The Spook Who Sat By The Door, by Sam GreenleeJanuary, 1970 Bantam Books
(Original hardcover edition 1968)
Most likely known more for its film adaptation (below), The Spook Who Sat By The Door started life as this hardcover novel published by Sam Greenlee in 1968. According to the back cover of the 2020 edition published by Wayne State University Press, the novel has been “continuously available in print since 1968,” and what’s more it “has become embedded in progressive anti-racist culture.” Of course, “anti-racist” means the exact same thing as “racist,” but we’ll leave that alone for now.
Actually, we won’t. The back cover of the Wayne State University Press edition also goes on to state, “As a tale of reaction to the forces of suppression, this book is universal.” To which, like pretty much all other “progressive” double-speak, I say bullshit. Indeed, the “hero” of this tale is such a craven, hate-filled bastard that I almost wondered if Sam Greenlee intended him as a lampoon of the whole “black rage” movement. But that might be giving more credit than is due, as there’s nothing to indicate Greenlee had any tricks up his sleeve; the novel is tiresomely serious, and the attempts at instilling a second-hand rage in the reader fails, mostly because the main character is such an iredeemable prick. He isn’t so much “reacting to the forces of suppression” as he is instigating a race war, for reasons that are decidedly self-centered. In fact the dude basically plans to have others do the fighting for him, while he lives in his bachelor pad sipping whiskey and listening to jazz on the hi-fi.
The novel is also written in such a way that the reader must do all the heavy lifting; Greenlee has a tendency to write much of the narrative in summary, ie such and such happened, then such and such happened – like, it’s all nearly in outline format, with no drama or suspense to bring the characters or situations to life. And a lot of important stuff happens off-page, or isn’t exploited well enough to reap the full dramatic potential – something the filmmakers astutely corrected, as the movie is a lot better than the book, and not just because the soundtrack’s by Herbie Hancock.
On the plus side, I was happy to discover that Greenlee wrote
The Spook Who Sat By The Door in the style of the popular fiction of the era; this is not a “literary” novel, or something akin to Ishmael Reed. And at times Greenlee does capture a masculine vibe in his terse prose; I also appreciated the frequent mentions of music, with characters even visiting record stores. Jazz musicians are mentioned often, and particular albums are mentioned, but Greenlee, writing in the late ‘60s, has his characters listening to the pre-electric stuff. I mean,
as I’ve said before, I like my jazz funky, electric, and from the ‘70s. In fact, I’m listening to Eddie Harris’s
Bad Luck Is All I Have as I write this review.
The novel is set in the same period in which it was published, though the action takes place over a few years, leading to the “it could happen!” sluglines that adorned paperback copies in the early ‘70s. Despite what the Wayne State University edition’s back cover wants you to believe (not to mention what a particular political party wants you to believe), the era in which The Spook Who Sat By The Door occurs is very different from our modern era. But then, that same political party stays in power by cultivating and harnessing race rage – or, really, any kind of rage – so on that note you could say the book is still timely. I guess rage just never goes out of fashion with the left.
Confirming this, politics is not really a driver for our “hero,” Dan Freeman. Rage is. This is fine; I mean rage is the driver for most men’s adventure protagonists of the era. But at least with those characters, you can empathize with them. Freeman is kept at such a distance from the reader – and other characters – that it’s not until late in the novel that you even learn what drives him. This undermines the power of The Spook Who Sat By The Door, along with the passive, summary-style narrative approach.
If anything, Freeman – which is to say, possibly, Greenlee – shows most rage for liberal whites. A disdain for “caring” whites runs through the novel, meaning those white people who pretend to care for the plight of the blacks but have ulterior motives. In other words, virtue-signallers as they would now be called. There are a lot of humorous parts where these hypocrites are called out for their hypocrisy.
