Masaryk university

194 Fleming, Ian. Casino Royale. London: Penguin Books Ltd., 2002. P. 056-057.

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adversaries. The proposal was made in the sense that Le Chiffre will be gambled by the Secr et Service´s best gambler who should be prese nte d by James Bond. Bond is chosen and dispatched to Royale. Having had problems, Bond is rescued by Felix Leiter, the CIA observer, who gave him a big loan to beat the villain., Felix Leiter cooperates with Bond. There is a difference of emphasis between Bond and him. Leiter is less inclined to see the world in confronta tional te rms. Bond´s gambling skill s are a measure of his level and style. Skill at gambling and knowledge of how to behave at a casino were depicted by Fleming as important rules of a gent le man that were significa nt to Bond´s char act er and nature. In my opinion, travelling, luxury cars and games are the central features to any Bond novel. No matter in what kind of game Bond is involved, he is demonstrated to manage anything and everywhere. After the card game at Royale, Vesper Lynd, Bond´s help is kidnapped by Le Chiffre, and the pursuing Bond was captured and tortured. Bond was again provided with a chance to escape. The torture is cut short as an agent of SMERSH arrives and shoots Le Chiffre. Le Chiffre is killed by SMERSH while controlling Bond. SMERSH was introduced at the beginning of the novel as the fearsome Soviet counterintelligence network. Bond is told of the devastation of Co mmunist morale caused by the exposur e and collapse of Le Chiffre´s system. B ond te lls his French contact, René Mathis from the Secr et Service that thi s cou ntry business which he considers to be right/wrong, is getting a little out of date. Mathis criticized Bond as an anarchist. In Casino Royale the question of the validity of killing is in centre of attention. The nature of SME RSH´s act ivi ties hel ped to justify Bond´s miss ion and deeds. Bond is created and considered as the servant of justice. Bond was not primarily an agent who responded to incidental challenges. His world was shaped and given. He does not kill without possibility of thinking. Bond was created as a killer, but not as a terrorist or a simple criminal. Bond can not accept a way of life without action and continuous motion. Peace and rest kill him. The need to be a man of action, his duty and his conscience create psychological tensions throughout al l Bond´s car eer and devel opment . The aut hor pai d attention al so to the wo men´s el ement . B ond has an affai r with Vesper. She tells Bond about the details of the complot to kill him on the streets of Royale. Le Chiffre wanted to destroy his own people as well as his opponents. The killing of Bond was left to three Bulgarians, which were held in France for this sort of work – saboteurs. The Bulgarians refused to obey the instructions and it was fatal to them, not to Bond.

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“Appar ently they were p ar t of a p ool held in France for this sort of job – saboteurs, thugs, and so on – and Mathis´s friends ar e alread y trying to round up the rest. They were to get two million francs for killing you and the agent who briefed them told them there was absolutely no chance of being caught if they followed his instructions exactly.” Sh e took a sip of vodka. “But this is the interesting part.” “Th e ag ent gave them the two camera -cases you saw. He said the bright colors would make it easier for them. He told them that the blue case contained a very overfull smoke-bomb. The red case was to press a switch on the blue case and they would escape under cover of the smoke. In fact, the smoke-bomb was a pure invention to make the Bulgarians think they could get away. Both cases contained an identical highexplosive bomb. There was no difference between the blue and the red cases. The idea was to destroy you and the bomb-thr owers without trace. Presumably there were oth er plans for dea ling with the third man. ”

195

196 At the end, Vesper, decides to commit suicide. Before the act, she wrote a letter to Bond that she was a Soviet double agent. Her boyfriend, ex RAF Pole, was a British agent, captured in Poland, also tortured, but kept alive in order to force Vesper to cooperate. Her cooperation was connected with the fulfillment of the plans to destroy Bond. For Fleming and Bond, the Soviets replaced the Nazis in a story (another totalitarian system). Vesper ´s suicide le ads Bond to resolve how to fight and destroy SMERSH, which he sees as the biggest terror within the Soviet espionage. The book cl oses with the words “ The bitch is dead now,” a reference to Vesper and her betrayal of him, but keeping it in Bond´s do ubts.

