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But he didn’t like to be reminded of it and he certainly resented the slight mocking quality in her voice.”

Bond starts to panic when Pussy takes to preparing his breakfast egg: “Boiled for three and a third minutes, just how you like it.” Worse, she appears to have a sense of humour: “Yes, he had his fads. But in the Fleming canon, Pussy goes the way of such predecessors as Tiffany Case, Solitaire and Honeychile Rider, and has disappeared without explanation, despite Bond’s avowed passion for her, by the start of the next novel.īeginning the book with Pussy ensconced at Bond’s pad in Chelsea, Horowitz has precisely captured the schoolboy petulance of Fleming’s Bond, displayed when women start to have designs on him. The novel opens two weeks after the action of Fleming’s Goldfinger (1959), a book which ended with Bond triumphantly overcoming the lesbian predilections of the trapeze artist-cum-cat burglar Pussy Galore.

In Trigger Mortis Horowitz has had the ingenious idea of showing us Bond in the act of doing something which we know he does a lot, but Fleming would never have dreamed of writing: all the “It’s not you, it’s me” business of dumping his conquests. Fleming’s estate has made a canny choice in Horowitz, who proved in his Conan Doyle pastiche The House of Silk – which saw Sherlock Holmes battling a VIP paedophile ring – that he can convincingly replicate another author’s world without sticking too slavishly to his template. For James Bond the phrase “You Only Live Twice” has proved a serious underestimate: Anthony Horowitz is the eighth authorto have resuscitated 007 since Ian Fleming’s death.