DOCSLIB.ORG

IN Ronald J. Ambrosetti a Dissertation Submitted to the Graduate School

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IN Ronald J. Ambrosetti a Dissertation Submitted to the Graduate School A STUDY OP THE SPY GENRE IN RECENT POPULAR LITERATURE Ronald J. Ambrosetti A Dissertation Submitted to the Graduate School of Bowling Green State University In partial fulfillment of the requirements for the degree of DOCTOR OP PHILOSOPHY August 1973 11 ABSTRACT The literature of espionage has roots which can be traced as far back as tales in the Old Test­ ament. However, the secret agent and the spy genre remained waiting in the wings of the popular stage until well into the twentieth century before finally attracting a wide audience. This dissertation analyzed the spy genre as it reflected the era of the Cold War. The Damoclean Sword of the mid-twentieth century was truly the bleak vision of a world devastated by nuclear pro­ liferation. Both Western and Communist "blocs" strove lustily in the pursuit of the ultimate push-button weapons. What passed as a balance of power, which allegedly forged a détente in the hostilities, was in effect a reign of a balance of terror. For every technological advance on one side, the other side countered. And into this complex arena of transis­ tors and rocket fuels strode the secret agent. Just as the detective was able to calculate the design of a clock-work universe, the spy, armed with the modern gadgetry of espionage and clothed in the accoutrements of the organization man as hero, challenged a world of conflicting organizations, ideologies and technologies. On a microcosmic scale of literary criticism, this study traced the spy genre’s accurate reflection of the macrocosmic pattern of Northrop Frye’s continuum of fictional modes: the initial force of verisimili­ tude was generated by Eric Ambler’s early realism; the movement toward myth in the technological romance of Ian Fleming; the tragic high-mimesis of John Le Carre' and the subsequent devolution to low-mimesis in the spoof; and the final return to myth in religious affir­ mation and symbolism. This study concluded that the final accomplishment of the recent recrudescence of the spy genre lay in its narrowing of the traditional hiatus between "elitist" and popular literature. The achievement of the spy novel combined the traditions of popular formula and classical mimesis and myth. Ill TABLE OP CONTENTS - Page THE ORGANIZATION MAN AS HERO........................................................ 1 SPY LITERATURE IN THE TWENTIETH CENTURY: 1900 to 1935...........................................................12 The Enthusiasts andt he Disclaimers . .15 Joseph Conrad.................................................... 22 John Buchan....................................................................... «27 W. Somerset Maugham................................. 32 Graham Greene.......................................................................37 THE WORLD OP ERIC AMBLER: PROM DETECTIVE TO SPY.............................................................. .... 1|1 TECHNOLOGY AND THE SPY GENRE................................................ 62 EXISTENTIAL NEGATION............................. .... ................................. 89 BEYOND THE ABSURD, TOWARD RELIGIOUS AFFIRMATION...........................................................125 A SELECTED BIBLIOGRAPHY.................................................................. 139 iv LIST OP ILLUSTRATIONS Figure Page 1--The Rise and Pall of the Spy Genre. ............... 11 ( CHAPTER I THE ORGANIZATION MAN AS HERO The spy genre is spawned by an organization-society. The secret agent is the individual maneuvered by large, corporate entities. The spy novel represents the death of the hero in realistic popular fiction--the superman who rises up in time of dire distress and saves his race and its destiny. The Aeneid and The Iliad and The Odyssey are tales of supermen who by individual heroics perform sweep­ ing acts of salvation and destruction. The secret agent, however, must fight for his integrity as a virile savior and literary superstar. The organization (it makes no dif­ ference whose) is both protagonist and always antagonist-- whether it be SMERSH or THRUSH or some other nameless, face­ less, acronymic entity of malice. The recent formula in « popular spy genre tales pits the individual agent against some overpowering organization, and the end result--even when the mission is successful--is almost always a compro­ mised victory for the spy/individual. The secret agent is now a neurotic, humanized, and multi-dimensional hero with reluctance. Even James Bond, the most famous of spies, ends at this stage. The organization man as hero has been divested of his literary legacy of rebellion and the ability to say "nay in thunder." The spy is the conformist, sometimes and somewhat 1 2 reluctant, but nevertheless a stalwart pillar of the system. Once again James Bond, a seeming Prometheus, is in actuality a Prometheus in a gray flannel suit with sleek briefcase. The secret agent is a proponent of the organized system, and this new type of heroism cramps the classic style of