Drawing focus on a crucial period of contemporary British history, this book explores Cold War anxieties over Imperial decline and British identity through analysis of space in popular twentieth-century spy fiction, enabling the cultural impact of decolonisation to be read in a new and revealing light. Visiting the literary representation of space, identity, and power in the work of Ian Fleming, Graham Greene, and John le Carré, it is an excellent resource for any scholars with an interest in spy fiction, British fiction, and popular literature.

The Historical Dictionary of British Spy Fiction is a detailed overview of the rich history and achievements of the British espionage story in literature, cinema and television. It provides detailed yet accessible information on numerous individual authors, novels, films, filmmakers, television dramas and significant themes within the broader field of the British spy story. It contains a wealth of facts, insights and perspectives, and represents the best single source for the study and appreciation of British spy fiction. British spy fiction is widely regarded as the most significant and accomplished in the world and this book is the first attempt to bring together an informed survey of the achievements in the British spy story in literature, cinema and television. The Historical Dictionary of British Spy Fiction contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 200 cross-referenced entries on individual authors, stories, films, filmmakers, television shows and the various sub-genres of the British spy story. This book is an excellent access point for students, researchers, and anyone wanting to know more about British spy fiction.

Espionage in British Fiction and Film Since 1900 traces the history and development of the British spy novel from its emergence in the early twentieth century, through its growth as a popular genre during the Cold War, to its resurgence in the early twenty-first century. Using an innovative structure, the chapters focus on specific categories of fictional spying (such as the accidental spy or the professional) and identify each type with a vital period in the evolution of the spy novel and film. A central section of the book considers how, with the creation of James Bond by Ian Fleming in the 1950s, the professional spy was launched on a new career of global popularity, enhanced by the Bond film franchise. In the realm of fiction, a glance at the fiction bestseller list will reveal the continuing appeal of novelists such as John le Carré, Frederick Forsyth, Charles Cumming, Stella Rimington, Daniel Silva, Alec Berenson, Christopher Reich—to name but a few—and illustrates the continued fascination with the spy novel into the twenty-first century, decades after the end of the Cold War. There is also a burgeoning critical interest in spy fiction, with a number of new studies appearing in recent years. A genre that many believed would falter and disappear after the fall of the Berlin Wall and the collapse of the Soviet empire has shown, if anything, increased signs of vitality. While exploring the origins of the British spy, tracing it through cultural and historical events, Espionage in British Fiction and Film Since 1900 also keeps in focus the essential role of the “changing enemy”—the chief adversary of and threat to Britain and its allies—in the evolution of spy fiction and cinema. The book concludes by analyzing examples of the enduring vitality of the British spy novel and film in the decades since the end of the Cold War.

Queen Elizabeth’s spymasters recruit an unlikely agent—the only Muslim in England—for an impossible mission in a mesmerizing novel from “one of the best writers in America” (The Washington Post) “Evokes flashes of Hilary Mantel, John le Carré and Graham Greene, but the wry, tricky plot that drives it is pure Arthur Phillips.”—The Wall Street Journal NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW AND THE WASHINGTON POST The year is 1601. Queen Elizabeth I is dying, childless. Her nervous kingdom has no heir. It is a capital crime even to think that Elizabeth will ever die. Potential successors secretly maneuver to be in position when the inevitable occurs. The leading candidate is King James VI of Scotland, but there is a problem. The queen’s spymasters—hardened veterans of a long war on terror and religious extremism—fear that James is not what he appears. He has every reason to claim to be a Protestant, but if he secretly shares his family’s Catholicism, then forty years of religious war will have been for nothing, and a bloodbath will ensue. With time running out, London confronts a seemingly impossible question: What does James truly believe? It falls to Geoffrey Belloc, a secret warrior from the hottest days of England’s religious battles, to devise a test to discover the true nature of King James’s soul. Belloc enlists Mahmoud Ezzedine, a Muslim physician left behind by the last diplomatic visit from the Ottoman Empire, as his undercover agent. The perfect man for the job, Ezzedine is the ultimate outsider, stranded on this cold, wet, and primitive island. He will do almost anything to return home to his wife and son. Arthur Phillips returns with a unique and thrilling novel that will leave readers questioning the nature of truth at every turn.

