A life of lies and deception--John le Carré's A Perfect Spy

I continue to be fascinated by books that deal with deception and lying, and with characters who use deceit as a means to an end, a means to get through life. I supposed that explains some of the fascination (my own and others) with a man like Trump. He is a pathological liar, and the media cannot get enough of him. Each of his lies is more outrageous than the last one. People eat them up. We wonder if he has any limits whatsoever. The answer appears to be no. His niece Mary Trump wrote a book about him, and even though she is a clinical psychologist, she still couldn't explain him satisfactorily. But she gave it a good try. I think these types of people defy description. And I wonder, are we so jaded and in need of stimulation, that we look forward to listening to a man like Trump spout his nonsense out into the universe? Is this what will awaken us to the world around us? But how many times can we put our hands into the flames before we no longer feel anything, before they are burned beyond recognition? Isn't that the risk we run if we don't deal with the impact of such behavior on ourselves and on society at large?

I wonder what it must be like to be the child or children of such an amoral man. It certainly cannot be easy. One absorbs a plethora of warped messages. "Make up your life. Don't tell the truth about yourself or about anything. Lie if necessary. Win at all costs and lie if you need to win. Winning is everything. Success and money are everything. Poverty is for losers. The ends justify the means. Using others to further your ambitions is acceptable. Lying will get you everywhere. Cheating is no big deal. Facts are not facts, but merely constructs to be adjusted at whim. There are no absolute truths". And so on. 

One of my favorite authors, John le Carré, who wrote 'A Perfect Spy', passed away a few days ago. 'A Perfect Spy' is a brilliant book by an incredible author, one of those books that will haunt you for a lifetime. I read it in my twenties and have never forgotten it. It is on my top-ten list of favorite books. I also watched the BBC series of the same name, with Peter Egan playing the role of Magnus Pym, that appeared on television in 1987. As I've grown older, I wonder--why was I and why am I still--so fascinated by the tale of Magnus Pym, a spy/double agent whose father, Rick Pym, was an amoral con man? Charming yes, but a criminal just the same, Rick Pym teaches Magnus that it's ok to live a life of deception in order to get what you want. Magnus Pym struggles his entire life to deal with his father's toxic influence but never really manages to escape it. He is psychologically damaged by his father, and that impacts on all aspects of his life--he betrays his country and those people in his life with whom he has close relationships. It is no surprise that he chooses to be a spy/double agent, but he struggles with that choice and with his inability to reconcile all of the 'different persons' he houses inside himself. The book is written in such a way that it is nearly impossible to not feel sorry for Magnus Pym. And that is because he pays such a high price for being the perfect spy. I won't reveal the ending for those of you who might want to read the book. I highly recommend it. Much of the book is autobiographical; le Carré's father was a con man, and he probably wrote 'A Perfect Spy' in order to deal with the negative impact on his psyche that having such a father had on him. It is the psychological exploration of one man's psyche and soul that creates empathy for the character of Magnus Pym. 

And that brings me back to Trump and his niece's book about him. Trump had a father who 'conned' him into believing that he had to lie and manipulate others in order to be successful and to be well liked. But Trump has no qualms of conscience about who he is. He has embraced the amorality of his life. He doesn't seem to suffer because of it. My empathy is in short supply when I look at his behavior and his life. Perhaps there will come a day when he begins to examine his life. As the saying goes--'the unexamined life is not worth living'. Perhaps Trump will realize that one day, adjust his life accordingly, and make amends to the people he has conned and manipulated. But I'm not holding my breath. 

Facebook's new seven-day challenge--Post the cover of a novel that you love each day

Facebook now has another seven-day challenge: "For seven days, I post the cover of a novel that I love -- no review and no explanation -- and each day that I post, I nominate a friend for the challenge."

I'll be posting my favorites on Facebook and here too for seven days. Here's favorite #1--A Perfect Spy, by John le Carré. A Perfect Spy is really a perfect book; a masterpiece of psychological insight into the life of  double agent Magnus Pym, whose father was a con man and a huge influence on his life. I won't give the story away; I will just say that you won't want to put it down.

