From Operation Mincemeat: How a Dead Man and a Bizarre Plan Fooled the Nazis and Assured an Allied Victory, by Ben Macintyre (Crown, 2010), Kindle pp. 61-64:
MONTAGU AND CHOLMONDELEY had spent much of the previous three years nurturing, molding, and deploying spies who did not exist. The Twenty Committee and Section B1A of MI5 had turned the playing of double agents into an art form, but as the Double Cross System developed and expanded, more and more of the agents reporting back to Germany were purely fictional: Agent A (real) would notionally employ Agent B (unreal), who would in turn recruit other agents, C to Z (all equally imaginary). Juan Pujol García, Agent “Garbo,” the most famous double agent of them all, was eventually equipped with no fewer than twenty-seven subagents, each with a distinct character, friends, jobs, tastes, homes, and lovers. Garbo’s “active and well-distributed team of imaginary assistants” were a motley lot, including a Welsh Aryan supremacist, a communist, a Greek waiter, a wealthy Venezuelan student, a disaffected South African serviceman, and several crooks. In the words of John Masterman, the thriller-writing chairman of the Twenty Committee: “The one man band of Lisbon developed into an orchestra, and an orchestra which played a more and more ambitious programme.” Graham Greene, a wartime intelligence officer in West Africa, based his novel Our Man in Havana, about a spy who invents an entire network of bogus informants, on the Garbo story.
Masterman, writing after the war, declared that “for deception, ‘notional’ or imaginary agents were on the whole preferable” to living ones. Real agents tended to become truculent and demanding; they needed feeding, pampering, and paying. An imaginary agent, however, was infinitely pliable and willing to do the bidding of his German handlers at once and without question: “The Germans could seldom resist such a fly if it was accurately and skilfully cast,” wrote Masterman, who was also handy with a fly-fishing rod.
Maintaining a small army of fake people required concerted attention to detail. “How difficult it was,” wrote Montagu, “to remember the characteristics and life pattern of each one of a mass of completely non-existent notional sub-agents.” These imaginary individuals had to suffer all the vagaries of normal life, such as getting ill, celebrating birthdays, and running out of money. They had to remain perfectly consistent in their behavior, attitudes, and emotions. As Montagu put it, the imaginary agent “must never step out of character.” The network of fake agents enabled British intelligence to supply the Germans with a steady stream of untruths and half-truths, and it lulled the Abwehr into believing it had a large and efficient espionage network in Britain, when it had nothing of the sort.
Creating a personality to go with the corpse in the St. Pancras Morgue would require imaginative effort on an even greater scale. In his novel The Case of the Four Friends, Masterman’s sleuth, Ernest Brendel, observes that the key to detective work is anticipating the actions of the criminal: “To work out the crime before it is committed, to foresee how it will be arranged, and then to prevent it! That’s a triumph indeed.” With Masterman’s help, Montagu and Cholmondeley would now lay out the clues to a life that had never happened and frame a new death for a dead man.
The fictitious agents so far invented by the Double Cross team all spoke for themselves, or rather through others, in wireless messages and letters to their handlers, but they were never seen; in the case of Operation Mincemeat, the fraudulent individual could communicate only through the clothes on his back, the contents of his pockets, and, most important, the letters in his possession. He would carry official typed letters to convey the core deception, but also handwritten personal letters to put across his personality. “The more real he appeared, the more convincing the whole affair would be,” reflected Montagu, since “every little detail would be studied by the Germans.”
The information he carried would have to be credible, but also legible. “Would the ink of the manuscript letters, and the signatures on the others, not run so as to make the documents illegible?” Montagu wondered. Waterproof ink might be used, but that would “give the game away.” They turned to MI5’s scientists, and numerous tests were carried out by using different inks and typewriters and then immersing the letters in seawater for varying periods to test the effects. The results were encouraging: “Many inks on a freshly written letter will run at once if the surface is wetted. On the other hand, a lot of quite usual inks, if thoroughly dried, will stand a fair amount of wetting even if exposed directly to the water. When a document is inside an envelope, or inside a wallet which is itself inside a pocket, well dried inks of some quite normal types will often remain legible for a surprising length of time—quite long enough for our purpose.”
The precise form of the deception would be decided in time: first they needed to create a credible courier.
It is no accident that Montagu and Cholmondeley were both enthusiastic novel readers. The greatest writers of spy fiction have, in almost every case, worked in intelligence before turning to writing. W. Somerset Maugham, John Buchan, Ian Fleming, Graham Greene, John le Carré: all had experienced the world of espionage firsthand. For the task of the spy is not so very different from that of the novelist: to create an imaginary, credible world and then lure others into it by words and artifice.
As if constructing a character in a novel, Montagu and Cholmondeley, with the help of Joan Saunders in Section 17M, set about creating a personality with which to clothe their dead body. Hour after hour, in the Admiralty basement, they discussed and refined this imaginary person, his likes and dislikes, his habits and hobbies, his talents and weaknesses. In the evening, they repaired to the Gargoyle Club, a glamorous Soho dive of which Montagu was a member, to continue the odd process of creating a man from scratch. The project reflected all the possibilities and pitfalls of fiction: if they painted his personality too brightly or were inconsistent in the portrait, then the Germans would surely detect a hoax. But if the enemy could be made to believe in this British officer, then they were that much more likely to credit the documents he carried. Eventually, they came to believe in him themselves. “We talked about him until we did feel that he was an old friend,” wrote Montagu. “He became completely real to us.” They gave him a middle name, a nicotine habit, and a place of birth. They gave him a hometown, a rank, a regiment, and a love of fishing. He would be furnished with a watch, a bank manager, a solicitor, and cuff links. They gave him all the things that Glyndwr Michael had lacked in his luckless life, including a supportive family, money, friends, and love.
Far Outliers 