she is or how she got there. That’s not an unusual event in Charity’s life so she isn’t particularly worried. If a girl worried every time she had a blackout she’d spend her whole life worrying. She imagines she’s been to a night-club. Possibly several night-clubs. Possibly with Milton. She knows she was with Milton earlier in the evening but he was being tiresome. He wanted to sleep with her but she doesn’t like him very much. She left the night-club and everything after that is just a blank space.

She figures she needs to talk to someone wise about her problem. In her experience the wisest people in the world are bartenders. She finds a bar and as luck would have it the bartender is a very wise man indeed.

There’s a piano player there, named Joe Doyle. He’s battered and ugly and seedy-looking but Charity thinks he’s the most beautiful man she’s ever seen. She decides she wants to sleep with him. Which she does.

The next morning she has another problem. She will have to explain to her husband Oliver why she didn’t come home the previous night. Her husband is very rich (which is good) but he can be tiresome about such things (which is bad).

Charity has had lots of one night stands with no unpleasant consequences. She has had a couple of actual affairs and in each case the man ended up getting a very severe beating. It has crossed Charity’s mind that her husband might have had something to do with this but that thought was too disturbing so she instantly dismissed it from her mind.

Oliver Farnese lives his life to a rigid schedule. His father left him a vast fortune but ensured that Oliver would never have to make a single business decision. The truth is that Oliver is incapable of doing anything useful. He goes to the office every day and does no work at all. His entire life is a series of empty rituals.

There’s more to Oliver Farnese than this. There’s something very dark inside him, something cruel and twisted.

The fourth character in this drama is private eye Bertram Sweeney. Even by private eye standards Sweeney is seedy and sleazy. Sweeney dislikes everybody but he especially dislikes Bertram Sweeney. He dislikes Oliver Farnese intensely. He has fantasies about Charity Farnese.

These four people are all, in their different ways, twisted up inside. These are not normal healthy people. They’re either self-destructive or destructive of others or both. Not one of them could be considered to be totally in touch with reality. And not one of them could be considered to be in control of his or her life. They all do things with no clear understanding of the own motives.

They are all players in a game but they’re not necessarily all playing the same game.

Joe Doyle isn’t stupid. He knows he should have nothing to do with Charity but he can’t help himself and in any case it doesn’t really matter. He has a very bad heart condition and has maybe a year to live. He has nothing to lose. His affair with Charity becomes more serious.

You can see where this plot setup is likely to go, and you can see where other writers would have taken it. Flora takes it in a slightly less expected direction. But more interesting than the plot twists are the character twists. If you’re a reader of noir fiction you will have decided roughly where these characters should go as noir fiction characters. In fact they don’t do quite what you expect them to do. At the same time you end up realising that their actions are entirely consistent with everything we’ve learnt about them. They behave in the kinds of irrational frustrating ways that real people behave, rather than in the ways that genre fiction types usually behave. They don’t do things just because those things would be convenient in plot terms.

Charity is difficult to predict because she’s not a conventional victim or a villainess or a conventional noir protagonist or a standard femme fatale. She’s a woman who has found her own way of dealing with her situation and it’s not a very good way to deal with it but it’s the only way she knows, it makes sense to her, and it makes sense in terms of everything we know about her. Much the same could be said about the other characters. They do what they feel compelled to do.

The ending is entirely right and entirely satisfactory but it still manages to be not quite what we expected.

Fletcher Flora achieved no more than modest success during his lifetime and after his death he was largely forgotten. He is still to achieve the recognition he deserved.

In its own low-key unobtrusive way Park Avenue Tramp ignores the accepted genre conventions. This is an offbeat neglected gem. Very highly recommended.

This novel is one of three in the Stark House Noir Classics paperback A Trio of Gold Medals, along with Dan J. Marlowe’s The Vengeance Man and Charles Runyon’s The Prettiest Girl I Ever Killed. All were originally Fawcett Gold Medal paperback originals.

