Kiss Kiss, Bang Bang: The Boom in British Thrillers from Casino Royale to The Eagle Has Landed. Mike Ripley

it came to the many James Bond clones that sprang up after the death of Ian Fleming in 1964, but covers were certainly eye-catching and brasher, more exciting than anything that had gone before, just like the decade.

      It was possible around 1965, for example, to spot an Alistair MacLean paperback from quite a distance. Just over half the cover would be a solid colour on which was printed the author’s name (often the ‘Alistair’ was in black and the ‘MacLean’ in white) and top right would be the title, in type half the size of that used to identify the author. The bottom section of the cover would be a photographic image cut out on a white background, to suggest the story but nearly always showing a man holding a gun or perhaps an ice-axe. The same principle, from the same paperback publisher Fontana, applied to new editions of the work of Hammond Innes. They would have a block of background colour striped across the centre of the cover with the author’s name in a darker shade and the title in a (much) smaller font. There would be one illustration below the title and a related image on the back cover. For example, the 1966 edition of The Blue Ice had the image of a lone skier on the front, suggesting a trek across country rather than ‘Ski Sunday’, and the rear cover photograph was a dramatic one of a man (possibly the skier) with his mouth and beard obscured by ice. The avid fan knew immediately that this was one of Innes’ man-against-the-frozen-elements adventures – much of it is actually set on a glacier in Norway – and nobody seemed to mind that the book had been written in 1947 and had first appeared in paperback in 1954. By the Sixties, Hammond Innes and Alistair MacLean were recognisable brands of a particular type of adventure story and their paperback covers were ‘branded’ to make them stand out on the bookshelves from the growing competition.

       The Blue Ice, Fontana, 1966

       Thunderball, Pan, 1963, illustrated by Raymond Hawkey

      The brand of brands when it came to spy stories was, of course, James Bond and in the Sixties his name was shouted loudly and very proudly from the covers of millions of Pan paperbacks – literally. It was possibly the first time in publishing, at least in adult fiction, that a fictional character’s name was featured on the cover in type three times larger than either the name of the author or the title of the book. Not surprisingly, readers began to demand ‘the latest James Bond book’ rather than ‘Ian Fleming’s latest’. The unmissable placement of ‘James Bond’ in large letters was an innovation of designer Raymond Hawkey, who also came up with the famous ‘bullet holes’ cover for the paperback of Fleming’s Thunderball and the iconic ‘white’ covers of Len Deighton’s early novels.

      Looking back on it, it was a boom time for British thrillers and I loved it. There was a new author to find just about every week, and a weekly visit to a book shop was vital in case you missed the latest sensational adventure¹ and a school friend found a new author before you did.

      There was definitely classroom kudos to be had from being the first to track down the latest Alistair MacLean or in discovering a Len Deighton or a John Gardner or a Gavin Lyall, and schoolmasters often joined in the hunt, recommending titles. If that sounds as if we were teenage nerds when it came to paperback thrillers, we weren’t. There were lots of other things to be nerdy about – for teenage boys there always were. Reading thrillers was just something we did, as previous generations of schoolboys had read the Biggles or Just William stories. We were lucky, it was the Sixties and we had James Bond. There was always time to devour a good thriller and reading one never stopped us from listening to music or trying to meet girls, though it didn’t necessarily help in the latter pursuit or make us anywhere near as cool as we thought it did (though a good one might supply the odd chat-up line).

      Perhaps it was because it was the ‘Swinging Sixties’ and attitudes were changing – though in a mining village in the West Riding they didn’t change that much – but no adult ever said ‘Are you sure you should be reading that?’ Our schoolmasters might have wished that our ‘holiday reading’ (at the start of each new term we had to report on what extra-curricular reading we had done) was on a slightly higher intellectual level, but encouraging teenage boys to read anything which did not come with pictures was a goal in itself and anyway, they were thriller fans themselves.² The older ones were always willing to debate that the present generation of thriller writers were ‘not a patch on John Buchan or Erskine Childers’ whilst the younger masters were keen to swap notes on the new Alistair MacLean or the latest pretender to the throne of James Bond.

      The fantasy spy novels of Ian Fleming and his many imitators may have been regarded as somewhat risqué, but nowhere near as salacious as, say, the works of Harold Robbins or Mickey Spillane – and if you were caught reading them you could be in trouble. The adventure thrillers of Alistair MacLean and Hammond Innes were perfectly acceptable, almost innocent, as they contained no sex or bad language, usually had upright, decent (British) heroes and were jolly exciting ‘ripping yarns’. The new generation of spy fiction novelists were not only seen as acceptable, reading them was positively encouraged. When at school, Graham Greene’s thirty-year-old novel Brighton Rock was one of the set texts for my O Level English Literature exam. By the early Seventies, the novels of John Le Carré were on the syllabus.

      For male readers of all ages, Fleming, Deighton, Le Carré, MacLean and Innes were instantly recognisable. The dedicated follower of the fashion in thrillers was also familiar with Blackburn, Lyall, Gardner, Leasor, Clifford, Mayo, Jenkins, Mather, Hall, Francis, Canning and a host of others. New names appeared on the covers of paperbacks every week, or if the names were not exactly ‘new’, the covers were.

      During the Golden Age of the Thirties it had been as if almost anyone – or at least anyone who was upper middle-class and reasonably well-read – could turn their hand to a detective story. In the Sixties, it was as if the same applied to thriller writing, with the prospect of substantially greater rewards. But were being middle-class and well-read sufficient qualifications? A classic English detective story might never leave the setting of a country house or a vicarage and require no more technical background knowledge than the use of pipe-cleaners, the distribution of keys among the senior servants, and when the clock in the hall is wound for the night. Thrillers had more exotic settings, usually foreign, and needed less domestic but far more technical information: on guns, on surviving a desert, a storm at sea, on a glacier or an ice flow, on radios, on navigation, on codes and the tradecraft of spies, on mixing with lowlife, on unarmed combat, and on enjoying the high life. Since the Bond books, it was de rigueur that every special or secret agent would eat only the finest foods and drink only the most expensive wines or elaborate cocktails, and though many of the descriptions of the licensed-to-kill gourmand never held up to really close scrutiny,³ they had to appear plausible.

      All of which meant that the writer of a good thriller had to be an experienced traveller conversant with foreign lands and cultures, who had enjoyed a varied and exciting, not to say dangerous, life – at least one more exciting than his (as it was invariably a ‘he’) readers. Surely not everyone could have such an interesting life, so who did?

      There were few tinkers and probably even fewer tailors tempted to try their hand at thriller-writing in the boom time of the Sixties and Seventies, but many who did had certainly been soldiers or sailors – or airmen during World War II or in National Service and a large proportion were members of Her Majesty’s Press.

      Of the 155 authors mentioned in this study for whom career details are known, over 70 per cent had experienced active military service other than peacetime National Service, or were professional journalists, in some cases both. Among other professions, teaching provided the biggest single breeding-ground for those seeking bestsellerdom, though of course careers often overlapped. Alistair MacLean, for example, had served in the Royal Navy during the War but was a school teacher when HMS Ulysses was published.

      Given the popularity of war stories, it was to be expected that anyone with actual wartime experience and a modest grasp of basic English would fancy their chances supplying stories to a growing and seemingly insatiable