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From Dimitrios with Love Ian Fleming’S Cold War Revision of Eric Ambler’S a Coffn for Ififrr Fos

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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 $resident %ohn F! &ennedy’s top ten fa ourite no els in Life magazine and later mar(ing Sean Connery’s second flm appearance as %ames *ond+ Russia occupies a cross, roads of multilateral Cold War culture, becoming a -uintessential mar(er of the deadlocked political tensions bet.een /ast and West! Russia .as a noticeable de, parture from the successful formula Fleming de eloped in the four *ond no els that preceded it0 Casino Royale+ Live and Let Die+ Moonraker+ and Diamonds Are For- ever! In Russia+ *ond’s chief 1 orders him to Istanbul on a mission to 2pimp for England3 4Fleming 5615b, 1177 and seduce the beautiful So iet cipher cler( 8a, tiana 9omano a. In e:change, 8atiana ofers a cutting-edge So iet encryption machine, the )pe(tor! As the reader learns from the opening section of the no el+ this is an elaborate ploy+ a 2honey trap3 laid by the So iet <nion’s )1/9)=1 intelligence branch to cripple the reputation of the *ritish Secret Ser, ice in a murder-suicide se: scandal in ol ing their best agent! Russia’s uni-ue 1 #s Fleming defnes it+ 2)1/9)= is a contraction of >)miert )pionam ?Смерть Шпионам@+’ .hich means >Aeath to )pies’3 45615b+ 577! )1/9)= 4СМЕРШ 7 .as a real col, laborati e department of se eral )oviet counterintelligence agencies! Lucas Townsend is .n /A 0.n*i*.)e in Englis1 .) 2lori*. A)lan)i0 Uni3ersi)4% 5is prim.r4 rese.r01 in)eres)s in0lude )he .ppli0.)ion o6 S)ru0)ur.lis) )heories )o )wen)ie)1!0en! )ur4 specula)i3e .n* genre 6i0)ion8 especi.lly in )he wor9s o6 Ag.)1. Chris)ie8 I.n 2leming8 .nd 5%:% Lo3ecr.;% Volume 3 · Issue 1 · Spring 2020 ISSN 251 !21"# DOI$ 10%2 #""&'bs%5 Dis)ribu)ed under CC +, %0 U- narrati e structure 4the frst ten of the no el’s t.enty-eight chapters are dedi, cated to the internal machinations of )1/9)= before fnally introducing a *ond su;ering from his relegation to 2the soft life3 4ibid!+ 977 of desk .or( in the ele enth chapter7 certainly raises -uestions about the nature of Fleming’s .riting process. Writing al.ays exists in a re isionary con ersation .ith nearly all .rit, ings that come before, leading to conscious and unconscious meaning-making from these pre ious te:ts. 8his is no di;erent for Fleming, .ho operates on %ulia &riste a’s idea that the text 2is a permutation of te:ts, an intertextuality0 in the space of a gi en text+ se eral utterances, taken from other te:ts, intersect and neutrali'e one another3 419C6+ DE7! =o.e er+ to be more accurate, Russia actually adopts Férard Fenette’s concept of hypertextuality outlined in his Palimpsests! =ypertextuality+ Fenette argues, 2refers to any relationship uniting a text * 4.hich I shall call the hypertext7 to an earlier text # 4I shall+ of course, call it the hypotext7+ upon .hich it is grafted in a manner that is not that of commentary3 41997a, 57! $erhaps the most .ell,(no.n example of a hypertextual re.riting is the 1955 no el Ulysses by %ames %oyce, a 1odernist retelling of the =omeric tradi, tion’s dyssey! "i(e.ise, Fleming’s Russia contains more than a fe. passing simi, larities to Eric Ambler’s 19D9 inter.ar thriller A Co!n for DimitriosH the presence of Ambler’s no el 4the original <& title of .hich .as "he Mask of Dimitrios7 .ithin 667’s attachG case gi es a not-so-subtle clue to Fleming’s primary literary inIu, ence on his conscious hypertextual construction of the fBh *ond no el! %ames *ond’s personal library is surprisingly .ell-de eloped for a profes, sional secret agent! While some of the boo(s *ond peruses are for the purposes of gathering information for his mission J such as $atrick Leigh Fermor’s Carib, bean tra elogue "he "raveller#s "ree in Live and Let Die 4Fleming 5615a, 5D7 J *ond primarily reads for pleasure: a 9aymond Chandler no el in an airport 4Fleming 5615c, 5ED7+ &ennedy’s Pro$les in Coura%e in a resort hotel room 4Flem, ing 5615d+ EE7+ a Ferman thriller of Fleming’s creation 4&erder't( &erdammt( &er- raten7 in the safe house of 28he Li ing Aaylights3 4Fleming 5615e, 757+ or any number of sporting manuals on golf and card,playing. *efore a storm thrashes his */# Iight to Istanbul in Russia+ *ond+ .e are told+ 2reached for the slim, e:, pensi e-looking attachG case on the Ioor beside him and took out "he Mask of Dimitrios by Eric Ambler and put the case, .hich .as ery hea y in spite of its si'e, on the seat beside him3 4Fleming 5615b, 11K,1157! Fleming pays homage to Ambler’s legacy by implicitly using Férard Fenette’s aforementioned idea of hy, pertextuality0 A Co!n for Dimitrios is ery much the hypotext for Fleming’s no el! Fleming creates a hypertext of Co!n to modernise 4or rather+ postmodernise7 