I’ve reviewed a couple of other Fletcher Flora titles - Leave Her To Hell and Killing Cousins.

Rog Phillips’ Secret of the Flaming Ring

Rog Phillips’ novella Secret of the Flaming Ring (written under the name P.F. Costello) was published in Fantastic Adventures in March 1951. Rog Phillips (1909-1960) was a prolific American writer of mostly short fiction who enjoyed modest success during his lifetime.

In 1951 the idea that other planets in our solar system might be habitable, and might even be inhabited, still had just enough scientific plausibility to allow science fiction writers to use Mars and Venus as settings. By the mid-60s unmanned space probes had reached both planets and we knew the bad news, that both planets were hostile and uninhabitable. Science fiction writers therefore switched their attention to interstellar spaceflight.

This novella assumes that by the early 21st century we will have colonies on Venus (I miss the starry-eyed technological optimism of 1950s science fiction). That’s where this story takes place. Joe Grimm runs a casino on Venus.

Joe had suffered horrific injuries in a spacecraft accident. He now has a huge metal plate on his forehead with one artificial eye. He can see just fine but his problem is that no-one can bear to see him - he is now a partial cyborg and looks monstrous.

That’s why he doesn’t dare to tell Diana that he loves her. Diana is one of the strippers working in his joint.

Everyone on Venus knows that Venus was once inhabited. Huge hoards of coins and artifacts have been found. It is obvious that the planet was once home to an advanced technological civilisation. No trace remains of that civilisation. The artifacts are now just ruined pieces of junk. The native Venusians are extinct. At least that’s what everybody assumes.

What intrigues Joe is that some guy named Murdock has been passing Venusian coins in his casino. They are obviously genuine but there is something wrong. Joe has had them analysed and they’re just not old enough.

Venus has very little to offer its colonists but it does hold out one tantalising promise. If a person could find intact Venusian technology it would mean fame and riches for that person. And finding evidence of actual living Venusians would mean even greater fame and fortune. Joe Grimm is wondering if these coins might lead him to such a discovery.

Then Diana disappears, without any explanation. Now Joe has two things for which to search - Diana and evidence that living Venusians exist.

What we finds is not what he expected. It’s much stranger. And it has extraordinary implications for our understanding of the whole of human history and mythology. Has he discovered Venusians or gods?

And what of Diana? She fits into this picture somehow but Joe is not sure how.

Joe has a part to play in a cosmic power struggle. He doesn’t fully understand it. The risks are great. But the rewards are tempting.

The ideas in this story are crazy and far-fetched but they’re certainly intriguing. This is more science fantasy than hard science fiction. The author has zero interest in scientific plausibility. I have no problems with that. I can enjoy science fiction that aims for scientific plausibility and I can enjoy science fiction that simply ignores such things.

The plot would have benefited from a few more twists and a greater sense of urgency.

Secret of the Flaming Ring is competent pulp sci-fi and it’s moderately enjoyable. Worth a look.

Armchair Fiction have paired this novella with Jack Sharkey’s The Secret Martians in a two-novel paperback edition.

I’ve reviewed another Rog Phillips novel, World of If, which is OK with some interesting ideas but suffers from heavy-handed messaging.

Philip Atlee's The Irish Beauty Contract

The Irish Beauty Contract is a 1966 Joe Gall spy thriller by Philip Atlee.

Atlee wrote twenty-three Joe Gall spy thrillers between 1951 and 1976. It should be noted that there was a twelve-year gap between the first book, Pagoda, and the second book. It seems that Pagoda was not a true spy thriller but when Atlee decided to write a spy thriller series he revived the hero of that first novel.

