published in November 1963 and later in Playboy; Sotheby's chairman Peter Wilson is mentioned by name in the story. Fleming was so unhappy with the final piece, he wrote to Wilson and refused payment for something he considered so lacklustre. In 1959, Fleming was commissioned by The Sunday Times to write a series of articles based on world cities, material for which later was collected into a book entitled Thrilling Cities; while travelling through New York for material, Fleming wrote "007 in New York" from Bond's point of view. "007 in New York" was originally titled "Reflections in a Carey Cadillac" and it contains a recipe for scrambled eggs, which came from May Maxwell, the housekeeper to friend Ivar Bryce, who gave her name to Bond's own housekeeper, May. The story was first published in the New York Herald Tribune in October 1963 as "Agent 007 in New York", but was subsequently renamed as "007 in New York" for the 1964 US editions of Thrilling Cities. Release and reception Octopussy and The Living Daylights was published in Britain on 23 June 1966 by Jonathan Cape and cost 10s.6d. The hardback edition of the book contained only the two stories mentioned in the title, although when the paperbacks editions were published, "The Property of a Lady" was also included. Once again, artist Richard Chopping provided the cover art, although his fee rose, to 350 guineas. The book was published in US by New American Library with illustrations from Paul Bacon. By 2002, "007 in New York" had been added to the book by Penguin Books. Reviews Philip Larkin wrote in The Spectator, "I am not surprised that Fleming preferred to write novels. James Bond, unlike Sherlock Holmes, does not fit snugly into the short-story length: there is something grandiose and intercontinental about his adventures that require elbow room and such examples of the form as we have tend to be eccentric or muted. These are no exception." The critic for The Times Literary Supplement wrote that the book was "slight and predictable, and usual sex and violence yield to a plausible use of ballistics and marine biology". Writing in The Listener, Anthony Burgess thought that "in their fascinated poring on things...remind us that the stuff of the anti-novel needn't necessarily spring from a thought-out aesthetic", going on to note that "it is the mastery of the world that gives Fleming his