the hero of tradition. Nevertheless, the organization man as hero is a viable hero of contemporary society. The organization has pre­ empted the former human roles of good guys and bad guys— both are now an organization. And the secret agent hero is merely an extension of the "good" organization, or at least what we think is the good system. The classic spy novel al­ ways exudes this aura of doubt and ambiguity. Not only have humans been replaced, but the former values also: the knowl­ edge of good and evil has also been lost. In a good spy tale, It is difficult for both the protagonist and the reader to differentiate between good and evil. The tale of espionage is a suitable semblance of a modern world of complex and kaleidoscopic sets of values, where the distinct lines between good and evil have paled. The spy is also a man with a gun, and the genre further fosters the cult of "holy violence." The best spy novels have been British in origin, but the American reading audience really popularized the genre. The spy genre fulfilled a need for a purifying violence during the Cold War, an era of sup­ pressed hostility. The spy novel, it can be categorically stated, is a child of the Cold War. The spy novel flourished 3 between the years of 195U~1965, between the "hot wars" in Korea and Viet Nam. With the release of actual violence in Viet Nam, the spy novel phased into what has been a steady period of decline. There seems to be a direct correspond­ ence between periods of overt hostility and the partiality of the American reading public. This era has also been the age of "personnel manage­ ment." Authors such as Peter Drucker, Douglas McGregor, Frederick Herzberg, Rensis Likert, and Abraham Maslow have published volumes on "organization behavior."3 The Organiz­ ation Man by W. Whyte is a popular version of these studies. These management analysts dissect the attitudes and motives of the individual man who thrives in a conglomerate environ­ ment. These manuals pose as a gauge of the soul, or lack of soul, in the "mass man." And he, the organization man, is held up and exalted as the highest stage in the advancement of the species. Such attitudes undoubtedly have helped shape the spy genre, for the spy sacrifices himself and his indiv­ iduality, since the organization is the destiny of man, or so our contemporary society would have us believe. •’■Peter Drucker, The Practice of Management (New York: Harper and Row, 195U)> The Age of Discontinuity (New York: Harper and Row, 1969), et alia; Douglas McGregor, The Human Side of Enterprise (New York: McGraw-Hill, I960), et alia; Frederick Herzberg, Work and the Nature of Man (Cleveland: World Publishing, 1966)f Rensis Likert, The Human Organiz­ ation (New York: McGraw-Hill, 1967); and Abraham Maslow, Toward a Psychology of Being (Princeton, N.J.: Van Nostrand, 1962)'. ^William H. Whyte, The Organization Man (New York: Simon and Schuster, 1956). u Some critical insights into the organization man as hero are offered by Whyte’s The Organization Man in a chapter titled "The Organization Man in Fiction."3 Whyte’s central observation concerning this new popular literature is the presentation of the lack of a hero of tradition; or, if the hero does exist, the theme of consonance in the universe por­ trayed, a microcosm of smiling faces where everyone loves his boss, the system prevails, and two cars in every suburban garage. "Since 1900, to recapitulate, the vision of life presented in popular fare has been one in which conflict has slowly been giving way to adjustment."U That is, the pro­ tagonist now politely and graciously backs away from any type of rebellion, and more readily accepts the status quo. Whyte discusses The Caine Mutiny to prove his case, and also cites random fiction from contemporary slick magazines. "High Noon" is also, quite interestingly, viewed as a morality play and a dramatization of the failure of the sense of community, The American sheriff sincerely tries to avoid confrontation; but he is sheriff, and accepts the role imposed on him by the system. Quite clearly, however, the need for the individual hero is still necessary for the perpetuation of the system— and the spy novel has assumed this same posture. William Whyte seems to further indicate that the "hero of assent" is a quite recent (since 1900) involution of the hero of tradition. The hero, however, has been wrestling 3Ibid., pp. 2U3-67. Ulbid., p. 255 5 with overpowering "systems" and "organizations" for some time. The system has been, by osmosis or perhaps evolution of the species, gradually and unobtrusively taking over the lives of individuals. This is history, and perhaps re­ flective of the course of Western civilization. But even the earliest of our Western predecessors were aware of this mighty struggle between the hero and the organization. The Greeks had at least two dramatizations of this conflict in the stories of Prometheus and Antigone. In that ancient con­ text, the "organization" was the laws of the gods and the city-state. Both Prometheus and Antigone suffered retri­ bution for challenging the system and for following that peculiar inner voice which makes martyrs and heroes of mortal men.
