You might be inclined to think the term “intelligence agency” is an oxymoron. Graham Greene, possibly the world’s most famous author of spy novels in the English language, probably thought so when he wrote Our Man in Havana.
Jim Wormold is a vacuum cleaner salesman in Havana, Cuba. With a name and occupation like that, you couldn’t possibly be more inconspicuous. That is probably why Wormold gets tapped to be an intelligence agent by the British secret service. But politics and international intrigues aren’t Wormold’s passion. He spends his days managing his mostly empty shop and drinking daiquiris in bars with his friend Dr. Hasselbach. What actually matters most in his life is his teenage daughter Milly. For her birthday, the demanding prima donna wants a horse and a membership at a country club so she will have a good place to stable it. Wormold is strapped for cash due to lackluster vacuum cleaner sales, but he’s a bit of a pushover and gives in without having a clear sense of how he can afford this venture.
Wormold is a mediocre man with financial troubles and this makes him easy prey when a British agent stationed in Kingston, Jamaica approaches Wormold with a solution to his problems. He railroads Wormold into accepting an assignment to run an espionage station in Havana. The task is to recruit a team of agents and pay them to gather information about any suspicious activities going on in Cuba. This is of prime importance to the British government since the 1950s were a time of political turbulence on the island and they were paranoid about the spread of communism throughout the Third World.
But none of that matters to Wormold. His preoccupation is with making easy money and he does what any ordinary man in his situation would do: he juices the fools for as much as he can. The agents he recruits are either people he made up or members of the country club who have no idea they have been hired as spies. He sends the secret service a diagram of a vacuum cleaner, telling them it is a new weapon being built in Oriente province, the hotbed of revolutionary activity since the 19th century Cuban Wars of Independence and beyond.
Back in London, Hawthorn meets with his superior officer and instead of putting two and two together to figure out that the diagram is a prank played by Wormold the vacuum cleaner salesman, they marvel at the ingenuity of the communists and decide they need to ramp up their intelligence gathering operations in the Caribbean. Occam’s razor has failed. Wormold rakes in the cash, getting all he asks for to run his agency in Havana while the secret service expose themselves as incompetent dolts.
The story pivots when fiction collides with reality. Wormold learns that one of his made up agents named Raul has just been assassinated. Since Raul is not a real person, that means a real person named Raul, who probably had nothing to do with espionage games, got killed. The gravity of the situation hits home when Wormold realizes that the intelligence he shipped off to London has been intercepted. We never learn for sure who intercepted it or who they work for, but it is certain that Wormold’s life is in danger.
The narrative offers many possible culprits for the interception, but evidence appears to point in the direction of Dr. Hasselbacher, Wormold’s drinking buddy. We can never be sure that Hasselbacher is a spy, but he has a copy of the book Wormold is using to encode and decipher written communications between his office and the agency in London, although Hasselbacher claims he only has it for leisure reading. Hasselbacher is unusual nonetheless. In an early chapter, he has a discussion with a man in a bar in which he tells the man that he is a creation of Hasselbacher’s imagination as if the old man is having a conversation with a character he wrote into a novel. Hasselbacher therefore primes the reader for the theme of fiction intruding into reality and the consequences of that dilemma. Later on we learn that Hasselbacher has spent his life feeling guilty because he killed one man while enlisted during World War I. Throughout the novel, he expresses disillusionment with the Cold War and the games played by espionage agencies which casts doubt on him being an intelligence agent. But there are other reasons why he can’t be dismissed as innocent.
Another possibility is Segura, a captain at the Havana police department who is in charge of torturing political prisoners. He is involved in one of the novel’s subplots since he wants to marry Milly, Wormold’s teenage daughter. We learn that Segura knows everything that Wormold is up to and has a list of all the espionage agents in Cuba, something Wormold decides he needs to get ahold of in the name of duty to his agency.
Making matters worse, Wormold learns of a plot to assassinate him. He becomes suspicious of an English businessman named Carter who he encounter both at a banquet and one night when Wormold invites him out to go drinking and whoring in the sordid backstreets of Havana. It is in this second half of the novel that Wormold proves himself to be more than just an everyday man. He outsmarts both his assassin and Segura. Ultimately he humiliates the secret service when they catch on to his deceptions, figuring out that he is doing little more than exploiting them for money by making up nonsense.