many elements of Ambler’s no el J but especially by creating a Cold War parable 2 In)ern.)ion.l <ourn.l o6 <.mes +on* Studies · Volume 3 · Issue 1 · Spring 2020 through the struggle bet.een %ames *ond and So iet agent Aono an 29ed3 Frant+ by re.riting Ambler’s emblematic inter.ar protagonist Charles "atimer and antagonist Aimitrios Ma(ropoulos. *ond’s copy of Co!n also sa es his life during his climactic sho.do.n .ith Frant on the Orient /:press. *y including the text of Co!n as a signifcant plot-object .ithin the narrati e of Russia+ Flem, ing ofers a metafctional signal to both the reader and to *ond himself 4should he actually fnish reading Co!n7 of the imminent danger to be found in the post, World War II chaos of Europe. Ambler’s Co!n details the chance encounter of detecti e no elist Charles Latimer .ith the cold,case of one Aimitrios Makropoulos, an international criminal,for-hire .ho has run the gamut of assassination+ espionage, drug smug, gling, and human trafcking under arious assumed names. Aimitrios has Lust been found dead in the *osphorus, and Latimer becomes obsessed .ith .riting the 2strangest of biographies3 4Ambler 5661+ DK7 of the deceased Aimitrios, a man .ho has achie ed a certain mythological status as a larger-than-life criminal .ith a hand in almost e ery international intrigue since his escape from 8ur(ey si:teen years before. Fleming’s Russia shares more than Lust a fe. cursory similarities .ith the set, ting, plot+ and characters of Ambler’s text! *oth no els open on a palatial resi, dence o erlooking the *lack Sea, .ith Latimer frst entering the no el at Madame Cha ez’s *osphorus mansion+ .hile Frant J in .hat <mberto /co sug, gests is an opening reminiscent of a flm title sequence 4566D+ 517 J is introduced at his 9oseland estate on the Crimean peninsula. *oth narrati es take place across an East,West di ide, set in Istanbul and across the *al(ans, and both ma(e signifcant use of the Orient /xpress, already a symbol of international intrigue and opulence replicated in earlier .or(s such as Fraham Freene’s )tam'oul "rain 419D57 and Agatha Christie’s Murder on the rient *xpress 419DK7! 8he morally enig, matic friend,foe Mr! $eters tells Latimer he used to smuggle heroin to $aris through a train car on the Orient /:press, and Fleming references this specifc scene during *ond and &erim’s con ersation about the conductor of the Orient Express: 2=e belie es .e are after a smuggling gang. 8hey’re al.ays using this train for running 8ur(ish opium to $aris3 4Fleming 5615b, 5157! As Oli er *uck, ton notes in regard to the 2mask3 of Aimitrios, the 2purpose of the >mask’ 4re, ferred to in the <& title7 is not Lust limited to Aimitrios, .ho uses se eral false identities[H@ most of the characters .ear a mask of some (ind3 45615+ CD7! Fit, tingly+ Fleming names the cabal of *ulgarian spies in Istanbul .hich *ond en, counters 28he Faceless Ones3 4Fleming 5615b, 1577! Other aspects liBed from L. To7nsen* · I.n 2leming=s Col* W.r >e3ision o6 Eri0 Am(ler=s A Coffin for iiiitr ios 3 Ambler are more tongue-in-chee(+ such as Co!n’s Marxist reporter Maru(akis’s claim to Latimer that 2?i@f an assassination is going to be good for business, then there .ill be an assassination ?N@ the assassin .ill not steal forth from a board meeting” 4Ambler+ 957H the )1/9)= forum .hich orders *ond’s murder is -uite literally a 2board meeting” that arranges for assassinations. Russia also updates se eral characters from Co!nH Mr! $eters becomes the 8ur(ish agent Aar(o &erim, an ally to *ond in the employ of the *ritish Secret Ser ice,5 .hile )1/9)=’s conference room in Fleming’s no el seems to dra. in, spiration from the 8ur(ish Colonel Oia =aki+ .ho frst informs Latimer of Aim, itrios’s dar( history!D Latimer and *ond also share the same absurd obli iousness to their surroundings and se eral impending .arning signs of danger0 Latimer’s in estigations into the past of Aimitrios are easily tracked by Mr! $eters and lead to his -uick capture, .hile *ond is uncharacteristically trusting of ob ious traps and enemies 4such as a disguised Frant on the Orient /:press or the hidden sur, eillance equipment in the honeymoon suite of his hotel7!K 8he reader is gi en little chance to sympathise .ith either of the protagonists, as the narrator is im, mediately distanced from both! Latimer is scorned+ .e are informed+ e en by 2superhuman La.+ ?as the@ choice of "atimer as its instrument could ha e been only made by an idiot3 4ibid!+ 167+ and *ond’s belated entry into the no el aBer the detailed introductions of )1/9)= operati es Frant+ Frubo'aboyschi(o + &ronsteen+ &lebb, and 9omano a J .ho refer to *ond as a 2dangerous profes, sional terrorist3 4Fleming 5615b, 517 J prompts the reader to.ards a respectful understanding of the no el’s illains.
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