Load more

Recommended publications
  • {FREE} the Confidential Agent: an Entertainment
    THE CONFIDENTIAL AGENT: AN ENTERTAINMENT PDF, EPUB, EBOOK Graham Greene | 272 pages | 22 Jan 2002 | Vintage Publishing | 9780099286196 | English | London, United Kingdom The Confidential Agent: An Entertainment PDF Book Graham Greene. View all 3 comments. I am going to follow this up with The Heart of the Matter. Neil Forbes Holmes Herbert This edition published in by Viking Press in New York. This wistful romance is one of Greene's other masterstrokes of plotting; he is refreshingly unabashed about any pig-headed question of decency and he lets this romance flow in seamlessly and incidentally into the narrative to lend it a real heart of throbbing passion. Shipping to: Worldwide. Buy this book Better World Books. Seller information worldofbooksusa Not in Library. Clear your history. The confidential agent: an entertainment , The Viking Press. In a small continental country civil war is raging. It has a fast-moving plot, reversals of fortune, and plenty of action. It is not exactly foiling a diabolical conspiracy perpetuated by a grand, preening super-villain or sneaking behind enemy lines. Looking for a movie the entire family can enjoy? The Power And The Glory was a deliberate exercise in exploring religion and morality, and Greene did not expect it to sell very well. Edit Did You Know? Well, it is. So, despite a promising start and interesting plot, the story itself loses grip on a number of occasions because there is little chemistry, or tension, between the characters - not between D. So he writes this book in the mornings, then writes the "serious" novel in the afternoons; whilst helping dig trenches on London's commons with the war looming.
    [Show full text]
  • A Differential Fault Attack on MICKEY
    A Differential Fault Attack on MICKEY 2.0 Subhadeep Banik and Subhamoy Maitra Applied Statistics Unit, Indian Statistical Institute Kolkata, 203, B.T. Road, Kolkata-108. s.banik [email protected], [email protected] Abstract. In this paper we present a differential fault attack on the stream cipher MICKEY 2.0 which is in eStream's hardware portfolio. While fault attacks have already been reported against the other two eStream hardware candidates Trivium and Grain, no such analysis is known for MICKEY. Using the standard assumptions for fault attacks, we show that if the adversary can induce random single bit faults in the internal state of the cipher, then by injecting around 216:7 faults and performing 232:5 computations on an average, it is possible to recover the entire internal state of MICKEY at the beginning of the key-stream generation phase. We further consider the scenario where the fault may affect at most three neighbouring bits and in that case we require around 218:4 faults on an average. Keywords: eStream, Fault attacks, MICKEY 2.0, Stream Cipher. 1 Introduction The stream cipher MICKEY 2.0 [4] was designed by Steve Babbage and Matthew Dodd as a submission to the eStream project. The cipher has been selected as a part of eStream's final hardware portfolio. MICKEY is a synchronous, bit- oriented stream cipher designed for low hardware complexity and high speed. After a TMD tradeoff attack [16] against the initial version of MICKEY (ver- sion 1), the designers responded by tweaking the design by increasing the state size from 160 to 200 bits and altering the values of some control bit tap loca- tions.