But then, just as much anger is directed at blacks. There is a lot of antagonism between Dan Freeman and other blacks; in his intro in the novel, he’s bickering and sniping at fellow blacks who have been chosen for a new CIA program. They don’t like Freeman because he doesn’t seem to fit in, and Freeman doesn’t like them because they all have Ivy League educations and fraternity pins. In other words, in Freeman’s mind they are pretend caucasians.
Curiously, the one group Freeman – and, possibly, Greenlee – does not have a problem with is actual racist white people! Indeed, it’s subtly conveyed that Freeman respects these people for showing their true feelings…with the hidden inference that Freeman likes it because he himself is a racist.
Unless I missed something, Dan Freeman is not the titular “spook” who sat by the door. Rather, it’s a black man who has been hired by a congressman as a sounding board for the black voting public, but who mostly “sits by the door.” He opens the novel, implying that he will be an integral character in the novel, but he disappears after this opening – and, what’s more, the idea that forms the plot of the novel doesn’t even come from him!
Rather, it’s the congressman’s wife who proposes, apropos of nothing, that the congressman push for an integrated CIA as a way of currying support from “the Negroes.” I mean, the “spook who sits by the door” isn’t even the one who comes up with the idea! Perhaps this is Greenlee’s point, that even the “token negro” who has literally been hired to give the black viewpoint is ignored by the liberal whites who have employed him – rather, they listen to their fellow liberal whites instead. As I say, the book is downright timely in some regards.
Nevertheless, the plan is put in motion, and thus we are introduced without much fanfare to our ostensible hero, Dan Freeman. We don’t learn much about him, only that he’s from Chicago and has gotten through the intense trials to become one of the few black men up for CIA membership. We learn that he harbors a lot of rage, and also that he has ulterior motives of his own – the implication is clear that he plans to use this CIA training to cause some hell. But Greenlee keeps him at such a distance from us that we don’t get a clear idea of what it is he plans.
In the meantime, he fights with his black comrades as well as the racists in charge of CIA training. As I stated at the outset, The Spook Who Sat By The Door takes place in a different world, where “integration” was detested by the racist whites who ran everything. At least, according to this novel. As mentioned, the book itself is very racist: all whites here are bigots who harbor prejudices against black people and whatnot. But then again such fiction is taken as truth today. Personally I’ve learned after fifty years of life that skin color means not a thing – an asshole is an asshole, regardless of race.
Greenlee occasionally veers outside of his summary approach and gives us actual tense scenes, like when Freeman takes on his racist judo instructor. This is a cool part and has that masculine, men’s adventure-type vibe; the instructor is a white man, the referee is Korean, and Freeman mops the floor with the bigot. But after which he scolds himself for letting his “mask” slip; again, Greenlee has this tendency to keep Freeman’s true inclinations hidden from not only other characters but the reader himself (or “themselves,” if you go that way), and this sort of neuters the impact of the narrative.
The CIA is run by “The General,” another bigot who intends to drum out all of the blacks through rigorous training. But as expected, Freeman manages to pass until the end – and, instead of becoming a field agent, he’s given a desk job in DC. So essentially he too becomes “a spook who sits beside the door.” Over the next few years, Freeman becomes a key player for the Agency, traveling around the world with various politicians and learning to grease the wheels in other countries.
Along the way he has some “side pieces,” like a black hooker in DC he retains over the years, and also an old flame who apparently is Freeman’s main girlfriend, though she’s thrust on readers so casually that at first I confused her for the hooker. The idea is that even from these women Freeman hides his true self, though via the hooker we learn of his revolutionary tendencies, in that he refers to her as a “Dahomey Queen,” a reference to Africa.
But again, the reader must do a lot of the work to make the narrative come to life. In this way Greenlee is similar to author
Cecelia Holland, who also refrains from providing the motivations for her characters; I’ve tried two times over the past six years to read her doorstep of a sci-fi novel,
Floating Worlds, and have given up halfway through each time due to my frustration over not being told
why characters were doing what they were doing.