197“Th is is 007 spea king. This is an open line. It is an emergency. Can you hear me? Pass this on at once. 3030 was a double, working for Redland. “Yes, dammit, I said “was”. The bitch is d ead now.”

Bond´s need for the American money at Royale reflected the significant position of the United States in the defense of the West world. There were also differences of opinion and thinking between Britain and America, especially outside Europe. The British wish to preserve and strenghten their empire and potential clashed with American interest. Fleming did not stress this Anglo-American clash in his novels, but he was aware of it and at times his plots can be seen as efforts to create an impression of the

195196 Fleming, Ian. Casino Royale. London: Penguin Books Ltd., 2002. p. 056-057. Fleming, Ian. Casino Royale. London: Penguin Books Ltd., 2002. p. 056-057.

197 Fleming, Ian. Casino Royale. London: Penguin Books Ltd., 2002. p. 181.

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198normality of British imperial rule and action, with Bond as a defender of empire. This is not, however, the case in Casino Royale. The novels of Fleming tend to feature a series of opposite pairs. Bond builds an opposite to a villain or to a charming lady. Also the political issue is based on the opposite, free west world versus communist world. This oppositions are presented also in Casino Royale (Bond vs. M, Bond vs. villain, Bond vs. woman...). Bond vs. M is a relationship which is connected with continuous development and continuous events. M features duty, loyalty and commands. Bond is the hero of a story and M is the one who is able to judge what is wrong or right. Bond does his job at the command of M. M is a boss over the hero who is dependent on him. M supplies Bond with commands for actions and missiles. M can be considered as a ruler and Bond as his vassal, as the knight who carries out the given tasks. When Bond is compared to the knight, any villain can be compared to monster, dragon or some other figure of such a character. The beautiful girls/women and villains build also the opposites. Bond is somebody like the medieval knight who saves the beautiful noble Ladies. “ Between the Free World and the Soviet Union, England and the non-Anglo-Saxon countries is realized the relationship flanked by the Privileged Race and the Lower Race, between White and Black, Good and Bad. “199 Bond is always put into conflict with the villain. Bond has an opposite character and appearance like a villain has. In Casino Royale Le Chiffre is pallid and smooth, with a crop of red hair, an almost feminine mouth, false teeth of expensive quality, small ears with large lobes, and hairy hands. He never smiles. 200 “ The villain is born in an ethnic area, mostly in East or Central Europe to Slav countries and the Mediterranean basin: usually he is of mixed blood and his origins are complex and obscure. He is asexual or homosexual, or at any rate is not sexually normal.” Le Chiffre, who organizes a movement in France, comes from a mixture of Mediterranean and Prussian or Polish strains and has Jewish blood. He betrays even his own bosses. The opposition is also striking in the relationship between the villain and the woman – Vesper is blackmailed by the Soviets represented by Le Chiffre. Vesper Lynd carries in Casino Royale both

198 199 Lindner, Christoph. The James Bond phenomenon. A critical reader. Manchester: Manchester University Press. 2003. p. 45 200 Lindner, Christoph. The James Bond phenomenon. A critical reader. Manchester: Manchester University Press. 2003. p. 40 Fleming, Ian. Casino Royale. New York: Penguin Books. 2002. P.002-3,013

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roles of the girl and villainess. She pretends love and interest to Bond, but in the end it is found out that she was an enemy agent. Bond´s love was changed into hatred.

7.2 Funeral in Berlin

201 In Deight on´ s first books there is little action like in the stories of James Bond. His first novels featured an anonymous nameless hero, who was later introduced with the name as Harry Palmer. Harry Palmer appeared in Deight on´s novel called The Ipress File in 1962 for the first time and was fictional secret agent protagonist. Deighton wrote altogether 6 novels featuring this nameless spy, two of which were turned into movies with Michal Caine as a main figure. Palmer had a silly and unglamorous name, simply common name, because the author wanted to create completely different type as Ian Fleming´s James Bond. Deight on´s spy is namely described as a spy from working class, living in a small flat and doing his shopping in supermarkets. He wears glasses, is not as elegant and charismatic as James Bond. He is completely the opposite to James Bond. His hero has no affairs with women and he is not successful with them, though he likes them (unlike Andy Osnard from The Tailor of Panama). Harry Palmer is a courageous, a common government man who goes into danger where seldom somebody would dare to go. He seems to be simply ordinary. He represents whoever from normal population, he does not behave like some flash superman James Bond. Palmer is created and shaped as the opposite of Fleming´ s Bond. He has no family, he is lonely, he is poor and he comes from a poor background. He is subordinated to the bosses. Palmer has no pleasure in his job. He as a working fellow is undisciplined, but he gets his work done. Actually he has a certain strong feature of anarchy inside him. But he is not arrogant, but simple and nice. He does not respond with anger and grievance. His figure is not exaggerated as James Bond figure, he is not glamorized. Palmer as a spy attempts to stay authentic. He takes pleasure in classical music and food and is bad at solving of crosswords. At the beginning Deighton´s novels are written in the first person. The main figure, the main character is never named, it is only a fictional secret agent. Later Deighton in his books breaks his rule by changing it into the third person.