Much of the novel’s meaning revolves around Wormold falling in love with Beatrice, an assistant spy who is sent to Havana to help him run his office. Initially the agency in London chooses her because she speaks French and Cubans speak Spanish so the ignoramuses decide she will be the best choice for Wormold’s secretary. Through their collaboration and conversation we learn that she doesn’t take Cold War espionage any more seriously than Wormold does. They agree that international politics are just games played by adults who are little more than children who never grew up. The big political issues aren’t what is important. What really matters is how the little people of the world run their day to day affairs, at least until the big powers intrude into their lives. That’s when action must be taken. This is Voltaire’s idea that satisfaction only comes from tending one’s own garden, but Greene adds his own twist by saying sometimes necessity calls for engagement.
This novel is a comedy in the Shakespearean sense of the word, meaning it ends with a marriage rather than a death as it would in a tragedy. The marriage of Wormold and Beatrice plays off against the failure of Segura in his pursuit of Wormold’s daughter Milly. In the latter case, Milly and Segura are linked in that they both represent facets of class consciousness and class mobility. Milly wants to rise above her station in with her pursuit of the horse and membership at the country club while Segura represents class mobility through politics. Being notorious in Cuba for torturing prisoners, Segura is an unsympathetic character. But at the end, he tells Wormold of his family’s poverty and his father’s involvement in activism. The secret he reveals makes him a slightly more sympathetic character in the end. But still, he is repulsive to Milly who uses him just like Wormold uses the British secret service. Their marriage is an impossibility.
In the former case, Wormold, the divorcee, falls in love with Beatrice and the two make plans for a new life after being relocated to their homeland of England. Neither of them are interested in class mobility and find happiness together in building a relationship around satisfaction with what they have. Their success in marriage contrasted with Segura’s failure in courting Milly indicates the values expressed by the story. To paraphrase Hawthorn when he tells his boss why he chose Wormold for the position of spymaster, Womrold is the kind of man who minds his pennies while letting the dollars take care of themselves. For the agency, this means he won’t interfere in the business of his superiors, but in the parameters of the story, it means he has what it takes to survive and find success and do his job despite all the absurd conflicts of world governments. Graham Greene confronts us directly with what he believes is important in life.
Our Man in Havana parodies the trope of the spy as superhero. The idea of Western governments locked in a battle between good and evil with communism gets deflated and turned upside down by portraying the intelligence agency as being managed by dunces engaged in a political game that nobody can win. Jim Wormold is an ordinary man who turns the whole system inside out with mistakes. By day he is a mediocre vacuum cleaner salesman, but by night he masters the danger he got sucked into. His motivations are humble. He simply wants to buy his daughter the birthday present she wants. After the whole situation blows over, he finds solace by returning to a life of humility in marriage where politics are of little relevance.
The novel is a little improbable. It’s a fantastic story that isn’t easy to believe, but this shortcoming is overshadowed by the message the story delivers. Besides, the plot twists are gutsy and unpredictable, never short of suspense. The characters are also well written and built almost entirely through effective dialogue rather than description. On the other hand, some of the characters are introduced for no specific purpose like Beatrice’s office assistant for example. What’s great about the characters is how Greene makes all the main players sympathetic in one way or another. Even Carter gains some sympathy as being just an ordinary man being used as a tool in a spy game; his social awkwardness, insecurity, and shyness around women make him out to be more of a victim than a villain. The only characters without sympathetic qualities are Hawthorn and the other superior officers in the spy agency.
As a novel, it succeeds with the kind of ironic humor you find in Alfred Hitchcock combined with the character arcs and ethics you find in Shakespeare. References to Shakespeare are laced throughout the narrative too. The book used by the agency for code writing and code cracking is one in which an author updates Shakespeare’s plays using modern language and prose while characters make references to Shakespeare throughout. It would be interesting to hear how a scholar with more expertise in Shakespeare than me would interpret these references.
I fear that Graham Greene’s message in Our Man in Havana might fall flat in our age when people are more politically engaged then ever while simultaneously being more ignorant about how governments work. Somehow, political discourse these days has more to do with being loud, ideological, and popular on social media than being right. Managing what’s right in front of us has become less important it seems. The style of the novel is somewhat dated too. But that isn’t a reason to avoid it since it advocates for a worldview that should at least be taken into consideration. And this is done in such an entertaining way. At least it offers a good break to those who are weary of overblown postmodern maximalism where conflicts are impossible to resolve.