    [Show full text]
  • Cedric Jimenez
    THE STRONGHOLD Directed by Cédric Jimenez INTERNATIONAL MARKETING INTERNATIONAL PUBLICITY Alba OHRESSER Margaux AUDOUIN [email protected] [email protected] 1 SYNOPSIS Marseille’s north suburbs hold the record of France’s highest crime rate. Greg, Yass and Antoine’s police brigade faces strong pressure from their bosses to improve their arrest and drug seizure stats. In this high-risk environment, where the law of the jungle reigns, it can often be hard to say who’s the hunter and who’s the prey. When assigned a high-profile operation, the team engages in a mission where moral and professional boundaries are pushed to their breaking point. 2 INTERVIEW WITH CEDRIC JIMENEZ What inspired you to make this film? In 2012, the scandal of the BAC [Anti-Crime Brigade] Nord affair broke out all over the press. It was difficult to escape it, especially for me being from Marseille. I Quickly became interested in it, especially since I know the northern neighbourhoods well having grown up there. There was such a media show that I felt the need to know what had happened. How far had these cops taken the law into their own hands? But for that, it was necessary to have access to the police and to the files. That was obviously impossible. When we decided to work together, me and Hugo [Sélignac], my producer, I always had this affair in mind. It was then that he said to me, “Wait, I know someone in Marseille who could introduce us to the real cops involved.” And that’s what happened.
    [Show full text]
  • Ariadne and Dionysus
    Ariadne and Dionysus. Foreword. The Greek legends, as we know them from Homer, Hesiod, and other ancient sources, have their origins in the Bronze Age about the time of the thirteenth century B.C., which is when many scholars think something resembling the Trojan War may have taken place. The biblical Abraham may be of the same period. It was a time when the concept of Earth as the great Mother-Goddess, immanent in all things as all things were in Her, was being replaced throughout the region by the idea of an external Sky God, probably introduced by the marauding nom- adic tribes coming down from the north. At the same time, and for the same reasons, the principle of matriarchy was being replaced by patriarchy. The transformation was slow and spor- adic but eventually complete, at least on the surface. The legends, repeated by story-tellers for centuries before they were written down, probably with many deviations from the original, were meant to be pleasing to men. It has been my object to imagine the same events from the point of view of the women concerned. To this end I have added "fictional" material of my own. The more familiar version of the story of Ariadne and Dionysus is that she married him after being abandoned by Theseus. Dionysus was either man or god, as with many of the old myth- ical characters. I have imagined that she gave birth to him. Some may complain of the way I tell it, but after so long a time, who knows? In all the legends there are different known versions.
    [Show full text]
  • Annotated Books Received
    ANNOTATED BOOKS RECEIVED A SUPPLEMENT OF TRANSLATION REVIEW Volume 9, No. 2 December 2003 THE UNIVERSITY OF TEXAS AT DALLAS ANNOTATED BOOKS RECEIVED All correspondence and inquiries should be directed to Translation Review The University of Texas at Dallas Box 830688 - JO51 Richardson, TX 75083-0688 Telephone: (972) 883-2092 or 883-2093 Fax: (972) 883-6303, e-mail: [email protected] Annotated Books Received, published twice a year, is a Supplement of Translation Review, a joint publication of the American Literary Translators Association and the Center for Translation Studies at The University of Texas at Dallas. ISSN 0737-4836 Copyright © 2003 by Translation Review. The University of Texas at Dallas is an equal opportunity/affirmative action employer. ANNOTATED BOOKS RECEIVED TABLE OF CONTENTS Arabic...................................................................................................................................1 Bosnian ................................................................................................................................1 Bulgarian..............................................................................................................................1 Catalan .................................................................................................................................1 Chinese.................................................................................................................................1 Dutch....................................................................................................................................4
