One of Alfred Hitchcock’s favorite story frameworks was the innocent person who gets caught in a dangerous web of intrigue. The classic example of that plot is North by Northwest, one of Hitch’s best films. If Hitchcock were alive today, or if author William Boyd had written his newest novel, Gabriel’s Moon, in the early 1960s, when the events described took place, the celebrated director could have had a field day adopting Boyd’s work for the big screen. But Hitch would have hired a good script doctor to punch up the story a bit. As it is, readers will have a modest degree of fun following a travel writer who gradually gets involved in Cold War espionage of the highest degree.
The title character of Gabriel’s Moon is Gabriel Dax, a 30-ish Londoner who makes a barely adequate living by writing travel books with titles like Rivers of the World. He supplements his income by sometimes dropping off letters or packages in various cities on his travels as a “favor” to his brother Sefton, who ostensibly works in the foreign office. As part of his research for his latest book, Gabriel secured an interview in August 1960 with Patrice Lumumba, newly elected Prime Minister of the newly formed Republic of the Congo.
That date is significant, as those familiar with the history of that part of the world know. A month later, Lumumba was deposed in a coup and executed a few months afterward. During the interview, Lumumba had warned Gabriel that the United States, Great Britain, and Belgium (which had ruled the former Belgian Congo as a colony) wanted the Prime Minister dead. Lumumba also gave Gabriel the names of three foreign agents operating in the Congo involved in plotting against him. At the time, Gabriel dismissed Lumumba’s statement as idle paranoid chatter, but, after the coup, he realized his tape had value. That realization was reinforced when various mysterious people started contacting him. (Recent historical research suggests that Lumumba’s fears about Western governments were factual.)
The Lumumba tape is a classic McGuffin, and William Boyd could have turned the real identities of the three agents and Gabriel’s dilemma about what to do with the tape into the basis for an entire novel. However, the author drops the Lumumba storyline almost entirely after the first few chapters. Instead, the book describes Gabriel’s gradual recruitment by Faith Green, a woman who “happened” to be on the plane with Gabriel back to London from the Congo. She supposedly works for an international magazine, but it’s no spoiler to reveal she’s a British intelligence agent. She’s also aware of Gabriel’s favors for his brother and prevails upon him to do a similar favor for her on his next trip abroad. And so, Gabriel’s descent (or ascent, depending on how you look at it) to becoming a full-fledged espionage agent begins.
Much of Gabriel’s Moon reads like a primer on mid-20th-century espionage. However, Gabriel’s missions are of the John le Carre/Len Deighton variety, not James Bond adventures. The book has secret pickups and drops, double agents, mole hunts, and surreptitious photography of sensitive locations. There’s even a fairly tense situation in which Gabriel helps a fellow agent out of a ticklish situation. Gabriel’s life and limb aren’t at stake, except for one brief encounter late in the book, but national security might be. William Boyd also has an advantage that ’60s writers like Le Carre didn’t have: a half-century of historical hindsight that allows him to craft more accurate scenarios.
The book covers just over two years from the Lumumba interview through the Cuban Missile Crisis, with a brief epilogue set a year later. Readers get a sense of Gabriel’s gradual development of a moral compass, although he isn’t the most interesting protagonist of similar fiction I’ve read. The most interesting sections of the book concern Gabriel’s periodic visits with a therapist. For decades, he had been blaming himself for his mother’s death in a fire when he was a child. The therapist helped him work through those guilt feelings, and the book contains “transcripts” of those sessions. Although these interludes have little to do with the main storyline, they were fascinating to me.
I used the word “storyline” somewhat loosely in the last paragraph. Gabriel goes on several missions during the book, but each occurs in a few days in a book that spans two years. Further, his role is often secondary, a cog in the overall scheme. The result is a lack of urgency and, for the most part, suspense. It's like watching a documentary on period spycraft: interesting in spots but not riveting. Nor is Gabriel an interesting enough character to demand readers’ attention to discover what he’ll do next. Instead, most of Gabriel’s Moon is leisurely paced and a bit of a slog, even though it’s well under 300 pages.
I enjoyed Gabriel’s Moon enough to give it a four-star rating. However, those less familiar with or interested in period history may find it more difficult to read. Gabriel’s espionage adventures are interesting from an academic, as opposed to a suspense standpoint. The author does a great job of creating an atmosphere for the various European locales Gabriel visits during the book. Most of these are off the beaten tourist path, and the author makes them come alive. I suspect that Gabriel’s Moon reads like one of Gabriel’s travel books, which is more interesting in its background and detail than the plot.
NOTE: The publisher graciously provided me with a copy of this book through NetGalley. However, the decision to review the book and the contents of this review are entirely my own.
In this clip, author William Boyd discusses Gabriel's Moon with Hannah MacInnes at the Cliveden Literary Festival:
Read other reviews of Gabriel's Moon:
William Boyd was born in Ghana and grew up there and in Nigeria. His novels and stories have been translated into over 30 languages. They include his debut novel, A Good Man in Africa (winner of the Whitbread Award and Somerset Maugham Prize), An Ice Cream War, Stars and Bars, Brazzaville Beach (winner of the McVitie Prize and the James Tait Black Memorial Prize), Restless (Costa Book Award, Novel of the Year 2006) and Solo (a James Bond novel – 2013).
Boyd’s screenwriting credits include Stars and Bars (1987, dir. Pat O'Connor), Mr Johnson (1990, dir. Bruce Beresford), Chaplin (1992, dir. Richard Attenborough, for which he received an Oscar nomination) and A Good Man in Africa (1993, dir. Bruce Beresford). His five-hour TV adaptation of his novel, any Human Heart, won the BAFTA Award for Best Series. He is a Fellow of the Royal Society of Literature, an Honorary Fellow of Jesus College, Oxford, and an Officier de l'Ordre des Arts et des Lettres. He has been presented with honorary Doctorates in Literature from the universities of St. Andrews, Stirling, Glasgow and Dundee. In 2005 he was awarded the CBE.
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