"How To Eat A Girl." It is not the latest porno feature from Vivid Video or the Dark Brothers, but the title of chapter 18 of "Thunderball" by Ian Fleming.

When describing James Bond many fans usually include a line about suave encounters with beautiful women. Seeing the visions of Ursula Andress, Daniela Bianchi, Diana Rigg, Maryam D'abo and the other film actresses leaves a lasting impression.

However, as I am the editor for the books section of "Her Majesty's Secret Servant," from the books' perspective the character of James Bond is not the reckless playboy adventurer that Eon Productions has carved the public's perception onto.

Oh, there are many total women. But never is Bond seen pulling the waist-tie off a contact's robe seconds after meeting her as shown in the film "Moonraker." Most of the page turners, from Fleming through the present day writings of Raymond Benson, make James Bond out to be someone who, with no moral dilemma in short term physical relationships, has a strong and passionate emotional makeup, far from a dallying pretty boy.

Fleming did reference that 007 had kept up affairs with three married women but that seems to be a pattern out of place with the usual decoration of the novels. The typical structure of the books has Bond getting emotionally attached to one heroine, running from Fleming (Kissy Suzuki, Vesper Lynd ) through John Gardner (Fredericka "Flicka" von Grusse, Easy St. John) and continued in Benson's "Zero Minus Ten" (Sunni Pei). The women are all varied yet once Bond is enraptured he stays that way throughout the adventure.

He does use someone else when necessary, such as Ruby in "On Her Majesty's Secret Service," but it was for the mission only and Tracy remained in his heart. He dallied with Patricia Fearing early in "Thunderball" but Domino is all his attention once they meet. Bond is not the lothario as it appears on the surface. He never knows when his life might end so he takes enjoyment as it comes. But he cares for women.

There are bits of chauvinism in him, inarguably. Yet he will go to the ends of the Earth for the woman he cares for no matter the danger it places him in. He always looks toward the woman. His desire to save Honeychile Rider would last "until the heart was torn from his body."

Unlike the film series though, it is not always reciprocated. Consider Ian Fleming's canon. Of his twelve full length publications, Bond ended the mission with the woman still definitely at his side and romantically involved only five times. (I did not include "From Russia With Love" to the list of "Live And Let Die," "Goldfinger," "Thunderball," "Diamonds Are Forever" and "Doctor No" as Tatiana is not with Bond at the end, is never mentioned again and has her probable fate alluded to in the book.)

The percentage drops further when looking for a clinch scene at the very last page, the "Oh, James!" moment. Giving a partial credit to Bond passing out at Domino's hospital bedside in "Thunderball," the only other times are "Live And Let Die," "Goldfinger" and "Doctor No." No coincidence that "Doctor No" being filmed first helped establish that ending in the film series. At least Bond gets busy when pressed for time. He ends three of the stories in the collection "For Your Eyes Only" with nice companionship waiting.

(An aside : the film fans who bought into the notion that Timothy Dalton's entries were "safe-sex" Bonds, note that "Licence To Kill" is the only instance where Bond must choose between two women at the end.)

There were times when John Gardner played with the formula interestingly. Having Bond weep over Flicka's injuries to conclude "Seafire" was chilling. While too contrived, the Nena Blofeld affair was at least stylish. His most effective moment was probably the walloping demise of Easy St. John in "Death Is Forever" with chapters left to go.

But Gardner's actual intimate scenes are less than perfect. Flicka was obviously "the flame" the moment she's introduced in "Never Send Flowers." Likewise the reintroduction of Beatrice da Ricci in "Cold Fall" failed to hear things up.

I never warmed well to Ariadne Alexandrou either. Try as I did, "Colonel Sun" by Robert Markham (Kingsley Amis) just couldn't pull me in.

But Raymond Benson's first novel length feature tries something most refreshing. He never allows Sunni Pei to be window dressing in "Zero Minus Ten." She has her own agenda from the start. Benson manages to make a "private dancer" into an engaging woman without a hint of conceit.

But her consummation with Bond (not the one in his mind during her dance) is almost anticlimactic. The life altering moments she faces leading up to it are overwhelming, for her and the reader. Now, Benson's writing is seductive, it just lacks that last bit of flame from the torch. And Benson will presumably only get hotter.

Ian Fleming used a variety of approaches. From the perspective of Vivienne Michel in "The Spy Who loved Me" to the non-intimacy of Gala Brand in "Moonraker" to the teasing of Mary Goodnight in "The Man With The Golden Gun." At their hottest his words were riveting and exciting. Sometimes out of kilter. Sometimes burning. Sometimes perfect.