    [Show full text]
  • By Royal Command Free Ebook
    FREEBY ROYAL COMMAND EBOOK Charlie Higson | 384 pages | 28 May 2009 | Penguin Books Ltd | 9780141322056 | English | London, United Kingdom The Beatles - By Royal Command (, Yellow, Vinyl) | Discogs The novel, written by Charlie Higsontakes place in and see James at the age of fourteen. Cover art By Royal Command a black and red By Royal Command Jack was not revealed until the day of publication. Cover artwork is by Owen Richardson. However, she soon realizes that he isn't the cell leader. He vainly tries to kill her but Sedova's bulletproof vest protects her and she manages to kill the imposter. She then finds a sheet of paper with a name from the past on it: By Royal Command Bond. During this time, Bond is on his way for a school skiing trip in Austria when he runs afoul By Royal Command a group of Hitler Youth members who call him a cheater for having won a game of poker. He beats them, gives them back their money, and tells them to play with good grace. Some time later, he arrives in Austria where he realizes that he is being followed. When he arrives at his hotel, he is still being followed. There, he meets with his friend Andrew Carlton and his teacher Mr. During a skiing outing, Bond goes after one of his classmates who is drunk and they get caught in an avalanche. He later By Royal Command out this man was the Graf Von Schlick. A few days later, the boys return to Eton where Bond is introduced to the new head of his House's Library, Theo Bentinck, a cruel and sadistic individual who enjoys tormenting the younger boys, and who immediately decides to target James for his abuse, knowing that he is not afraid of standing up to older students.
    [Show full text]
  • German Jewish Refugees in the United States and Relationships to Germany, 1938-1988
    UNIVERSITY OF CALIFORNIA, SAN DIEGO “Germany on Their Minds”? German Jewish Refugees in the United States and Relationships to Germany, 1938-1988 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Anne Clara Schenderlein Committee in charge: Professor Frank Biess, Co-Chair Professor Deborah Hertz, Co-Chair Professor Luis Alvarez Professor Hasia Diner Professor Amelia Glaser Professor Patrick H. Patterson 2014 Copyright Anne Clara Schenderlein, 2014 All rights reserved. The Dissertation of Anne Clara Schenderlein is approved, and it is acceptable in quality and form for publication on microfilm and electronically. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Co-Chair _____________________________________________________________________ Co-Chair University of California, San Diego 2014 iii Dedication To my Mother and the Memory of my Father iv Table of Contents Signature Page ..................................................................................................................iii Dedication ..........................................................................................................................iv Table of Contents ...............................................................................................................v
    [Show full text]
  • Dragonslayer Pdf, Epub, Ebook
    DRAGONSLAYER PDF, EPUB, EBOOK Jennifer L Holm,Matthew Holm | 91 pages | 25 Aug 2009 | Random House USA Inc | 9780375857126 | English | New York, United States Dragonslayer PDF Book Oziach says that to be able to buy a rune platebody from him, you have to kill the green dragon , Elvarg , located on the desolate island of Crandor. Ignoring them, Rowan told Leaf about what the Dragonslayer did, and Leaf immediately wished to become a dragonslayer himself, but his parents strongly disapprove of the idea. Graphic artist David Bunnett was assigned to design the look of the dragon, and was fed ideas on the mechanics on how the dragon would move, and then rendered the concepts on paper. He was looking outside his window hoping that Wren would come back to The Indestructible City. Guts uses the empowered sword to deal a blazing blast to the Kundalini aiding Daiba, causing the magical beast's large water form to dematerialize. He is essential and will only fight for a short time before returning to his post. The screenplay was eventually accepted by Paramount Pictures and Walt Disney Productions , becoming the two studios' second joint effort after the film Popeye. Archived from the original on August 20, Kevin Thomas of the Los Angeles Times called Vermithrax "the greatest dragon yet", and praised the film for its effective evocation of the Dark Ages. Screen Rant. Wren and Sky saw a few sea dragons, and Sky suddenly exclaimed that Wren could ride on him. Massive, thick, heavy, and far too rough. Dragon Slayer is a free-to-play quest often regarded as the most difficult to free players.