201 Ousby, Ian. :Op.,cit.p. 266

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Also in Funeral in Berlin the hero uses only pseudonyms, a reader does not know his name. Most of the story is directed to Berlin where an old KGB boss plans his run-away to the West part of the city. The story starts with preparations made by Colonel Alexeyevitch Oleg Stock to sell an important Russian scientist Semitsa to the West for a very good price. The deal is negotiated with the help of Johnny Vulkan. British secret service accepts the proposal of the Russian, but under the condition that their own top secret agent stays in Berlin to act as required. The British secret service agent is sent to Berlin under the false passport name - Edmond Dorf. And Berlin was told to expect somebody like Edmond Dorf, Vulkan´s cas e officer for the oper ation with the code n ame King. Robin James Hallam, civil servant who is susceptible to blackmail and homosexual oriented, and Dawlish were helpful to Dorf during his missile.

202“So you ar e the man who is going to make Semitsa defect from Mos cow Acad emy of Sciences and come to work in the west. No, don´t tell me. ” He waved down my prote st with a lim p pa lm. “I ´ll tell you . In the last decade not one So viet scientist ha s defected westwar d. Did you ever as k you rself why?” I un wrapped on e of the sugar pieces. The pap er had “Lyons Corn er Hous e” p rinted on it in small blu e letters. “Th is fellow Sem itsa . A memb er of the Academ y. Not a party member because de do esn ´t need to be. Academy boys are the top dogs – the new elite. He probably gets about six thousands rubles a month. Tax paid. On top of that he can keep any money he gets for lecturing, writing or being on T.V. The restaurants are fabulous – fabulous. He has a town house and a country cottage. He has a new Zil every year and when he feels in the mood there is a special holiday resort on the Black Sea which only the Academy people use. If he dies his wife gets a gigantic pension and his children get special educational opportunities in any case. He works in the Genetic of Molecular Biology department where they use refrigerated ultra centrifug es”. Hallam waved his sugar cube a t me.

Soon it becomes obvious that behind the cover of the prepared funeral in Berlin a game of a certain strategy and tactics is hidden and that it was only a manoeuvre how to solve certain problems in the time of the Cold War, the rivalry between the West and the East.

203 Vulkan felt glad that Da wlish ´s bo y was heading back to London. He was all righ t as the Eng lish go, bu t you never knew where you were with him. That´s because the English we re amateurs – and proud of it. There were some days when Johnnie wished that he was working for the Americans. He had more in common with them, he felt.

202 203 Deighton, Len. Funeral in Berlin. London: Penguin Books Ltd. 1966. Pp. 10-11. Deighton, Len. Funeral in Berlin. London: Penguin Books Ltd. 1966. p. 50.

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Deighton is well known for his liking in providing his clues, instructions like using crosswords puzzles and crossword clues. His spy novels are witty and clever. Deighton consistently deglamorized the figure of the spy fiction. Deighton´s novels are supremely witty and highly entertaining and realistic.

