Cruising with Robert Louis Stevenson: Travel, Narrative, and the Colonial Body is the first booklengthstudy about the influence of travel on RobertLouis Stevenson's writings, both fiction and nonfiction.Within the contexts of late-Victorian imperialism andethnographic discourse, the book offers original closereadings of individual works by Stevenson while bringingnew theoretical insights to bear on the relationshipbetween travel, authorship, and gender identity in theVictorian fin de siècle. Oliver S. Buckton develops "cruising" as a criticalterm, linking Stevenson's leisurely mode of travelwith the striking narrative motifs of disruption andfragmentation that characterize his writings. Bucktontraces the development of Stevenson's career from hisearly travel books to show how Stevenson's majorworks of fiction, such as Treasure Island, Kidnapped, andThe Ebb-Tide, draw on innovative techniques and materialsStevenson acquired in the course of his globaltravels. Exploring Stevenson's pivotal role in the revivalof "romance" in the late nineteenth century, Cruisingwith Robert Louis Stevenson highlights Stevenson's treatmentof the human body as part of his resistance torealism, arguing that the energies and desires releasedby travel are often routed through disturbingly resistantor darkly comic corporeal figures. Buckton gives extensiveattention to Stevenson's writing about the SouthSeas, arguing that his groundbreaking critiques ofEuropean colonialism are formed in awareness of thefragility and desirability of Polynesian bodies and islandlandscapes. Cruising with Robert Louis Stevenson will be indispensableto all admirers of Stevenson as well as of greatinterest to readers of travel writing, Victorian ethnography, gender studies, and literary criticism.
The definitive history of the flamboyant life of Ian Fleming and his most famous creation, James Bond. This new biography of Ian Fleming presents a fresh and illuminating portrayal of the iconic creator of James Bond. Oliver Buckton provides the first in-depth exploration of the entire process of Ian Fleming’s writing—from initial conception, through composition, to his involvement in the innovative publication methods of his books. He also investigates the vital impact of Fleming’s work in naval intelligence during World War Two on his later writings, especially the wartime operations he planned and executed and how they drove the plots of the James Bond novels. Buckton considers the vital role of wartime deception, disinformation, and propaganda in shaping Fleming’s later techniques and imaginative creations. Offering a radically new view of Fleming’s relationships with women, Buckton traces the role of strong, independent, and intelligent women such as Maud Russell, Phyllis Bottome, and his wife, Ann, on Fleming’s portrayal of female characters. The book concludes with a thorough analysis of the James Bond films from Eon productions, and their influence in promoting, while also distorting, the public’s recognition of Fleming’s writing.
A "savvy study" (Publishers Weekly) and a fascinating exploration of the roles many spy novelists played during World War II and the influence of intelligence work on their writing. World War II deception operations created elaborate fictions and subterfuges to prevent the enemy from apprehending the true targets and objectives of Allied forces. These operations shortened the war considerably and saved countless lives—and they were often invented, proposed, and sometimes executed by creative minds that would come to be known worldwide for their spy novels. In Counterfeit Spies: How World War II Intelligence Operations Shaped Cold War Spy Fiction, Oliver Buckton reveals the involvement of writers in wartime deceptions and shows how those operations would later impact their work. He also examines how the details, personnel, and methods of the GARBO network, Operation Mincemeat, Philby’s treason, Operation Bodyguard, and more were translated from real life into spy fiction by these authors, necessitated by the Official Secrets Act which prevented writers from revealing their experiences in memoirs or other nonfiction works. Featuring Ian Fleming, Dennis Wheatley, Graham Greene, Helen MacInnes, John Bingham, and John le Carré, Counterfeit Spies is a captivating examination of the brilliant novelists who took wartime espionage and deception to another level with their enduring works that continue to entertain and fascinate readers today.
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.
Focusing on the representation of same-sex desire in Victorian autobiographical writing, Oliver Buckton offers significant new readings of works by such influential 19th-century writers as Edward Carpenter, John Henry Newman, John Addington Symonds, and, in an epilogue, E.M. Forster, and reveals the "confessional" elements of their writings.
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.