    [Show full text]
  • Double Agent
    Double Agent InstItute of contemporAry Arts Double Agent pAWeŁ ALTHAMER / NOWolIpIe GROUP pHIl COLLIns DorA gArcÍA cHrISTOPH scHlINGENSIEF bARBArA VISSER DONELLE WOOLFORD ARTUR zmIJeWsKI curAteD by claire BisHop AnD MarK slADen InstItute of contemporAry Arts contents 09 IntroDuctIon claire bishop and mark sladen 13 pAWeŁ AltHAmer / pAWeŁ AltHAmer / NOWolIpIe group noWolIpIe group claire bishop 23 pHIl collIns stAgIng A terrAIn of sHAreD DesIre claire bishop and phil collins 35 DorA gArcÍA trA nscrIpt of INSTANT NARRATIVE (IN), 2006 – 08 49 cHrIstopH PERFORMING lIKe An ASYLUM SEEKER: scHlIngensIef pArADoXes of Hyper-AutHentIcIty In scHlIngensIef’s PLEASE LOVE AUSTRIA silvija Jestrovi c 63 bArbArA VIsser trAnscrIpt of LAST LECTURE, 2007 75 Donelle WoolforD DIscussIon WItH Donelle WoolforD At tHe IcA 95 Artur zmIJeWsKI Artur zmIJeWsKI AnD THEM, 2007 111 conteXtuAl mAterIAl 112 outsourcIng AutHentIcIty? DelegAteD performAnce In contemporAry Art claire bishop 128 performAnce In tHe serVIce economy: outsourcIng AnD DelegAtIon nicholas ridout 134 ArtIsts‘ bIogrApHIes 136 contrIbutors 138 colopHon 8 Double Agent prefAce 9 paweł althamer / nowolipie group In the early ’90s Paweł Althamer was among the first of a new generation of artists to produce events with non-professional performers; his early works in volv ed collaborations with homeless men and women, gallery invigilators, and children. IntroDuctIon Much of Althamer’s practice stems from his identi- fication with marginal subjects, and comes to claire bishop and mark sladen constitute an oblique form of self-portraiture. For over a decade, Althamer has led a ceramics class for the Nowolipie Group, an organisation in This book has been produced to accompany Warsaw for adults with multiple sclerosis and other the ICA exhibition Double Agent, an exhibition of disabilities.
    [Show full text]
  • Introduction
    Notes INTRODUCTION 1. Graham Greene (ed.), The Old School (London: Jonathan Cape, 1934) 7-8. (Hereafter OS.) 2. Ibid., 105, 17. 3. Graham Greene, A Sort of Life (London: Bodley Head, 1971) 72. (Hereafter SL.) 4. OS, 256. 5. George Orwell, The Road to Wigan Pier (London: Gollancz, 1937) 171. 6. OS, 8. 7. Barbara Greene, Too Late to Turn Back (London: Settle and Bendall, 1981) ix. 8. Graham Greene, Collected Essays (London: Bodley Head, 1969) 14. (Hereafter CE.) 9. Graham Greene, The Lawless Roads (London: Longmans, Green, 1939) 10. (Hereafter LR.) 10. Marie-Franc;oise Allain, The Other Man (London: Bodley Head, 1983) 25. (Hereafter OM). 11. SL, 46. 12. Ibid., 19, 18. 13. Michael Tracey, A Variety of Lives (London: Bodley Head, 1983) 4-7. 14. Peter Quennell, The Marble Foot (London: Collins, 1976) 15. 15. Claud Cockburn, Claud Cockburn Sums Up (London: Quartet, 1981) 19-21. 16. Ibid. 17. LR, 12. 18. Graham Greene, Ways of Escape (Toronto: Lester and Orpen Dennys, 1980) 62. (Hereafter WE.) 19. Graham Greene, Journey Without Maps (London: Heinemann, 1962) 11. (Hereafter JWM). 20. Christopher Isherwood, Foreword, in Edward Upward, The Railway Accident and Other Stories (Harmondsworth: Penguin, 1972) 34. 21. Virginia Woolf, 'The Leaning Tower', in The Moment and Other Essays (NY: Harcourt Brace Jovanovich, 1974) 128-54. 22. JWM, 4-10. 23. Cockburn, 21. 24. Ibid. 25. WE, 32. 26. Graham Greene, 'Analysis of a Journey', Spectator (September 27, 1935) 460. 27. Samuel Hynes, The Auden Generation (New York: Viking, 1977) 228. 28. ]WM, 87, 92. 29. Ibid., 272, 288, 278.