7.3 The Tailor of Panama

Le Carr é published his novel called The Tailor of Panama in 1996. 204 It is one of his best novels. Le Carr é was inspired by Graham Gr eene ´s Our Man in Havana. If we bring close these two books, we must notice the fact that the plots of both novels are very similar as well as the setting of the stories. It is a spy thriller of the Cold War era, with the elements of black comedy, but simultaneously it offers a witty involution. Though it is the spy novel, there is not as much action as it is supposed to be in such a literary genre. This story is without any car chases or gunfights, but is full of blackmails, betrayals and intrigues. Andy Osnard is an MI6 spy sent to Panama after having a love affair with a girlfriend of his boss. Osnard believes that he can find and uncover something big that will enable him his return back to London´s Secret Service. He hopes for a big break that will pardon him from his previous offence and thus earn him a better position. He is disappointed with his present position. Panama is a corrupt place after gener al Norie ga´s reign. The Americans gave the Panama Canal back to Panama. Andy Osnard is not like James Bond to prevent some trouble, but on the contrary he wanted to start some. Osnard supposes that if he could find out where the status and backgrounds of the Canal issue is, London´s Secret Service will want to accept him back. The Panama Canal is for the British and as well as for the Americans very important. Anyone who wants to get to Central America must go through its door. Panama is a hot place for drugs, gun business and some other things. Osnard needs somebody who would cooperate with him and who would supply him with the necessary information. And he sees such a man in the tailor Harry Palmer, who makes suits for Panama ´s el it e li ke the preside nt himsel f and anot her Panama´s 20 ruling families.

204 Ousby, Ian. :Op.,cit.p. 566

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“ Well, let me pu t it this way, Mr. Osnard. I´ll be serious, if you don´t mind. We dr ess presidents, lawyers, bankers, bishops, member of legislative assemblies, generals and admirals. We dress whoever appreciates

a bespoke suit and can pay for it regardless of color, creed or reputation. How does that sound? 205

Andy knows more about Harry that Harry would like. He knows that Harry is deep in debts, he needs cash because he owes the bank money and he must pay it back. Pendel ´s debts make his present life pretty hard. Harry could not resist when Andy told him that the British would pay for information concerning the status of the Canal. He agrees to provide Andy with the information about the political situation in Panama and starts to spin stories about people who knows. After he starts, he can not stop – the stories become more and more complicated, intricate and confused. Palmer spins a story that is not only taken as the truth but builds a real chain of events that threatens everything he values most in his life. Harry starts to tell Andy his stories which soon grab the attention of various British officials, even the Pentagon. Pendel thinks up a scenario, where the Panamanian government sells the Canal to an Asian buyer. The rumors of a possible sale of the Panama Canal to enemies of the West force Andy to keep the confidential information for himself before it is too late. False rumors concerning this sale and the false portrayal of retired Panamanian revolutionary, that all and other stuff spread by Harry Pendel cause problems and lead to the disturbances. Harry sells his best friend, exploits his clever and high-minded wife Louisa and jeopardizes her job with the people running the Canal. Andy chooses Pendel not just for his intimacy and contacts with the powerful, but mainly for his criminal record, his strange past and his enormous debts. Andy blackmailes Harry in this way. Osnard knows that Harry tells lies about his background. Harry needs money but he is too much of a gentleman to ask his clients to pay for their suits. So the cooperation with Andy was his solution from the financial crisis. His wife Louisa does not know anyt hing about his husband´s debts and the fact that he owes mo ney. She does not know anyt hing about Harr y´s re cr uit ment int o the world of spying by the British Secret Service. She does not even know that he cooperates with Andy Osnard, she suspects his husband of having a love affair. Louisa becomes increasingly suspicious of Harr y´s sudden peculiar behavi o r and willingness to spend so much time with Andy Osnard. She works for the people running the Canal as an

205 Le Carr é, John. The Tailor of Panama. London: Hodder & Stoughton Ltd. 1996. p. 34.

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assistant. And Andy persuades the tailor to spy on his own wife in order find out what the President plans on doing with the Canal. In spite of all those gossips, Louisa remained untouched by her husband´s behaviour which emerged him in the midst of an international clash and action. Harry Pendel is a child of street, an orphan brought up by his Jewish uncle Benny in London. His father was a deserting Jewish and his mother Irish catholic. He learned his sewing skills in a Brit ish pri son where he was sent for ar son. Harr y´s comfort abl e famil y life and joy at being a family man and the father of 2 kids is lost with the activities which he starts to do for Andy Osnard. Harry was a liar, there never was a Braithwaite or any royal appointment, or even Saville Row. By telling all his lies he wants to hide his mystery and strange background.

