Editing Goldfinger (novel) (section)

==Publication and reception==

===Publication history===
''Goldfinger'' was published on 23 March 1959 in the UK as a hardcover edition by Jonathan Cape; it was 318 pages long and cost fifteen [[shilling]]s.{{sfn|Robson|1959|p=198}} As with his previous four novels, Fleming came up with the design of the front cover, which featured a rose between a skull's teeth. He commissioned [[Richard Chopping]] to provide the artwork. According to Jonathan Hopson of the [[Victoria and Albert Museum]], the cover's "macabre symbolism memorably expresses the novel's themes of greed, sex and death".{{sfn|Hopson|2019}}{{sfn|Chancellor|2005|p=111}} The book was dedicated to "gentle reader, William Plomer".{{sfn|Benson|1988|p=18}} The novel went straight to the top of the best-seller lists.{{sfn|Macintyre|2008|p=198}} Fleming took part in a select number of promotional activities, including appearing on the television programme ''The Bookman''{{sfn|Lycett|1996|p=345}} and attending a book signing at [[Harrods]].{{sfn|"Tea with an Author". ''The Observer''}} In May 1961 [[Pan Books]] published a paperback version of the novel in the UK, which sold 161,000 copies before the end of the year.{{sfn|Bennett|Woollacott|2009|p=17}} Since its initial publication the book has been issued in numerous hardback and paperback editions, translated into several languages and, as at {{CURRENTYEAR}}, has never been out of print.{{sfn|"Goldfinger". WorldCat}}{{sfn|"Goldfinger". Goodreads}}

In 2023 Ian Fleming Publications—the company that administers all Fleming's literary works—had the Bond series edited as part of a sensitivity review to remove or reword some racial or ethnic descriptors. The rerelease of the series was for the 70th anniversary of ''Casino Royale'', the first Bond novel.{{sfn|Simpson|2023}}

===Critical reception===
''Goldfinger'' received more positive reviews than Fleming's previous novel, ''Dr. No'', which had faced widespread criticism in the British media. Writing in ''[[The Observer]]'', [[Maurice Richardson]] thought that "Mr. Fleming seems to be leaving realism further and further behind and developing only in the direction of an atomic, sophisticated [[Sapper (author)|Sapper]]".{{sfn|Richardson|1959|p=25}} Though Fleming may have left reality behind, Richardson considered that the writer, "even with his forked tongue sticking right through his cheek,&nbsp;... remains maniacally readable".{{sfn|Richardson|1959|p=25}} Richardson said that Goldfinger "is the most preposterous specimen yet displayed in Mr. Fleming's museum of super fiends",{{sfn|Richardson|1959|p=25}} and, referring to the novel's central character, observed that "the real trouble with Bond, from a literary point of view, is that he is becoming more and more synthetic and zombie-ish. Perhaps it is just as well."{{sfn|Richardson|1959|p=25}} In ''[[The Manchester Guardian]]'', Roy Perrott observed that "''Goldfinger''&nbsp;... will not let [Bond's] close admirers down".{{sfn|Perrott|1959|p=8}} Perrott thought that overall "Fleming is again at his best when most sportingly [[John Buchan, 1st Baron Tweedsmuir|Buchan-ish]] as in the motoring pursuit across Europe";{{sfn|Perrott|1959|p=8}} he summarised the book by saying that it was "hard to put down; but some of us wish we had the good taste just to try".{{sfn|Perrott|1959|p=8}}

''[[The Times]]'' thought that Bond was "backed up by sound writing" by Fleming; the critic thought that although the plot was grandiose "it sounds—and is—fantastic; the skill of Mr. Fleming is to be measured by the fact that it is made not to seem so".{{sfn|"New Fiction". ''The Times''}} For ''[[The Times Literary Supplement]]'', Michael Robson considered that "a new Bond has emerged from these pages: an agent more relaxed, less promiscuous, less stagily muscular than of yore".{{sfn|Robson|1959|p=198}} Robson added that "the story, too, is more relaxed". Robson saw this as a positive development, but it did mean that although "there are incidental displays of the virtuosity to which Mr. Fleming has accustomed us,&nbsp;... the narrative does not slip into top gear until Goldfinger unfolds his plan".{{sfn|Robson|1959|p=198}} ''[[The Evening Standard]]'' looked at why Bond was a success and listed "the things that make Bond attractive: the sex, the sadism, the vulgarity of money for its own sake, the cult of power, the lack of standards".{{sfn|Chancellor|2005|p=129}} ''[[The Sunday Times]]'' called ''Goldfinger'' "Guilt-edged Bond";{{sfn|Chancellor|2005|p=129}} the critic for ''[[The Manchester Evening News]]'' thought that "Only Fleming could have got away with it&nbsp;... outrageously improbable, wickedly funny, wildly exciting".{{sfn|Chancellor|2005|p=129}}

Even the "avid anti-Bond and an anti-Fleming man",{{sfn|Pearson|1967|p=99}} [[Anthony Boucher]], writing for ''[[The New York Times]]'' appeared to enjoy ''Goldfinger'', saying "the whole preposterous fantasy strikes me as highly entertaining".{{sfn|Benson|1988|p=18}} The critic for ''[[The New York Herald Tribune]]'', James Sandoe considered the book to be "a superlative thriller from our foremost literary magician".{{sfn|Benson|1988|p=218}}

Burgess cites ''Goldfinger'' as one of the 99 best novels in English since 1939. "Fleming raised the standard of the popular story of espionage through good writing—a heightened journalistic style—and the creation of a government agent—James Bond, 007—who is sufficiently complicated to compel our interest over a whole series of adventures."{{sfn|Burgess|1984|p=74}}