Cooper's chapters on World War Two and the immediate postwar Greece are the book's most illuminating. Though denied his first wish, a commission in the Irish Guards, Fermor's assignment to the Special Operations Executive and occupied Crete called on his characteristic powers. He was allowed to design and orchestrate reckless and sophisticated feats. His charm, resourcefulness and linguistic abilities were invaluable for cultivating Cretan resistance leaders and disaffected Italian officers. His flair for costume and clowning came in handy when he had to disguise himself as a shepherd – complete with cork-blackened moustache and eyebrows – and in the famous abduction of General Kreipe: during the hair-raising drive through twenty-two German checkpoints in the hijacked car, with Kreipe bound in back, Fermor was in the passenger seat wearing the general's cap pulled down low. At the last checkpoint before the friendly mountains he had to irritably growl “Generals Wagen!” to cow a sentry who looked ready to check papers.
It was important to him that the Cretans had held off the Ottomans for two centuries after the fall of Constantinople – and there he was, fighting another invader alongside proud mountain men whose homeland he would later describe, in Roumeli (1966), as “an epitome of Greece,” where “Greek virtues and vices, under sharper mountains and a hotter sun, reach exasperation point.” Roumeli contains a beautiful recollection of SOE and resistance fighters sheltered in caves. The illiterate shepherds intone the Erotokritos, the seventeenth-century Cretan-dialect romance “a thousand lines longer than the Odyssey,” and Fermor dozes, and wakes further along, to find Erotokritos “in yet another encounter with the Black Knight of Karamania.”
In 1946 he took a post at the British Institute in Athens. A colleague recalled that he was not at work very often – “and when he was he seemed to be throwing a party, sitting with his feet on his desk and entertaining a stream of Cretan visitors.” He was of more use in the field, speaking to packed halls about the war. The fame of his exploits and the esteem in which the Cretans held him led an American officer to declare Fermor “the best bit of propaganda [the British] have got” in a Greece rapidly sliding towards civil war. Fermor's returns to Crete were strenuous itineraries of festive reunion, shadowed by a blood feud: the nephew of a fighter he had killed in an accidental shooting appeared, with rifle and binoculars, in the hills above one of the visited villages.
In Cooper's account of this time many of the Mediterranean-minded English writers appear. Of Fermor, C.M. Bowra had nothing to say beyond the obvious (“unfit for office work”), and the slanderous (in a waspish epigram he called Fermor Princess Cantacuzene‘s gigolo). Lawrence Durrell, then based on Rhodes, visited the ruins of Kameiros with Fermor, his wife Joan and his SOE comrade Xan Fielding (to whom the “Introductory Letter” of A Time of Gifts is addressed). After a day of guano-spotted and cobwebby crawls through the ancient sewers, and nude posing on sacrificial altars and atop wobbly Doric columns, Durrell wrote Henry Miller that Fermor was “a wonderful mad Irishman,” “quite the most enchanting maniac I've ever met.” Cyril Connolly appears twice, at first deeply depressed, in love with Joan, and later on his deathbed, and passes unquoted, though his line from The Unquiet Grave, “The civilized are those who get more out of life than the uncivilized, and for this we are not likely to be forgiven,” echoes through the book.
Of course Byron looms. Cooper calls Fermor a direct descendant of the Philhellenes, “those passionate young men from all over Europe” who took up the struggles of an idealized Greece “with copies of Byron in their pockets.” A generation earlier Rupert Brooke had also set out for Istanbul, as an officer in the Gallipoli Campaign, or as it was known in 1915, the “Constantinople Expedition.” Fated to sicken before the landings and be buried under a pile of rough marble in an olive grove on Skyros, Brooke while he lived was thrilled by the prospect of crossing storied seas to fight in the Homeric Hellespont, possessed by a dream of war Alan Moorhead likened to “a Grecian frieze, the man entirely heroic and entirely beautiful, the best in the presence of death.”