Philip Atlee was actually Texas-born James Atlee Phillips (1915-1991). Fascinatingly his brother was a senior CIA operative responsible for a number of CIA fiascos and played a major part in bringing about the Bay of Pigs disaster. This might explain why Joe Gall has a slightly cynical attitude towards the CIA and is exceptionally bitter about the Bay of Pigs. Joe Gall had been a CIA agent until he was fired for suggesting that the Bay of Pigs operation was going to end in humiliating failure. Which might explain why he has little respect for anyone in the U.S. intelligence establishment.

He now does a few jobs for the CIA as a freelancer. He is an assassin. Essentially he is a hitman for the US Government.

Joe is in the tiny South American republic of New Granada. His job is to keep a close watch on an American named Bonner, but not to kill him. There is a great deal of concern about a shipment of explosives which may be intended for South American revolutionaries.

Joe is having an affair with a married woman. Kathleen is a fabulously rich Irish noblewoman.

There are disturbances in New Granada, there is a mysterious American named Stripling who may be involved in nefarious activities and there is more to Bonner than meets the eye. Bonner and Stripling may or may not have some connection with that shipment of explosives. There’s also a guy named Macedo who seems to have his own private principality within New Granada. Whether he’s a good guy or a bad guy depends on your point of view. He’s a bandit chieftain on a large scale. He is however a powerful man who cannot be ignored.

Very early on Joe manages to get himself shot twice and knifed twice. For a crack intelligence agent he seems to be a bit accident-prone.

The part of the story dealing with Macedo’s private kingdom is quite interesting. There’s quite a bit of political intrigue in New Granada with several strongmen whose real agendas are not always clear.

The setting for the action finale is good but the action scenes themselves are rather uninspired.

The final revelation is very silly and also incorporates a plot device that was ludicrously overused in spy fiction of this era.

Joe Gall acts as first-person narrator and right from the start he possesses crucial information which he conceals from the reader. How you feel about such a narrative technique is a matter of taste. It can be used effectively. Alistair MacLean used it more than once, but MacLean was a far better writer than Atlee and used that technique with a lot more finesse.

The Irish Beauty Contract never really develops a huge amount of energy or excitement.

Overall it’s a routine spy thriller.

The Saint and Mr Teal (Once more The Saint)

The Saint and Mr Teal is a 1933 collection of three Saint novellas by Leslie Charteris. Two of these stories had had previous magazine publication. It was originally published as Once More The Saint. Charteris wrote great novels and short stories but it always seemed to me that the novella was the format that suited him most.

By this stage in the Saint’s evolution he no longer has his little band of followers but he still has his live-in girlfriend Patrica Holm.

The early Saint stories were not always straightforward crime thrillers. There were often hints of espionage and international intrigue. Some are out-and-out spy thrillers. They are also often quite outrageous. There are even occasional hints of science fiction with high-tech gadgets and new scientific inventions driving some of the plots.

The Man from St Louis deals with a subject of some concern in Britain at the time, the fear that American-style gangsterism might take root in the British underworld.

In this novella an American gangster named Tex Goldman has found his home city of St Louis a bit too hot for him. He thinks London would be safer and would also offer more opportunities. In St Louis he was a fairly big fish in a fairly small pond. In London he’s confident he can become a really big fish in a really big pond.

He has acquired a couple of English stick-up men. Ted Orping likes the idea of becoming a proper Chicago-style hoodlum. He’s naturally vicious. Clem is less vicious but he has aspirations to being a tough guy as well. They’ve carried out a series of daring robberies on Tex’s behalf. The robberies have involved quite a few shootings, some of them fatal.

Chief Inspector Teal is aware of this situation but of course he’s hampered by silly annoyances like the need to find evidence. Simon Templar is also aware of this new criminal trend, he is determined to nip it in the bud and he is not the least bit constrained by the need to follow proper procedures. The Saint has already foiled one of the gang’s robberies. The contest between Simon and Tex has begun and each is determined to destroy the other.

Also involved in some way in Tex’s activities is Ronald Nilder. Nilder is mixed up in white slavery. The Saint has already marked Ronald Nilder for destruction.