206“You´re 906017 Pend el, convict and ex-juvenile deliquent, six years for arson, two-and-a-half served. Taught himself his tailoring in the slammer. Left the country three days after he had paid his debt to society, staked by his paternal Uncle Benjamin, now deceased. Married to Louisa, daughter of Zonian roughneck and Biblepunching schoolteacher, who dogbodies five days a week for the great and good Ernie Delgado over at the Panama Canal Commission. Two kids, Mark eight, Hannah ten. Insolvent, cour tesy´s o´ the rice farm . Pendel & B ra ithwa ite a load o´ bo llocks. No su ch firm existed in Sa ville Row. Th ere was never a liquidation because there was nothing to liquidate. Arthur Braithwaite on of the great characters o´ fiction . Adore a con. What lif e´s ab ou t. Don ´t give me that swivel -eyed loo k. I´m bonus. Answer to you r pr ayers. You hear ing me?”

Andy Osnard is the opposite of a Bond hero, rude, crude, rough, uncultivated, dishonest. Andy is described as a searcher for action and a man with the same interest in women like Bond. He is bad mannered and lacks the elegance which is typical for James Bond. Moreover he is also incapable of treating women with dignity and respects. He is not seen as the knight. He is a common man who earns his money by spying.

207Harry boy, my trouble is, everywhere I go, I come too and spoil it. “What ar e you, th en? Pend el demand ed of Osn ard with a stirring of trucu lence. “I ´m a spy. Spy for Merrie Eng land. We´re reopen ing Panama.”

With The Tailor of Panama L e Carr é focused on white imperialists of the local Panamanian culture and also on the individuals who actually live apart from those white

206 207 Le Carré, John. The Tailor of Panama. London: Hodder & Stoughton Ltd. 1996. p. 63-64. Le Carré, John. The Tailor of Panama. London: Hodder & Stoughton Ltd. 1996. p. 66.

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imperialist, outsiders who considered themselves to be superior. He criticizes the spoiled children of the Panamanian rich and all the corrupt acts and deeds in the society. Le Carr é´s major post-war concern in the themes like drugs, guns, undirected and uncontrolled intelligence agencies is apparent here. He wants to point out that there are corrupt institutions, people, manipulative press owners or industrial fabricants in the present world and the thoughtless pushing manner in which the United States applies military politics and their whole political affairs. Le Carr é´s work is in many ways a critical and realistic response to the glorified figure of James Bond in Fleming´s spy novels. Le Carré ´s protagonists are namely more realistic and the ir sit uations and circumsta nces ar e not as gla morous as James Bond ´s ones. His spies are more credible und trustworthy. All the characters are described with a breathtaking accuracy. Le Carr é shows them as human beings with their mistakes and problems, he gives a masterful portrayal of human weakness and imperfectness. He shows his readers what follows when human beings are driven by their greed. In his works there is only a minor degree of violence and action. The story is, first of all, based on an intellectual activity of his main heroes. In le Carré´s books the scent of skepticism can be found, but simultaneously his works are noted for their sense of humor

208 Writers such as Len Deigton, John le Carr é , and Ian Fleming achieved in spy literature a commercial success. “ With the arrival of these new authors such as Len Deighton (comes from area: north London), and John le Carr é (Oxford), a Foreign Office official “spy li terature ”, li ke satire, seemed to be turning into an industry. “ Fleming´s 007 thrillers are a historically specific variation of the imperial spy novel that like the novels of Len Deighton and John le Carré, belongs to the era of the Cold War politics and an emerging society of the spectacle. Consumerism and tourism are the post-war cultural codes that the Bond tests register and ultimately reinforce.” Le Carr é and Deighton depict and stress the moral conflicts and issue in espionage and also political conflict, particularly during the Cold War. Their spies are involved in crimes from inside and outside view of their governments and authorities. Bond is established as a hero not only by his actions and style, but also by the contrasts between him and the villains in the stories . Style is significant and crucial, at

208 Lindner, Christoph. The James Bond phenomenon. A critical reader. Manchester: Manchester University Press. 2003. p. 4