Anyway, the General gives a patronizing speech to Freeman over dinner one night, telling him how “you people…will take generations” to fully integrate, and etc, and Freeman keeps his “mask” on, only losing control when he excuses himself to the restroom, where he cries in rage – curiously, a scene that was left out of the movie. Again following his own unstated goal, Freeman abruptly quits the CIA and goes back home to Chicago, returning to his former job as a social worker; he sets up a nice bachelor pad and again integrates with the upper-crust (read: liberal) white society. And meanwhile he hobknobs with the Cobras, a Black Power guerrilla outfit (read: The Black Panthers). Freeman only now demonstrates his true goal: to instill his CIA training on these black freedom fighters, to start a war on whitey.
Now, the cynic in me wants to accuse Dan Freeman of cultural appropriation. I mean, think of it – he’s been taught by white people, and now he wants to use their own stuff against them. It’s not like Dan Freeman is an originator. This is why I think Sam Greenlee might have had some tricks up his sleeve, as he constantly refers to jazz musicians – real ones, like Miles Davis and Sonny Stitt – and the implication is that these black Americans are originators, men who have broken away from their shackles (rather real or conceived) and have gone on to create instead of to destroy.
But as we all know – and have learned – the left only knows how to destroy, not create. And this is what Freeman teaches the Cobras to do. All the hand-fighting, shooting, bomb-making, and etc tricks he learned in the Agency. As “Turk,” Freeman again wears a mask, not allowing himself to get too close to the Cobras, as he knows they’ll need to be expendable. Again, our hero is a prick. For Freeman plans to begin racial skirmishes across the country, his Cobras using all kinds of whitey’s tricks against them…while Freeman himself maintains his pose as the high-society “integrated negro” who lives in a cushy apartment, sipping whiskey and listening to jazz.
Again, so much is
told instead of shown. The Cobras hit a bank – we’re told about it. They dose a guy with LSD, we’re told about it. Indeed, for years I’ve had this jazz-funk DJ mix, which I blogged about on here many years ago:
Pulp Fusion: Cheeba Cheeba Mix. Well there’s a sample in that mix, some guy saying, “I just met the most
wonderful bunch of n—” (you of course know the word I mean), and I had no idea that line of dialog came from the movie version of
The Spook Who Sat By The Door. And it’s in the novel, too – but unlike the film, it’s delievered in hindsight, capping off yet another summary-style excursion of “this happened, then hat happened,” so that, like virtually everything else in the novel, the line lacks any punch.
Things come to a head in Chicago, where the riots begin, soon erupting across the country. And meanwhile Dan Freeman sits in his bachelor pad, posing as a member of integrated society. His “mask” is still firmly in place, as he lies to everyone – to the Cobras who serve him and look up to him, to the old girflriend who comes visiting. None of them know who the true Freeman is, and as mentioned even we readers never do, as his motivation is never satisfactorily delivered. Thus the novel’s intended downbeat ending – or happy ending, depending on your point of view – also lacks much punch.
In 1973 a film adaptation was released; I’ve come across speculation online that the CIA “yanked” the movie from theaters because it gave away too many secrets, and etc. Again: bullshit. This is a low-budget film, of a piece with the other independent
Blaxploitation productions of the era, and I highly doubt the CIA was bothered by it at all. Episodes of
Mission: Impossible gave away more “secrets.”
The only things that elevate this film adaptation are Herbie Hancock’s soundtrack and the fact that protagonist Dan Freeman – as well as the other characters – is given a chance to breathe; we actually see things as they happen, and aren’t told everything in summary. If the Cobras – here named “The Black Cobras” in the movie – rob a bank, we see the bank robbery as it goes down, instead of reading a paragraph summary of the events.