Tex has decided that Simon Templar has to be eliminated but Ted proves to be over-confident and Simon too devious.

Typically for a Saint story there is a rather neat and very Saintly ending, and Simon Templar displays his taste for methods that are as ruthless as they are devious.

The Man from St Louis was adapted by Paddy Manning O’Brine (and renamed The Set-Up) as episode fifteen of season three of The Saint TV series which screened in January 1965.

The Gold Standard begins with Simon Templar being a witness to a murder in Paris. A dissolute young man named Brian Quell has been shot and before dying mutters something about gold.

Simon has meanwhile returned to London where he is outraged to discover that a burglar has left the Saint’s stick-figure trademark at the scene of the crime. Simon assures Chief Inspector Teal of his innocence and in fact he has an alibi.

Simon then finds that a Mr Jones is taking an interest in him. Not a very friendly interest. Mr Jones is also taking a distinctly unfriendly interest in Patricia Holm. The Saint is slowly starting to piece a picture together. The murder of Brian Quell, the disappearance of Quell’s eminent scientist brother and the unpleasant Mr Jones all fit into this picture somehow. As does poor Brian Quell’s dying statement.

The Saint will encounter both temptation and a moral dilemma and will need all his cunning and ruthlessness this time. The stakes turn out to be much higher than he’d imagined. He also has reason to think he may have dangerously underestimated Chief Inspector Teal.

The Gold Standard was adapted (with a title change to The Abductors) for the TV series by Brian Degas. It went to air in July 1965.

The Death Penalty is set on the Scilly Isles, off the coast of Cornwall. Simon Templar is drawn into his latest adventure when he saves a pretty girl, Laura Berwick, from drowning. The Saint becomes really interested by the fact that her stepfather, a man named Stride, seems to have an unsavoury history. He is even more interested by the presence of Abdul Osman. He is encountered Osman before. That encounter ended very unpleasantly for Osman. Osman controls a vast criminal empire in the East, based on white slavery and drug trafficking. It appears that Laura’s stepfather is in the same line of work as Osman.

Osman has blackmailed Stride into retiring, thus leaving him in control of an even vaster criminal network. He is prepared to allow Stride to live but only if Stride gives him something he wants. What he wants is Laura. No decent human being would sell his own stepdaughter into white slavery but Stride is happy to do so.

Osman certainly wants Laura but what Osman mostly wants from life is the opportunity to humiliate those against him he has grudges. Men like his secretary Clements. Osman had been unlucky enough to attend one of England’s great public schools. At school Clements taunted him mercilessly for being an Asiatic. Osman has since taken a terrible revenge on Clements.

Templar feels that he ought to do something about this whole situation. Laura is a charming girl who knows nothing of her stepfather’s criminal activities. Simon will have to rescue her, because that’s the sort of thing he does.

The situation comes to a head on board Osman’s yacht. It ends with a man dead from a gunshot wound.

What’s interesting about this novella is that the plot is resolved satisfactorily, and then we discover that what we thought happened was not what happened at all.

The Gold Standard was adapted (with a title change to The Abductors) for the TV series by Brian Degas. It went to air in July 1965.

The Death Penalty was adapted by Ian Stuart Black as the ninth episode in the third season of The Saint TV series. It aired in December 1964.

Al three novellas have the rather devious sting-in-the-tail endings that Charteris did so well. The Saint and Mr Teal is fine entertainment. Highly recommended.

I’ve reviewed the TV adaptations of all three novellas.

G.G. Fickling's Dig a Dead Doll

Before Cathy Gale, before Emma Peel, before Modesty Blaise, there was Honey West. Honey West was the original tough cookie action heroine. She made her debut in 1957 and featured in eleven novels by the husband and wife writing team Gloria and Forest Fickling, writing under the name G.G. Fickling. Dig a Dead Doll, published in 1960, is the seventh of the Honey West private eye thrillers.

