Trigger Mortis PDF Free Download

Trigger Mortis: A James Bond Novel (James Bond Series) Audio CD – Audiobook, CD
Author: Visit ‘s Anthony Horowitz Page ID: 1504648307

Review

”A master of edge-of-your-seat writing.” —Booklist, praise for the author

”Horowitz truly knows his way around a plot; he keeps the tension at a nail-biting level.” —Kirkus Reviews, praise for the author

About the Author

Anthony Horowitz is one of the UK’s most prolific and successful writers. His novels The House of Silk and Moriarty were Sunday Times Top 10 bestsellers and sold in more than thirty-five countries around the world. He was recently commissioned by the Ian Fleming Estate to write the James Bond novel Trigger Mortis. His bestselling Alex Rider series for children has sold more than nineteen million copies worldwide. As a TV screenwriter he created both Midsomer Murders and the BAFTA-winning Foyle’s War; other TV work includes Poirot and the widely-acclaimed mini-series Collision and Injustice. Anthony has recently joined the board of the Old Vic and regularly contributes to a wide variety of national newspapers and magazines. In January 2014 he was awarded an OBE for services to literature. Anthony Horowitz lives in London.

Series: James BondAudio CD: 1 pagesPublisher: HarperCollins Publishers and Blackstone Audio; Unabridged edition (September 8, 2015)Language: EnglishISBN-10: 1504648307ISBN-13: 978-1504648301 Product Dimensions: 6.1 x 5.5 x 0.9 inches Shipping Weight: 6.4 ounces (View shipping rates and policies) Best Sellers Rank: #180,960 in Books (See Top 100 in Books) #290 in Books > Books on CD > Literature & Fiction > Unabridged #436 in Books > Books on CD > Literature & Fiction > General #801 in Books > Literature & Fiction > Action & Adventure > Mystery, Thriller & Suspense > Crime
Trigger Mortis is the most ‘authentic’ Bond novel since the passing of his creator in 1964. This is not because of the plot – which is typical of the series – but in the way the book captures the unique cadence and tone of Fleming’s writing. It is uncanny how close the language feels to the original books. This tonal quality enables us to get a sense of Bond’s character, which has been missing in the books by previous Bond writers.

Horowitz understands that to bring Bond to life, it is not necessary to articulate his interior world or to psychoanalyze him. This is because Bond’s essential character is indistinct and opaque, and cannot be pinned down. He is certainly a courageous man, and embodies a sort of brutal nobility, and his tastes verge on the effete. But beyond that, he is a mystery. Indeed, this is the paradox – we can know a lot about Bond, but not truly know him (as the women in his life understand too well). Fleming designed him this way in order that readers can project themselves into the role of the hero. Indeed, that’s what makes Bond so addictive – because a part of us, as a reader, becomes Bond.

Which brings us back to Trigger Mortis. This Cold War tale propels us into a black and white world where the baddies are clearly defined (so different to today). Hence, a sense of nostalgia pervades the book. Bond is in his prime, and navigates through the perils of car racing, SMERSH agents, and a nuclear tipped nemesis. In other words, the plot is typical Bond.

More importantly, however, is that by accurately recreating the tone of the original Bond novels, Horowitz has made it easier for us to ‘feel’ Bond again. Indeed, it is difficult – nay impossible – to tell the section of the book that was written and inspired by Fleming himself.
Of all the recent incarnations, Anthony Horowitz’ take on James Bond, Trigger Mortis (2015) is the closest to the original Fleming novels, in style, content and delivery.

Even if you only have a passing interest in the Bond canon, publicity should have alerted you to the fact that Horowitz has set the story in 1957, a couple of weeks after Goldfinger, and at the beginning of the book he’s entertaining Pussy Galore in his London flat. Then he gets the summons from M – the Soviets are intent on sabotaging the British contender in a Grand Prix motor race in Germany. In the process of countering this threat, Bond stumbles upon an intriguing connection between Soviet general Gaspanov and a Korean millionaire, Sin Jai-Seong. That association sets alarm bells ringing and he decides to investigate. The book blurb gives away too much plot.

All of the trademark ingredients are assembled – seamlessly: Sin, an unprepossessing villain, Jeopardy Lane, an ‘ugly-pretty’ female, an enemy castle to infiltrate, hairs-breadth escapes, the following of slim clues to the puzzle, the inevitable capture, a lengthy exposition by the villain, the fiendish choice of death allotted to Bond, and the ‘ticking-bomb’ final act.

Horowitz wanted to reference the earlier books rather than the films, obviously, and succeeds, even to the point of having his characters provide unbroken speech for a page or more, in the manner of Fleming. The settings are perhaps not as exotic, but hold the interest nevertheless: the Grand Prix racetrack, the American rocket launch site, and the subway system of New York.

The references to earlier Bond adventures – Dr No and Moonraker – are subtle, not even being named but alluded to at appropriate moments.
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