British Spy Fiction and the End of Empire (Routledge Studies by Sam Goodman

By Sam Goodman

The place of secret agent fiction is essentially synonymous in pop culture with principles of patriotism and nationwide protection, with the secret agent himself indicative of the defence of British pursuits and the protection of British energy worldwide. This e-book unearths a extra advanced part to those assumptions than generally perceived, arguing that the illustration of house and tool inside of secret agent fiction is extra complicated than as a rule assumed. rather than the British undercover agent tirelessly preserving the integrity of Empire, this quantity illustrates how secret agent fiction includes disunities and disjunctions in its illustration of area, and the connection among the person and the country in an period of declining British power.

Focusing totally on the paintings of Graham Greene, Ian Fleming, Len Deighton, and John le Carre, the quantity brings a clean methodological method of the research of undercover agent fiction and chilly warfare tradition. It offers shut textual research inside of a framework of spatial and sovereign idea as a method of studying the cultural impression of decolonization and the transferring geopolitics of the chilly struggle. Adopting a thematic method of the research of area in undercover agent fiction, the textual content explores the reciprocal procedure through which contextual heritage intersects with literature during the interval in query, arguing that secret agent fiction is accountable for reflecting, strengthening and, from time to time, precipitating cultural anxieties over decolonization and the tip of Empire.

This examine grants to be a great addition to the constructing box of undercover agent fiction feedback and pop culture reports. either attractive and unique in its process, it is necessary interpreting for college students and lecturers engaged within the research of chilly battle tradition, well known literature, and the altering country of British id over the process the latter 20th century.

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The phrase itself was very nearly rejected; in Ways of Escape (1980), Greene describes his meetings with David O. Selznick and Carol Reed, in which Selznick expressed dislike for the title, instead suggesting ‘A Night in Vienna, a title that will bring them in’. See Graham Greene, Ways of Escape (Canada: Lester, Orpen & Dennys, 1980), 50–51. 7. Andrew Anthony, ‘John le Carré: A Man of Great intelligence’, The Guardian, 1 November 2009. uk/theobserver/2009/nov/01/profile-john-le-carre. Accessed 15/12/14.

Michael Denning, Cover Stories: Narrative and Ideology in the British Spy Thriller (London: Routledge & Kegan Paul, 1987), 103–104. Spy fiction also became self-reflexive, with le Carré often revisiting or acknowledging other espionage authors; for instance, le Carré’s Tailor of Panama (1996) is Greene’s Our Man in Havana (1958) relocated to South America with greater literary aspirations. 11. Such was the impact of le Carré’s fiction that forty-four years after his first novel, Baroness Park of Monmouth, former MI6 agent and diplomat, felt it necessary to recognise the disjunction between her own experience and le Carré’s novels noting that the author had ‘[done] a lot of harm’.

Manning Coles’ series of novels, beginning with Drink to Yesterday (1940), introduced Thomas Elphinstone Hambledon, teacher, spy, and double agent. Starting his career in World War I, Hambledon later worked his way up in the Nazi Party in an effort to subvert various Nazi schemes. 43. See Martin Gilbert, The Second World War (London: Phoenix, 2009). 44. The division of space into zones of political influence occurred throughout the war in a variety of contexts, perhaps most notably in Vichy France.

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