Honey West’s father was a private eye, until a case went wrong and he was murdered. Honey took over the running of the West Detective Agency. That doesn’t mean she took over the business side. She is the Honey West Detective Agency. She handles the cases herself. Her father taught her the ropes. She has a private investigator’s licence. She has a gun and she knows how to use it. She has been taught how to handle herself in unarmed combat. Honey is tough, resourceful and very stubborn. She’s a good PI.

Honey is also all woman. She is young, blonde, very pretty and very feminine.

The Honey West private eye thrillers are hardboiled, with touches of humour, they’re fairly violent and quite sleazy. In other words they’re everything that PI thrillers should be.

The book begins with a very large very mean guy trying to kill Honey. He has something else in mind for her before he kills her. Honey is half-naked and fighting for her life and her virtue. Things are looking grim, until she remembers the bull. Thank goodness for the bull. The guy attacking her is big and mean but he’s not as big and mean as that bull.

Honey is in a bullfighting arena in Mexico. It all started with a telephone call from Pete. Honey and Pete had been childhood sweethearts. Then Pete moved away. He moved to Mexico, to pursue his dream of becoming a matador. Now he wants Honey’s help. When the first boy who kissed you asks for help you don’t hesitate. Honey heads for Tijuana.

It looks like that dream might have cost Pete his life. Honey saw him gored by the bull. No-one could survive that. But there are things that don’t add up.

The bull-fighting business in Tijuana involves more than just bull-fighting. Drugs, for instance. And then there’s Vicaro, the impresario. He has a reputation for taking quite an interest in handsome young matadors. An interest that is not strictly professional.

Honey also discovers some of the more colourful night spots, where pretty girls dance. The dancing involves a lot of high kicks. The girls don’t bother with panties. It’s a night spot that caters for those with exotic sexual tastes.

As I said earlier the Honey West books are very sleazy. Honey is a nice girl but she has a lot of bad luck with clothing. Her clothes just seem to come off at the most opportune moments. She is also not a great believer in brassieres, which is rather daring for a girl with a 38-inch bust. In this adventure her clothes come off a lot. A girl does feel undignified hanging naked upside-down from a tree, but it’s all in a day’s work for a lady PI.

Honey has reason to believe that a man known as Zingo is the leader of some kind of criminal conspiracy but while everyone knows of Zingo no-one knows his identity. The conspiracy may concern drugs but it may also involve corrupt practices in the bull-fighting arena. Mexico’s leading matador, Rafael, may know something. Pete’s young protégé Carlos may know something. Quite a few people may know certain things but Honey has no idea which of them she can trust. And she has people in aeroplanes firing machine-guns at her. In fact she has machine-guns fired at her from all directions.

There’s plenty of action, not always involving guns. Action at sea and in seedy night-clubs and in the bull ring. Honey loses her clothing on several further occasions.

The plot is solid with some decent twists although it does at one point make use of a certain plot device that I have always found unconvincing. That’s a minor nit-pick. On the whole the plot works just fine.

The style is lively (Honey acts as first-person narrator) and there’s lots of fairly hardboiled dialogue. The pacing is pleasingly frenetic.

Honey is a delightful heroine. She’s not an unrealistic wish-fulfilment super-woman. She’s just quick-thinking and very determined and she keeps her head in a crisis and people like to help her because she’s cute and bubbly.

The Honey West books are enormous amounts of stylish sleazy action-packed fun. They’re essential reading for anyone who loves sexy lady private eyes, and what right-thinking doesn’t? Dig a Dead Doll is highly recommended.

I’ve reviewed other Honey West novels - This Girl For Hire, Girl on the Loose, A Gun for Honey, Honey in the Flesh and Kiss for a Killer.

I’ve also reviewed the excellent 1965-66 Honey West TV series that starred Anne Francis.