    [Show full text]
  • From Dimitrios with Love Ian Fleming’S Cold War Revision of Eric Ambler’S a Coffn for Ififrr Fos
    From Dimitrios with Love Ian Fleming’s Cold War Revision of Eric Ambler’s A Coffn for ififrr fos LUCAS TOWNSEND One of the most recognisable titles of Cold War popular fction is certainly Ian Fleming’s 1957 no el From Russia With Love! Listed among American $resident %ohn F! &ennedy’s top ten fa ourite no els in Life magazine and later mar(ing Sean Connery’s second flm appearance as %ames *ond+ Russia occupies a cross, roads of multilateral Cold War culture, becoming a -uintessential mar(er of the deadlocked political tensions bet.een /ast and West! Russia .as a noticeable de, parture from the successful formula Fleming de eloped in the four *ond no els that preceded it0 Casino Royale+ Live and Let Die+ Moonraker+ and Diamonds Are For- ever! In Russia+ *ond’s chief 1 orders him to Istanbul on a mission to 2pimp for England3 4Fleming 5615b, 1177 and seduce the beautiful So iet cipher cler( 8a, tiana 9omano a. In e:change, 8atiana ofers a cutting-edge So iet encryption machine, the )pe(tor! As the reader learns from the opening section of the no el+ this is an elaborate ploy+ a 2honey trap3 laid by the So iet <nion’s )1/9)=1 intelligence branch to cripple the reputation of the *ritish Secret Ser, ice in a murder-suicide se: scandal in ol ing their best agent! Russia’s uni-ue 1 #s Fleming defnes it+ 2)1/9)= is a contraction of >)miert )pionam ?Смерть Шпионам@+’ .hich means >Aeath to )pies’3 45615b+ 577! )1/9)= 4СМЕРШ 7 .as a real col, laborati e department of se eral )oviet counterintelligence agencies! Lucas Townsend is .n /A 0.n*i*.)e in Englis1 .) 2lori*.
    [Show full text]
  • SPECIAL SCENARIO: DRAGONSLAYER V1.0
    SPECIAL SCENARIO: DRAGONSLAYER v1.0 In a deep dark cave, somewhere in the heart of The Worlds Edge Mountains, something stirred. Something huge. It lifted its head, groaned, and let it fall to the cavern floor again. "Just another few years", it promised itself, falling back into a doze. As it slumbered, it dreamed. It saw the world as it used to be, seven thousand years ago, felt the noiseless explosion which threw the second moon into the sky. It dreamed of the armies of gibbering, twisted things which poured across the land. The Dragon stirred uneasily as the dream shifted. It saw a strange figure step forward, saw the glowing axe, and shuddered as the awesome weapon struck it. Then it jerked awake. "That dream again" it rumbled to itself. The Dragon pulled itself to its feets. Gaping wounds opening along the length of its great body - they should have been fatal, but the Dragon would not find death so easily. It roared as its head brushed the wall, jarring its broken tooth and aggravating its abscess - the size of a man's head - which lay beneath it. For hours it raged. Then its eye lit on the great Dragon skull which lay just outside. "Yes" it rumbled, "I must pull myself together. Things to do". It remembered the murder of its beloved mate, and grunted. "Hmm... I can still remember his powerful face, " it mused, "My pain gets worse. But I'll sort it out. I'll kill every one of those little creatures that tries to steal my gold.
    [Show full text]