The devil is in the details, and the details here are mighty fine.
Someone recently mentioned to me that so much of Bond fan fiction seems to be based upon video game scenarios where the entire story is basically a prolonged first person shooter (Bond shot him, then Bond shot him, then Bond blew this up) and that there are precious few that are actually literary writers (and to those that suggest all writers are literary by definition, I
in your general direction
).
How refreshing it is, then, to read something like Finders, Keepers. Bond is not superman, Bond makes mistakes, Bond is not omniscient, Bond is not preaching down to all the other characters, he is actually interacting and communicating with them as equals, and, gasp, actually learning something along the way that he already didn't know.
Then you can take it a little further; there are actually external circumstances that affect characters and events. A straight drop goes wrong by accident, not because it's foiled by a machine gun toting Bond, or the hard drive buying the farm in an unfortunate fall of events. The latter reminds me a bit of the end of the film version of For Your Eyes Only, except Bond would have stumbled and dropped the decoder off the cliff instead of thrown it. Funny and ironic stuff.
Characters are dead on. Bond is Bond, maybe a little softer and relaxed than usual, but he usually is in Felix's company. Felix is Felix, and fun as ever. M is still a bastard, and the new characters are all well-defined and add to the story. Which leads me to my first and favorite point; details.
How about the personality detail and great foreshadowing displayed in Lansing picking up the wrapper in the lot when we are first introduced to him? How about Felix's souped-up beater of a car (how refreshing to find him not driving a sports car or a Hummer)? How about a million dollars stuffed into something as pedestrian as a McDonald's bag (although that must have been a pretty big bag unless they were thousand dollar bills)? The observations on construction site security, the hole cut in the fence by curious kids, the foreshadowing of Bond's quip about the German National Bird being the Crane; this is the type of attention to detail that Fleming incorporated into his stories with such great success. So many faux-Flemings attempt to duplicate the style by throwing in a sea of facts that read with about as much natural flow as a Trivial Pursuit question card, but Jonathan pulls it off here seamlessly.
You also get the best of both worlds with the double ending. You have the ironic downer of an ending with the failure of the mission, but then you have the juxtaposed, upbeat ending of the framing device. Skillful and well done writing.
I've read your posts for years, Jonathan, but never realized you were this good of a fiction writer. I've worked with people who were brilliant writers, but when it came to fiction, they fell apart, victims of the evil "tin ear," but this story demonstrates a true gift for the language and creativity, and I hope to read more in the near future.
One thing that I thought could use a little more attention was the intro scene with Gus. Maybe I'm just thick (ya think?) but it took me a couple of readovers to figure that Felix had struck up a conversation with Gus earlier, and this is how he knew that he was on "the job." The way I first read it was that Felix was so skilled at reading agents that he not only could tell he was a cop, but knew his full name, and that he was with the DEA, and knew that a major bust was coming, just by looking at the guy as he and Bond passed through.
Very few typos and grammatical errors; someone did an excellent job of editing. If our buddy Charlie (aka, Matt Helm) ever gets his short story review section going at his site, this is the type of tale he would love, and deservedly so.
Kudos, five out of five stars, and my favorite so far.