Masamune Shirow's Ghost in the Shell

Ghost in the Shell is a 1989-90 cyberpunk manga (Japanese comic-book) by Masamune Shirow. This is very much a manga for grown-ups.

Cyberpunk emerged as a science fiction sub-genre in the 80s, with the movie Blade Runner in 1982 establishing the aesthetic and William Gibson’s 1984 novel Neuromancer and the Bruce Sterling-edited anthology Mirrorshades establishing the thematic framework. Cyberpunk was science fiction focused on the effects of computer technology on human society on Earth rather than on spaceships, photon cannons and aliens.

By the end of the 80s the Japanese were embracing this new sub-genre. In Japan cyberpunk made its appearance in manga and anime rather than in novels and live-action films. This made sense. The Japanese did not have the western prejudice against comic-book and animated movies aimed at adult. And manga and anime were the ideal formats for cyberpunk. There were not particularly restricted by technological or budgetary concerns. The only limitation was the creator’s imagination and the creators of manga and anime had plenty of that.

The anima OVA Cyber City Oedo 808 in 1991 was fully-fledged cyberpunk. The Ghost in the Shell manga was most definitely fully-fledged cyberpunk and would spawn further mangas, several anime feature films (including Mamoru Oshii’s superb 1995 Ghost in the Shell) and an excellent anime TV series.

Major Motoko Kusanagi works for Public Security, Section 9. She leads a top-secret elite squad. Their main brief is counter-terrorist work but in this future world terrorism has become very high-tech and tends to involve hackers, cyborgs, robots and AIs.

The Major herself is a cyborg. She has a human brain and spinal column but everything else is prosthetic. She looks like a normal woman. In this cyberpunk world humans, cyborgs and robots all look human.

Are cyborgs still human? Do robots have rights? Can an AI be alive? These are themes that run right through this manga. These questions are of some personal concern to the Major. Is she a woman or a machine? She feels that she is a woman. She has a woman’s emotions and a woman’s sexual urges. Her body is entirely prosthetic (although it’s fully functional sexually). What matters is the ghost. The body (human or prosthetic) is the shell. The ghost is what makes us alive and makes human.

One of my favourite things about this manga is that Masamune Shirow has provided copious footnotes. Some give fascinating background technical details of this future world. Some provide philosophical musings (this is a manga with a heavy philosophical content). The most interesting offer insight what how the author sees the ghost. The ghost is not quite the soul, at least not in the way we conceive of the soul in countries with a tradition of Christianity. But it’s somewhat akin to a soul. Major Kusanagi is human because she has a ghost. But can an AI have a ghost?

That’s a question that becomes important when she encounters the Puppeteer. It’s not clear what the Puppeteer is but it seems to be a rogue AI. It may have a ghost. This becomes important for Section 9 when it claims political asylum.

The Puppeteer is not confined to a particular body (or shell). But then nor is the Major. She has several spare bodies. Her closest friend and professional colleague Batou has spare bodies as well.

AIs of course are confined to a particular location or body. The Tachikomas, the combat robots used in large numbers by Section 9, are a single AI. Which does not have a ghost. Or at least that’s been the assumption.

Shirow has little or no interest in politics as such but he is interested in power relationships, and politics in this future world is all about power. Mostly however he is interested in philosophical questions (this is a very cerebral manga) which can have a spiritual dimension. In particular he’s fascinated by the philosophical dilemmas that will inevitably arise if and when AIs become self-aware.

The cases Section 9 deals with (the structure of the manga is episodic) mostly hinge on the need to resolve such dilemmas.

It might be cerebral but there’s plenty of action and excitement as well. The Japanese have no problems with the idea of combining big ideas with enjoyable mayhem.

The Major is also interesting because unlike most kickass action heroines she is in a command position. If she makes an incorrect decision people die. Being an action heroine is not a game for her.

Ghost in the Shell really is great stuff - intelligent, provocative, mind-bending, sexy and fun. Very highly recommended.

