Neutral Ground: A Political History of Espionage Fiction

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Algora Publishing, 2008 - 168 頁
This unique and perceptive history unravels geopolitical intrigues and reveals how they have influenced the authors who fashioned one of the most popular forms of entertainment in the literate world the spy novel. Espionage fiction is one of the most popular forms of entertainment in the literate world and, since its widespread acceptance in the early twentieth century, it has sought to pursue the secret politics of Western social order. Drawn from reality, exposing what is generally concealed, it provides a unique glimpse into the darker, more conspiratorial affairs of state through the use of fictional covert actions, double agents, treason, and international intrigues. It is a carefully crafted, clandestine venue wherein the situations are circumscribed, the moods are forever gray, and the heroes if indeed there are heroes generally emerge as ordinary individuals who believe that virtues such as truth and loyalty are simply matters of convenience. People who are, in fact, not that much different from those whom they oppose. The concept of neutral ground the term adapted from Sir Walter Scott s early nineteenth century Waverly novels originally spoke to the geographic region between two warring armies, a place controlled by neither but marked by fluid jurisdictions drawn by the ebb and flow of strategic influences or battle lines. But with the passage of time, and the refinement of espionage fiction, the definition of neutral ground witnessed a transition, emerging as both metaphor and cautionary note for the thematic conflicts and doubts that flourish in the absence of clear political authority. An intellectual nether region reminiscent perhaps of Cold War Berlin that affords conflicting parties unrestricted rights of passage and where political ideology and literary fiction can and do seamlessly intersect. Yet, in the grander historical sense, the evolution of espionage fiction also reflects the history of a culture for, as the genre evolved, so too did Western society. To explore these historical relationships Neutral Ground: A Political History of Espionage Fiction takes the reader behind the fiction and explores the real-world political, military, and diplomatic events that have consistently and significantly threaded their way through the fabric of the genre. Against this historical timeline, it examines how numerous authors including Rudyard Kipling, Somerset Maugham, Graham Greene, and John le Carra(r) have engaged reality in order to write the espionage novels that have become literary classics and, in selected cases, have also served to alter the course of government policy."

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第 22 頁 - I should lay it down that the existence of secret agents should not be tolerated, as tending to augment the positive dangers of the evil against which they are used. That the spy will fabricate his information is a mere commonplace. But in the sphere of political and revolutionary action, relying partly on violence, the professional spy has every facility to fabricate the very facts themselves, and will spread the double evil of emulation in one direction, and of panic, hasty legislation, unreflecting...
第 50 頁 - I have been conscious of shadows all round me. Life has become like that great Grimpen Mire, with little green patches everywhere into which one may sink and with no guide to point the track.
第 82 頁 - There does exist, and has existed for a generation, an international Anglophile network which operates, to some extent, in the way the radical Right believes the Communists act. In fact, this network, which we may identify as the Round Table Groups, has no aversion to cooperating with the Communists, or any other groups, and frequently does so.
第 42 頁 - An artist is identical with an anarchist,' he cried. 'You might transpose the words anywhere. An anarchist is an artist. The man who throws a bomb is an artist, because he prefers a great moment to everything. He sees how much more valuable is one burst of blazing light, one peal of perfect thunder, than the mere common bodies of a few shapeless policemen. An artist disregards all governments, abolishes all conventions. The poet delights in disorder only. If it were not so, the most poetical thing...
第 72 頁 - Brighton Rock (1938), The Power and the Glory (1940), The Heart of the Matter (1948), The End of the Affair (1951), and A Burnt-Out Case (1961).
第 25 頁 - We see, therefore, that war is not merely a political act, but also a real political instrument, a continuation of political commerce, a carrying out of the same by other means.
第 44 頁 - I can't tell the police you are an anarchist. You can't tell the anarchists I'ma policeman. I can only watch you, knowing what you are ; you can only watch me, knowing what I am. In short, it's a lonely, intellectual duel, my head against yours. I'ma policeman deprived of the help of the police. You, my poor fellow, are an anarchist deprived of the help of that law and organisation which is so essential to anarchy. The one solitary difference is in your favour. You are not surrounded by inquisitive...
第 21 頁 - There are many motives which might govern me that to you are unknown. Our situations are different ; I am known as the leader of armies — but you must descend into the grave with the reputation of a foe to your native land. Remember that the veil which conceals your true character cannot be raised in years — perhaps never.
第 45 頁 - No one can have failed to notice that in these stories the hero or the investigator crosses London with something of the loneliness and liberty of a prince in a tale of elfland, that in the course of that incalculable journey the casual omnibus assumes the primal colours of a fairy ship. The lights of the city begin to glow like innumerable goblin eyes, since they are the guardians of some secret, however crude, which the writer knows and the reader does not. Every twist of the road is like a finger...

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