Probably the two oddest revelations occur in back to back books. Vivienne Michel tells us from her point of view what a night with the spy was like. Far from a flailing damsel, her words don't quite ring true though Fleming tried emulating a woman's outlook well.

And in "On Her Majesty's Secret Service" the evening Bond spends with Tracy is as puzzling as what to do when holding a five at Baccarat. A woman who holds back tears, acts psychologically imbalanced and behaves so quirky, La Comtessa Teresa di Vicenzo leaves the reader more an interested spectator than a fantasizing participant. All cats may be grey in the dark but not all the mice want to play.

Both of these relationships are at least detailed. I have always had trouble connecting with Vesper Lynd in "Casino Royale" because I was never enthralled with her. Similar to Tracy, she's someone I would rather learn about than dream about. And as necessary as she was for the plot of "Goldfinger," Pussy Galore's conversion to testosterone is too much to believe. Bond is good, but...

"Live And Let Die"'s heroine, Solitaire, was a better character. She was not my favorite as she became more a damsel in distress than a woman worthy of fighting for. But charming yes, definitely in the cards.

Fleming was at a high plane from 1956 through 1958. The last female lead of that time, "Doctor No"'s Honeychile Rider, is most inventive. A girl naive to many ways of the world and a woman who can survive in it all rolled into one. The description of her broken nose is just the most famous of the irregularities Fleming often gave his ladies.

Domino had one leg an inch shorter than the other. Kissy Suzuki had been a child star. Tracy had been near mental breakdown. Tiffany Case survived a brutal gang rape. Pussy Galore was named appropriately.

But Honey is a picture. Meeting Bond in nature's suit, Honey is self preserved. She had been sexually attacked as well. But she was a survivor. As she finally has the chance to enjoy herself with Bond, Honeychile assumes command. To quote her words to James Bond, "Do as you're told."

Probably the biggest disappointment of Fleming's run (since "Blast From The Past" by Raymond Benson tied up the loose ends of "You Only Live Twice") is the fact "From Russia, With Love"'s Tatiana Romanova never is mentioned after that adventure. (I think Benson mentions a character from it would appear in his upcoming "The Facts Of Death" so here's hoping. If it's Darko Kerim, Raymond will have serious explaining to do.)

Tatiana is the model of sweet femininity. Looks like Garbo, a heart that's open, a mind that's free. When James first encounters the giggling voice bading him to come to bed, he is startled. Despite the gorgeous woman wearing only a velvet ribbon 'round her neck and black silk stockings rolled down, Bond has to be cautious. He knows she is a Russian, probably a spy. The love they make then is still part of the game.

I always carry a personal affinity for Tiffany Case since she reminds me of a real woman I knew. The smuggler from "Diamonds Are Forever" is neurotic, but incredibly fetching. Fleming builds her relationship with Bond very slowly. They pass through immediate attraction, through flirting, through fighting and even to torture relief before growing close.

Wisely in a book filled with drab characters, Fleming makes the build-up of their courtship do the job. The act itself is brusquely given an afterthought to lead off a chapter. It is better that way. Tiffany Case was someone who stayed with James past the conclusion on the book. Some imagination had to be left.

Fleming presented Bond's time with Kissy Suzuki in a more vulgar way. But so much else occured in "You Only Live Twice" that it was not hangup. Kissy spent more time with Bond than any heroine ever written for him in Fleming's universe. He was truly happy when with her. Alas the song of the sparrow could not last forever.

So what is the most intense scene James Bond ever encountered? For me there was no doubt. Consider that in all the other cases Bond wanted, even worked toward, making flint into a spark. Only once did he tell himself not to act, but could not stop. Only once was Bond, not the girl, the one who couldn't keep control. Only once, knowing he had lost his mind, did he tell a woman, "I'm sorry. I shouldn't have done that."

Knowing he will have to break her heart with news of her brother's death, Bond could not fight his passion for Domino Vitali in "Thunderball." Carrying her to the hut marked "HIS" after removing sea-egg spines from her foot, 007 lost his coolness. Hearing that he was the first person to make her cry, Bond threw some clothes on the floor to enact a bed. undressing her hastily, Bond smoldered. "He stepped out of his bathing trunks and kicked them away," penned Fleming. And this occurring knowing he was racing the clock to prevent a governmental disaster. White heat.

It is good that Bond never be too graphic, even in book form. There needs to be that distance that the reader must fill in himself to be in the situations. The rage of seduction must be an ember, not an arson. Bond smolders in "Thunderball," though, and chars the pages.

Now for a cigarette. A Player, perhaps.

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©1997 by Michael Reed

Michael Reed is the Books Senior Editor for "Her Majesty's Secret Servant"