Denne romanen fikk en enstemmig positiv mottakelse. En anmelder erklærte at boken også burde leses av alle skuespillere.
"Den naive tenåringen fra provinsen hjelpes frem og bygges opp av drevne regissører og tappes for eget liv til hun blir stående som speilbilde for alle andres drømmer. En spennende og annerledes nyroman, bevisst, men samtidig frodig der historien i tillegg handler om sin egen tilblivelse. Adjutanten, kikkeren og forfølgeren - eller etterforskeren synes å inkarnere den kollektive tilbedelsen som stjerner av typen Lucia Rhode omfattes med, og som er like grådig som den er redd for personlig blottstillelse. Underlaget for romanens tema er spørsmålet om hvordan man får fatt på virkeligheten, gjennom systematisk innsamlede fakta eller gjennom kunstnerens tolkende, fargeleggende fremstilling? Adjutanten lar leseren bli vitne til hvorledes alle utsagn om verden nødvendigvis må bli fragmentariske og slik gjør det umulig å finne sannheten om et menneskeliv. Romanen kan også leses som en tilsynelatende realistisk beretning om en skuespillerinnes både triste og strålende liv. Teksten er hentet fra dr. phil. prof. emeritus Anne-Lisa Amadous kritikk i Dagbladet.
Utgivelseshistorikk: Romanen ble skrevet fra 1975 og gjort ferdig i februar 1981. Forfatter og lektor Carl Hambro la ned et stort og viktig arbeid for boken underveis - som konsulent. Etter at Carl Hambro sluttet å arbeide for J.W. Cappelens forlag, fortsatte han likevel frem til sin død å arbeide med Mona Lyngars manuskripter, uten vederlag. Fra forlaget kom ingenting skriftlig i form av en konsulentuttalse, bortsett fra kontrakten. Carl Hambro var en enestående kapasitet som lingvist og litterær analytiker. Hans roman Bjørnen sover var antakelig den første eksponent for den nye roman i Norge, slik Paal Brekke som lyriker også var nyskapende og eksperimentell. Paal Brekke var også en fra den gamle garde som støttet opp om Mona Lyngars forfatterskap, i likhet med Philip Houm og ikke minst for eksempel Martin Nag.
Den statsstøttede "Filmgruppe 1" kjøpte opsjon for filmatisering av Adjutanten. Carlos Wiggen hadde laget en ualminnelig god dramaturgisk løsning på en filmatisk presentasjon av et til dels vanskelig visualiserbart stoff, men prosjektet strandet da kulturdepartementet like etter kuttet støtten til Filmgruppe 1. Filmgruppen, ved regissør Kolstø, hadde ønsket seg Liv Ullmann i hovedrollen, mens forfatteren helst forestilte seg Wenche Myhre som Lucia Rhode. På den tiden ville det ha vært en ypperlig utfordring for henne. Dette til tross for at det i mange år hadde vært Mona Lyngars drøm å se Liv Ullmann spille mot for eksempel Rolv Wesenlund, om enn ikke i en filmatisering av Adjututanten. Flere utenlandske forlag overveide å utgi boken, men i begynnelsen av 1980-årene het det overalt at norsk litteratur greier vi ikke å selge.
In Norwegian the title adjutant has several connotations, for instance high police officer, or someone attached to or assisting celebrities like royals, etc. This novel received general acclaim by the press. One reveiw stated that Adjutanten was a "must" for actors to read. Dr. phil. Anne-Lisa Amadou stated that this was a new and thrilling novel incorporating in its plot also the story of its creation, considerate and rank.
>From Magli Elsters review in Arbeiderbladet, Oslo 4. nov. 1981:
"This novel commences with a scene where an anonymous author receives an elderly, male visitor who brings with him a huge pile of notes and newspaper clippings about an actress he secretely has been worshiping for years. This man, an high officer in the police force, wishes the author to create a true portrait of the actress Lucia Rhode whom he has met only once by chance. Having no family and holding a job giving him enough freedom to spy on the actress from the very start of her career, he has been watching her from a distance. Posessed by her he follows her around, makes his notes and collects his material on the sly, unable to act upon his information or to approach her. The author complies to help him create a story from this material, something to explain her by.
The underlying structure of the novel consists of a series of encounters between the policeman and the author, at which both he and the readers are presented with a new section pf the portrait. The worshipers reaction to the way his notes are used is mixed - he never meant it to become quite like that, he finds himself distorted by the author, and the author is far too critical towards his unobtainable woman.
Mona Lyngars style is cool and softly ironical. Not without sympathy for her characters she, like the author in the novel, cuts right through sentimentality and the desire to idealize through daydreaming. The admirer wanted a picture resembling his imagined idol, and this picture must not be distorted by the realities of life as presented by an unfaithful accomplice, as his chosen author turns out to be. Presented with an unexpected picture of this famous and beautiful actress who after having been taken advantage of learned how to exploit circumstances and people in order to promote herself, he is aghast. He is confronted with a person who knows the tricks of maintaing a glamorous image. As priestess of Art, a lovely, warmhearted and loving woman, Lucia is always willing to advertize a good cause. Her fee is more limelight, increased affluence and a faithful audience. Surrounding her is a number of characters, her first love, the near delinquent Andreas and his strange family, the unavoidable PR-man dictating her every move, the wanton reporter ready to make use of her (as well as of any other being crossing his trails), men attracted by her fame rather than her femininity or personality - all of whom are trying to manipulate reality to suit their personal needs. In this kind of world there is no room for closeness or devotion. Being part of a dream, enslaved by and thus enhancing her own image, Lucia is also responsible for the impact.
Witty and well written this novel is a sharp satire, uncovering the kind of forces threatening individual existence. People are not merely consumers, they are consumed in a world dominated by the principles of market value. But Lyngars satire is sympathizing with all those who are afraid of trying out for real the joy and beauty of this our only life, those who dare not search beyond daydream and glossy images: Available also for the standbys who never achieve the yearned for role of main character - not even in their own lives - there is still an unfaked life somewhere outside of the footlighted make believe."
This novel was begun in 1975 and finished 6 years later. The lapse of time between the previous publication in 1976 and the appearance of Adjutanten was due to the authors decreasing respect for Gyldendals economic and legal practice, as well as their general treatment of authors.The break with Gyldendal resulted in their having to remit a considerable sum of money, all of their advanced royalties.
Literary advisor for Adjutanten was author and lecturer Carl Hambro. Until his death Carl Hambro was literary advisor for all of Mona Lyngars books published by Cappelen, at first representing Cappelen, later on his own accord, since Cappelen stopped producing any written feedback on Mona Lyngars work, manuscripts were just accepted and contracts presented.
Carl Hambro was an inspiring, constructively critical and a fastidious linguistic capacity who never allowed bargaining with artistic and literary style, textual contingency or logic. His experimental novel Bjørnen sover (Sleeping Bear), though paid little heed, points to the beginning of a new age in Norwegian literature. His generosity as a colleague was unmatched, like many of his contemporaries and friends' - the support they gave their chosen among the younger generation of Norwegian authors was unvaluable.
Several publishers abroad considered this novel for translation, but concluded at the time that Norwegian - and Scandinavian literature was not in demand. Adjutanten was also excellently treated dramaturgically by Carlos Wiggen with the intention to complete a film manuscript. The Film Group 1 which had bought the film option however lost their government grant before the manuscript was completed.