Also, Dan Freeman (portrayed by Lawrence Cook, who is very good in the role) is given the motivation he was denied in the novel. Indeed, the idea that he goes into Agency training precisely to start a race war is not evident in the film version; the idea is just as easily conveyed that his frustrations with lack of integration are what push him over the edge. As mentioned above, the part where the General gives his patronizing speech remains in the film version, but Freeman’s emotional breakdown after it has been removed from the adaptation, which I found curious.
Sam Greenlee himself was a co-writer of the script, as well as a producer of the film, so one wonders if it was his attempt to rectify the passive tones of his original novel. Characters are still sort of thrust on us, like Freeman’s old girlfriend from Chicago who still throws him a casual lay every once in a while, but at least these characters are introduced more properly than in the book. Also the movie sports better characterizations for the Cobras, leading to memorable scenes – like the “yellow” Cobra (ie a light-skinned black) who chaffes that everyone thinks he’s white, leading to an emotional “I was
born black, I’m gonna
die black” speech – one that was sampled in yet another funk DJ mix I like a lot,
Blaxploitation Mixtape by DJ EB.
But as mentioned, the movie is clearly low-budget. The novel opens with a big cabinet meeting, but in the movie it’s three people in a small office. And hell, the titular “spook” who sits by the door has been turned into a woman in the movie, but even here it’s the politician’s wife who comes up with the “integrated CIA” idea. A lot of Freeman’s simmering schemes are left out of the movie, but the fight with the judo teacher remains. Overall, though, the feeling is that the producers were trying to make a legit movie, as The Spook Who Sat By The Door lacks much of what one thinks of when one thinks of a “Blaxploitation” movie. Indeed there isn’t even any nudity or much violence.
One thing the film does have that is similar to other Blaxploitation flicks is a great soundtrack. Recorded right in the midst of his “Headhunters” phase, Herbie Hancock’s soundtrack features early versions of material that would come out on his Thrust LP. We’re talking jazz-funk with serious cosmic aspirations, courtesy far-out synth work with ring modulators and echoplex and a host of other sonic trickery. It’s a shame the soundtrack was never properly released, as what exists in the film sounds incredible, and for me the music was the highlight of the film.
It’s taken me some weeks to write this review, mostly due to work and life commitments. In this time the race conflict has come even here to Frisco, Texas – on April 2nd of this year a seventeen-year-old boy was stabbed to death at a track meet by another boy of the same age. This garnered national coverage, but curiously race was never mentioned by the mainstream news outlets; the victim was white,
the perpetrator was black. Curious indeed that this racial element was not mentioned, given the corporate media’s obsession with “racial motivations” when it’s
white-on-black crime. (It was up to the “right-wing news outlets” to even mention the racial angle…which of course was yet more indication of their right-wingery, you shouldn’t be surprised to know.)
Granted, race could very well have had nothing to do with the murder here in Frisco – it’s a horrific event regardless of motivation – but I bring it up because it illustrates, again, how different our world is from the 1968 of Sam Greenlee’s novel. How would the national media have responded if a black boy stabbed a white boy to death then? Indeed, per the incessantly-aggrieved pearl clutchers of social media, it’s racist to even consider that there was a racial motivation to the murder here in Frisco. Of course, these are the same people who took to the streets in “fiery, but mostly peaceful” protests in the summer of 2020. Of course, race was never proven to be a motivation for the incident that sparked that particular outrage, either, but whatever.
Now that I’ve finally read
The Spook Who Sat By The Door, I think it would only make sense to read
Civil War II, written by
Don Pendleton and published shortly after Greenlee’s novel came out; it appears to pick up where
The Spook Who Sat By The Door left off.
UPDATE: I wrote this review over the weekend, and in that time the situation here in Frisco has quickly progressed. Race
has now been brought into it...
but not by the side you might assume. (Actually, if you have been paying any attention whatsoever to our collapsing modern world, you know
exactly which side brought race into it). That the murdered white kid has been demonized as a deserving victim says all that needs to be said about how far astray our society has gone. But at least there are people out there like
this young lady who see and speak the truth.