Focusing on the representation of same-sex desire in Victorian autobiographical writing, Oliver Buckton offers significant new readings of works by some of the most influential figures in late-nineteenth-century literature and culture. Combining original research, careful historical analysis, and contemporary theories of autobiography, gender, and sexual identity, he provides nuanced studies of confessional narratives by Edward Carpenter, John Henry Newman, John Addington Symonds, Oscar Wilde, and, in an epilogue, E. M. Forster. By examining the "confessional" elements of these writings, Buckton brings "secrecy" into focus as a central and productive component of autobiographical discourse. He challenges the conventional view of secrecy as the suppression of information, instead using the term to suggest an oscillation between authorial self-disclosure and silence or reserve--a strategy for arousing the reader's interest and establishing a relation based on shared knowledge while deferring or displacing the revelation of potentially incriminating and scandalous desires. Though their disclosures of same-sex desire jeopardized the cultural privilege granted these writers by Victorian codes of authorship and masculinity, their use of secrecy, Buckton shows, allowed them to protect themselves from Victorian stigma and to challenge prevailing constructions of sexual identity. Originally published in 1998. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
Cruising with Robert Louis Stevenson: Travel, Narrative, and the Colonial Body is the first booklengthstudy about the influence of travel on RobertLouis Stevenson's writings, both fiction and nonfiction.Within the contexts of late-Victorian imperialism andethnographic discourse, the book offers original closereadings of individual works by Stevenson while bringingnew theoretical insights to bear on the relationshipbetween travel, authorship, and gender identity in theVictorian fin de siècle. Oliver S. Buckton develops "cruising" as a criticalterm, linking Stevenson's leisurely mode of travelwith the striking narrative motifs of disruption andfragmentation that characterize his writings. Bucktontraces the development of Stevenson's career from hisearly travel books to show how Stevenson's majorworks of fiction, such as Treasure Island, Kidnapped, andThe Ebb-Tide, draw on innovative techniques and materialsStevenson acquired in the course of his globaltravels. Exploring Stevenson's pivotal role in the revivalof "romance" in the late nineteenth century, Cruisingwith Robert Louis Stevenson highlights Stevenson's treatmentof the human body as part of his resistance torealism, arguing that the energies and desires releasedby travel are often routed through disturbingly resistantor darkly comic corporeal figures. Buckton gives extensiveattention to Stevenson's writing about the SouthSeas, arguing that his groundbreaking critiques ofEuropean colonialism are formed in awareness of thefragility and desirability of Polynesian bodies and islandlandscapes. Cruising with Robert Louis Stevenson will be indispensableto all admirers of Stevenson as well as of greatinterest to readers of travel writing, Victorian ethnography, gender studies, and literary criticism.
The definitive history of the flamboyant life of Ian Fleming and his most famous creation, James Bond. This new biography of Ian Fleming presents a fresh and illuminating portrayal of the iconic creator of James Bond. Oliver Buckton provides the first in-depth exploration of the entire process of Ian Fleming’s writing—from initial conception, through composition, to his involvement in the innovative publication methods of his books. He also investigates the vital impact of Fleming’s work in naval intelligence during World War Two on his later writings, especially the wartime operations he planned and executed and how they drove the plots of the James Bond novels. Buckton considers the vital role of wartime deception, disinformation, and propaganda in shaping Fleming’s later techniques and imaginative creations. Offering a radically new view of Fleming’s relationships with women, Buckton traces the role of strong, independent, and intelligent women such as Maud Russell, Phyllis Bottome, and his wife, Ann, on Fleming’s portrayal of female characters. The book concludes with a thorough analysis of the James Bond films from Eon productions, and their influence in promoting, while also distorting, the public’s recognition of Fleming’s writing.
A delight to read' Philip Pullman 'Essential reading ... a genuine landmark publication' Tom Service A BBC Radio 4 'Book of the Week' The music of the British composer Michael Tippett - including the oratorio A Child of Our Time, five operas, and four symphonies - is among the most visionary of the twentieth century. But little has been written about his extraordinary life. In this long-awaited first biography, Oliver Soden weaves a century-spanning narrative of epic scope and penetrating insight. Soden has discovered troves of unpublished letters and manuscripts, and recorded moving interviews with Tippett's friends and colleagues. He paints a portrait of a powerful intellect and infectious personality: charming, stubborn, and great fun. But he also uncovers the sorrows and secrets that Tippett stowed away beneath his cheerfulness, not least the darker reaches of some tempestuous and often tragic love affairs. Soden's achievement is to have enriched our understanding not only of Tippett but of his times. Figures such as T.S. Eliot, E.M. Forster, Barbara Hepworth, and W.H. Auden jostle in the cast list. An Edwardian world of gaslight and empire cedes to turmoil and warfare; one startling revelation is the extent of Tippett's involvement in the fiery left-wing politics of the 1930s. The narrative roves from the mining villages of the north, blighted by unemployment, to a cell at Wormwood Scrubs, where Tippett was imprisoned as a conscientious objector. Later chapters uncover his operas' game-changing attitudes to gay and civil rights, against a backdrop of the Cold War and the Space Race. And singing from the page comes the music, through which Soden charts an exquisitely written course, offering lucid readings of Tippett's most famous works while resuscitating forgotten masterpieces. The result is a landmark in the study of twentieth-century culture, simultaneously an astonishing feat of scholarship and a story as enthralling as in any great novel.
The 1960s saw the nexus of the revolution in popular music by a post-war generation amid demographic upheavals and seismic shifts in technology. Over the past two decades, musicians associated with this period have produced a large amount of important autobiographical writing. This book situates these works -- in the forms of formal autobiographies and memoirs, auto-fiction, songs, and self-fashioned museum exhibitions -- within the context of the recent expansion of interest in autobiography, disability, and celebrity studies. It argues that these writings express anxiety over musical originality and authenticity, and seeks to dispel their writers' celebrity status and particularly the association with a lack of seriousness. These works often constitute a meditation on the nature of postmodern fame within a celebrity-obsessed culture, and paradoxically they aim to regain the private self in a public forum.
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