{"id":468,"date":"2003-12-01T11:08:14","date_gmt":"2003-12-01T19:08:14","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2003\/12\/mugs_primer\/"},"modified":"2026-08-14T22:40:38","modified_gmt":"2026-08-15T02:40:38","slug":"mugs_primer","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2003\/12\/mugs_primer.html","title":{"rendered":"MUGS’ PRIMER"},"content":{"rendered":"\n

by Jan Herman<\/strong><\/p>\n\n\n\n

No movies for me over the\u00a0big L-tryptophanic weekend. I spent it luxuriating in the novels of Eric Ambler<\/font><\/em><\/b><\/a>, the daddy of all thriller writers. Never a\u00a0huge fan of genre fiction, I’d read some of the mystery and spy classics by the usual suspects — Hammett, Chandler, le Carr\u00e9, Forsythe, Leonard and a few others — but I’d never read anything by Ambler. A terrible admission, but there it is.
<\/p>\n\n\n\n

My friend Mugs McGuiness, the best-read bookman I know, politely hid his embarrassment at
\nmy ignorance and gave me a primer. “The guy wrote 18 novels, all worth reading because of his
\nwit and craftmanship and sense of wherever the real action was,” Mugs said. “But after ‘Judgment
\non Deltchev’ (1951), they lack urgency. He had been labeled a thriller writer extraordinaire, even
\nthough he was a great and prescient writer. Compare ‘Journey Into Fear’ (1940) with what
\nAmericans were doing then, with their pathetic schoolboy Marxism and self-pitying family
\nhistories \u00e0 la Farrell. The gulf of sophistication and technique is vast.”
<\/p>\n\n\n\n

Mugs continued:
<\/p>\n\n\n\n

\n

Ambler was born in London in 1909. He was an autodidact in a family of
\nvaudeville performers. A man of the left, he became disillusioned with all political ideas and,
\nfinally, humanity. I saw him once on the old “Today” show being interviewed by Hugh Downs.
\nHugh, in the incomparable Hugh manner, asked what he had learned from his vast experience.
\nAmbler replied that, “alas, men must fight, and when all is said and done, the species is scum.”
\n“Thank you very much, Mr. Eric Ambler. And now back to Betsy.” And that was that.
<\/p>\n\n\n\n

I don’t know of any one else like him — Conrad was able to dream up the world of Russian
\nanarchists wonderfully in “Under Western Eyes,” but he was a hugely sophisticated and travelled
\nman in his 50’s, and Conrad is more generic than specific. Ambler had been to Paris. He had
\nbrilliance, insight into cornered men, maps, The London Times, and the weeklies, those and an
\nalmost supernatural feel for the zeitgeist. His first novel, “The Dark Frontier” (1935 ) predicts the
\natomic bomb and what it would mean. He does it on the side, a kid writing advertising copy. He
\nhas no true ancestors.
<\/p>\n\n\n\n

Conrad and Buchan are king-and-country boys. Ambler is the huge step into the modern
\nworld. “Cause for Alarm” (1939) and “Background to Danger” (1937) and “Epitaph for a Spy”
\n(1938) lead up to the virtuoso “Journey Into Fear” (1940). “A Coffin For Demetrios” (1939) is
\neven better. After you’ve read the guy there’s no doubt this is the last word on the Balkans — the
\nbizarre Byzantintine intrigue and complexity of the place, the smell, the decaying ancient
\nbuildings. Ambler was never there until after he’d written the novels. He intuited the whole
\nfucking scene from newspapers and magazines. Imagination, they used it call it. I mean, Melville
\ndidn’t have to be a whale to write “Moby Dick.”
<\/p>\n\n\n\n

For years on dust-jackets they used a haunting photo of Ambler, in the fog and darkness,
\ndressed in an overcoat, cigarette in his hand, looking at the camera with keen sceptical attention
\nfrom a world saved from night only by the dim streetlight above him. He edited and introduced a
\nfascinating collection of spy stories, “To Catch A Spy” (1965), all chosen for their lack of
\nBondian cheap thrills and romance, but all notable for a palpable sense of dread.
<\/p>\n\n\n\n

During the war (WWII) Ambler became attached to the British film unit, with Carol Reed and
\na mess of other dandies, and fell in love with the movies. He became a first-rate screenwriter with
\n16 produced screenplays and some Academy Award nominations under his belt before he packed
\nthat in and settled on the coast, looking at the Pacific and searching for something pacific. A book
\nof essays called “The Ability To Kill” and a collection of short stories fill in the menu before his
\nlast book, an autobiography “Here Lies Eric Ambler” (1981). Quite a
\nguy.<\/p>\n<\/blockquote>\n\n\n\n

<\/p>\n\n\n\n

I said Mugs concealed his embarrassment at my ignorance, but he did take offense at my use
\nof the word “genre.” Mugs, who is usually a gentleman, couldn’t help snickering. OK, he nearly
\nlaughed in my face: “Is Dostoevsky a mystery guy because he wrote ‘Crime and Punishment’? Is
\nChuck D a master of the supernatural because he wrote the best ghost story? Isn’t Ross
\nMacDonald a very good California novelist? Is Chandler just a mystery guy? Ambler truly
\ninvented the modern novel of intrigue and suspense. Le Carr\u00e9 is a humble descendent, as I’m sure
\nhe’d admit.”<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

by Jan Herman No movies for me over the\u00a0big L-tryptophanic weekend. I spent it luxuriating in the novels of Eric Ambler, the daddy of all thriller writers. Never a\u00a0huge fan of genre fiction, I’d read some of the mystery and spy classics by the usual suspects — Hammett, Chandler, le Carr\u00e9, Forsythe, Leonard and a […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4],"tags":[],"class_list":["post-468","post","type-post","status-publish","format-standard","category-main","entry"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-7y","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/468","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=468"}],"version-history":[{"count":2,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/468\/revisions"}],"predecessor-version":[{"id":76193,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/468\/revisions\/76193"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=468"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=468"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=468"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}