This book analyses the gender roles and political contexts of spy fiction narratives published during the years of the Cold War. It offers an introduction to the development of spy fiction both in England and in the United States and explores the ways in which issues such as the atomic bomb, double agents, paranoia, propaganda and megalomania manifest themselves within the genre. The book examines the ongoing marginalization of women within spy fiction texts, exploring the idea that this unique period in global history is responsible for the active promotion and celebration of masculinity and male superiority. From James Bond to Jason Bourne, the book evaluates the ongoing enforcement of patriarchal ideas and oppressions that, in the name of national security and patriotic duty, have contributed to the development of a genre in which discrimination and bias continue to dominate.

This book provides a history of the way in which literature not only reflects, but actively shapes processes of globalization and our notions of global phenomena. It takes in a broad sweep of history, from antiquity, through to the era of imperialism and on to the present day. Whilst its primary focus is our own historical conjuncture, it looks at how earlier periods have shaped this by tracking key concepts that are imbricated with the concept of globalization, from translation, to empire, to pandemics and environmental collapse. Drawing on these older themes and concerns, it then traces the germ of the relation between global phenomena and literary studies into the 20th and 21st centuries, exploring key issues and frames of study such as contemporary slavery, the digital, world literature and the Anthropocene.

While providing critical reflections on the work across generations of enthusiasts, this is the first book exclusively dedicated to John le Carré’s 1974 novel and its adaptations in radio, TV, and film. Tinker Tailor Soldier Spy stands among the most reproduced espionage tales of all time, with adaptations in television, radio, and film. Histories, Adaptations, and Legacies of Tinker Tailor Soldier Spy is a collection of essays by international experts who each provides an account of the story’s currency across generations of audiences and scholars. Fans of the late John le Carré and the espionage genre will find here a comprehensive guidebook to the novel and its adaptations. Scholars, students, and amateur investigators alike will discover important historical, thematic, and theoretical ideas to explore and interrogate. Tinker Tailor Soldier Spy is a complex tale of the espionage trade and its crew of motley eccentrics. This collection decodes its puzzles, riddles, and enigmas regarding secrecy, betrayal, ethics, and survival in the context of the United Kingdom’s place in the post-Second World War global order. A comprehensive guide for amateurs and an in-depth study of the novel’s histories, legacies, and approaches for students and scholars.

This book explores how British culture is negotiating heroes and heroisms in the twenty-first century. It posits a nexus between the heroic and the state of the nation and explores this idea through British television drama. Drawing on case studies including programmes such as The Last Kingdom, Spooks, Luther and Merlin, the book explores the aesthetic strategies of heroisation in television drama and contextualises the programmes within British public discourses at the time of their production, original broadcasting and first reception. British television drama is a cultural forum in which contemporary Britain’s problems, wishes and cultural values are revealed and debated. By revealing the tensions in contemporary notions of heroes and heroisms, television drama employs the heroic as a lens through which to scrutinise contemporary British society and its responses to crisis and change. Looking back on the development of heroic representations in British television drama over the last twenty years, this book’s analyses show how heroisation in television drama reacts to, and reveals shifts in, British structures of feeling in a time marked by insecurity. The book is ideal for readers interested in British cultural studies, studies of the heroic and popular culture. Introduction of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution (CC-BY-)] 4.0 license.

Fiction about spies and spying - a genre of which British writers have generally been the most successful exponents - is a phenomenon which began in the twentieth century. This book examines the subject matter of spy fiction and the authors behind it, many of whom worked directly for the British Secret Service.

A panoramic history uncovering the demise of Britishness as a global civic idea since the Second World War.