I’ve reviewed Mamoru Oshii’s Ghost in the Shell movie elsewhere, as well as the first season of the Ghost in the Shell Stand Alone Complex TV series.

Peter O’Donnell’s The Impossible Virgin

The Impossible Virgin was published in 1971. It was the fifth of Peter O’Donnell’s eleven Modesty Blaise novels. The Modesty Blaise comic-strip debuted in the London Evening Standard in 1963. The comic-strip adventures are excellent and I recommend them but the novels have more depth and psychological complexity and were able to deal more openly with adult themes.

People unfamiliar with either the comic strip or the novels sometimes make the mistake of thinking of Modesty Blaise as a female James Bond. Nothing could be further from the truth. She is almost the exact opposite of Bond in every way. Bond is British to his bootstraps and fiercely patriotic. He has a naval background and is accustomed to obeying orders. He has never questioned authority. He is a professional spy working for the British Government. He is a straightforward old-fashioned kind of guy.

Modesty is British only by marriage (a marriage of convenience). She has no idea what her own nationality or ethnicity might be - she’s probably southern European or Slavic. Modesty’s background is entirely criminal - she ran an organised crime gang. She has never obeyed an order in her life. She often does jobs for the British Government but strictly as a freelancer and she feels under no moral obligation to accept such jobs. She also does jobs for the French intelligence services.

Modesty is really a female Simon Templar - a retired criminal who is now a crimefighter and part-time spy. She is a female version of the gentlemen rogues who thrived in British popular fiction in the 1930s. Like the Saint she gets involved in capers for the adventure, or because she thinks a particular villain needs to be destroyed or occasionally for motives of personal revenge.

This caper begins when a low-level Soviet intelligence analyst makes an interesting discovery. It has no military significance but it could make him rich. It doesn’t turn out that way. A few months later he staggers into a bush hospital in Tanzania and promptly dies. He gives the appearance of having been tortured. The hospital’s only doctor is Giles Pennyfeather, a disreputable shabby socially inept eccentric Englishman. To look at him you wouldn’t trust him to operate on a stray dog, but the weird thing is that his patients do surprisingly well.

As it happens Dr Pennyfeather has at this moment acquired a kind of temporary nurse and assistant, a striking young woman who literally fell from the sky when she had to make a forced landing in her aeroplane. She has no medical training but she’s a quick learner. Her name is Modesty Blaise. She is in Tanzania purely by accident.

There is no way such a beautiful young woman would be interested in such a poor specimen of manhood as Giles Pennyfeather but Modesty thinks he’s rather adorable and she is soon sharing his bed.

Then two thugs arrive and starting beating up Dr Pennyfeather. They seem to be convinced he has some information they want. Modesty takes exception to their behaviour and deals with them accordingly but without knowing it she has become involved with some very dangerous very evil people.

There is an impossible virgin in this story, of a sort. There’s also Lisa, who is no virgin but is certainly very dangerous. The gorilla might also be a problem - he’s a real gorilla and he’s bad-tempered and being locked in a cage with him isn’t very reassuring.

Modesty will have to face most of these dangers alone, when the faithful Willie Garvin makes a sudden departure. Modesty will also need a certain special ability that she has - she can shut herself down mentally so that she is unaware of what is being done to her, and some rather nasty things are done to her in this caper.

Finding out why the impossible virgin’s virginity remains inviolate will be crucial.

There’s enough action here to satisfy fans and there’s plenty of suspense as Modesty’s position becomes seemingly hopeless.

The Impossible Virgin is a fine action/adventure novel and is highly recommended.

I’ve reviewed the earlier Modesty Blaise novels, Modesty Blaise, Sabre-Tooth, A Taste for Death and I, Lucifer, which are all excellent. I’ve also reviewed several of the earlier volumes of the collected Modesty Blaise comics, The Gabriel Set-Up, The Black Pearl and The Hell-Makers which I also highly recommend.