And after you read the book, I recommend the BBC TV series of the same name that was first broadcast in 1987:   http://www.imdb.com/title/tt0092425/?ref_=fn_al_tt_1

Watching Skyfall

I finally got around to watching the latest James Bond film, Skyfall, with Daniel Craig as Bond. I’ve wanted to see it since it opened at the end of October, but unfortunately there were other more pressing issues that got in the way until now. Skyfall is the best of the Bond films, in my opinion. It is a near-perfect film and a near-perfect film experience, for so many reasons. I’ve watched it twice already, back-to-back viewings, and the second time I found myself trying to find flaws in the plot, in the characters, in the acting, in the cinematography, in the villain, in the Bond women, in Bond himself. I came up short every time. It is the first Bond film where I could follow the plot without question, the first Bond film where I could understand the villain’s motives, the first Bond film that depicts the complexity and the shadowiness of the espionage world. I found myself thinking of John Le Carre’s book (one of my favorites) A Perfect Spy; mostly because both delve into the realm of the psyches of their spies. In A Perfect Spy, we learn why the protagonist Magnus Pym (who works for the British MI6 as a spy and has lived a lie for his entire life) was the perfect spy, and about the role his con-man father played in his life, in his moral development (or lack thereof), and in his ultimate downfall. In Skyfall, we come to understand that the death of Bond’s parents at an early age made him a good recruit for the world of espionage. As M (played by Judi Dench) says to him, ‘orphans make the best recruits’. One set of authority figures are replaced by another set in the form of MI6. The latter are more ruthless, demanding, amoral and untrustworthy than the first. Bond is really a pawn on a chess board; he is moved around at will and accepts his role and his fate (‘hire me or fire me’). Answering the call of duty plays an all-consuming role in how he sees the world. It’s all he knows. He belongs to the old world of loyalty to one’s country, less to oneself. One’s body is merely a tool in the service of one’s country. In that sense, it is completely understandable that the women he meets are tools as well. That message was also quite clear in A Perfect Spy, and made having a normal functioning relationship/marriage with a woman impossible. And yet, Bond did marry once for love, in an earlier film, but his wife was shot and killed. He remains alone, a loner, needing no one, perhaps because the death of his wife affected him permanently. That makes it possible for him to be an instrument in the service of his country. It also explains why he needs to take out the villain in this film, whose sole aim is to kill M because she has betrayed him; M provides Bond with his only stable relationship, albeit a superficial one. M and Bond know what they need to know about each other; the trick is to not become sentimental with and about each other. Deep down however, they are fond of one another, as this film touchingly depicts.

‘You can’t teach an old dog new tricks’. Sometimes the old ways are the best ways—relying on one’s instinct, intelligence and skill, not on a computer or other technology to solve the problem at hand. Bond’s age and physical limitations in relation to his ability to change and grow and to meet future challenges are in question here. That is one message in the movie. But when Eve says to him ‘old dog, new tricks’, we know that the old dog can learn new tricks, can resurrect himself (his hobby—resurrection), can be fit for fight, and can seduce the ‘new’ women (Eve included). But I also thought about how filmmaking and production have changed during the past half century since the first Bond film. It’s an industry that is constantly reinventing itself, thanks to new camera and digital techniques and effects—new tricks in an old trade. The effects are stylish, eye-catching, and atmospheric. The film works on so many levels; it is seamlessly put together. It is a film you just slip into, almost as though you found an opening in one dimension that allows you to step into that world. It glides along on a noiseless track, and you are pulled onto the monorail that takes you into the world of James Bond. The use of computer-generated imagery (CGI) certainly helps to create that atmosphere, that world, almost one of virtual reality; there must have been a lot of CGI in this film. The intricate and nuanced use of colors and digital effects also creates the different moods that hold one captive—eerie, bold, violent, beautiful, and suggestive. I don’t know what the use of colors and digital effects does to the brain (are they subliminal effects in some way?), but I am sure that a psychologist or psychiatrist could tell me. I would guess that there is a fair amount of research being done in the field of marketing to find just the ‘right’ digital effects that will make us want more, enjoy more, buy more. I find these types of digital effects to be almost addictive; I find myself mesmerized by the use of streaming and gliding colors and shapes, the dim blue lighting, the use of light and shadows, glass buildings, color tones, and so forth. The shots of the digital ads, e.g., the writhing jellyfish, climbing the Shanghai skyscrapers in the darkness are beautiful and confusing; they create a chaos of shapes and colors, so that it’s almost impossible to distinguish a real figure from a shadow. But it all comes together so seamlessly, falling into place in the brain. The choreography of the fight scene on the edge of the room high in the clouds; the figures are dark and move like dancers—a beautiful scene. There are so many of these types of scenes—beautiful, haunting (the long-distance view of the Skyfall estate house), the landscapes of Scotland—wild and stark, almost like a painting, interspersed with the views of Shanghai, Istanbul and London. Skyfall is a typical Bond film in that respect—multiple locations, lunatic villains, over-the-top stunts, but in terms of its visual effects, it’s so much more.