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209least for Bond, because most of the literary villains in the stories have no style. Style also locates and determines Bond socially in the society. Harry Palmer is not as stylish as Bond, he is a working class character. He is depicted as a common man. The same it is with Harry Palmer. Deight on´s hero, anonymous in the novels, portrayed as Harry Palmer in the films, was also purposely distanced and distinguished from Bond. He was also a British secret agent, but also unlike him, a working-class hero. “ Spy stories of le Carr é tells mostly tales of white-collar people and work, Flemin g´s adventures are really tales of leisure intended for entertainment, tales where leisure is not a packaged, commodified holiday, filling up a space of time off from work, an acceptable moment to kill time, but is an adventure, a meaningful time, a time of life and death – in the words of From Russia, With Love, a kil ling time .” Unlike Ian Fleming, both, Len Deighton and John le Carr é do not glamorize their spies but they try to present them in a realistic way with all their mistakes and imperfections.

209 Lindner, Christoph. The James Bond phenomenon. A critical reader. Manchester: Manchester University Press. 2003. p. 63

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8. Conclusion

The aim of my diploma thesis was to sum up and give a general survey of information concerning the spy fiction genre, its rise, nature, features, development and examples of the spy novels representing authors. I think that all the gathered information in this diploma thesis can help readers to get a better view of such an interesting genre in English literature like spy fiction is.

210 I am convinced that spy stories we have always had with us. Like everything else, they can be traced back to the Bible. Within the spy novel, we can find everything in the novel itself, from romance to bare realism, from junk to significant literature. Moreover espionage is becoming the reality which is closer to the average common man than at any previous time in history. People can better imagine what it means to be a spy and they can also imagine it in certain situations when they hear or read of international affairs, and the fact of espionage urges upon them even more tightly than that. People ´s participations in daily life have their own procedures, ways, strategies and methods of spying upon each other, and upon them. People are aware, tha nks to Geor ge Orwell´s prophe cy in 1984 (“ big brot her is watchi ng”), that some of the moments of their lives ar e unavail able to someone´s spy. People in short , are forced to accept espionage as part of human life, and thereby they try to get across it as a common part of any kind of fiction. Having followed most of the history of espionage, I noticed that the espionage in the past has made relatively a big progress. Spying has always been connected with its documentation which has met changes during its development as well. The first records concerning spying trace back to the Bible and since that time people always have the tendency to keep records about this special kind of activity and deeds. These records could have had various written forms and used various literary genres. Also the spy novel, the literary genre which is engaged in espionage and crime, went through changes. Since the first kept records when Moses used twelve men to spy out the land of Canaan over Alexander the Great ´s est abli shment of the earlie st posta l espi onage or to King Alfred the Great, who is consi der ed to be “ pioneer of the English secret service“, all these events were recorded in some way and are concerned with spy fiction. The methods, ways and genres of keeping records changed as the methods, ways and tactics

210 Nineteen Eighty-Four. Wikipedia Free Encyclopedia. 14 December 2009 < http://en.wikipedia.org/wiki/Nineteen_Eighty-Four

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of spying changed. With the subsequent spread of literacy the interest of people in stories with espionage elements grew. More people were able to read and more writers were expected to write about this matter, and the ways and forms of their writing were changing, especially with the introduction of the print medium. From at least the seventeenth century stories about various criminals were printed and sold at public executions depicting their criminal deeds. Newspapers and periodicals helped sales with good crime stories and during the eighteenth century biographies and autobiographies of criminals started to appear, together with various collections describing the careers of notorious murderers, burglars, highwaymen, vagabonds and pirates. In this respect it can be said that spy fiction takes its origin from so called Newgate fiction, which had a great influence on the authors of crime novel in general, and on the development of other literary genres like the sensational novel and the detective novel. Newgate novels were crime novels, and, in some respect historical novels, which depicted the adventure of various eighteenth-century criminals. Since the nineteenth century, literature with the intention to entertain started to appear and simultaneously it started to focus on the status of justice in the country. Later criminals did not stand in the midst of the interest, but those who followed and captured the criminals, in this respect, the rise of a literature of detection was given. There are spy elements in the Sherlock Holmes work and even before World War I there were such specialists in spy fiction as E. Phillips Oppenheim and the earlier and even less remembered William Le Queux. The trend of the unrealistic stream of glamour espionage to which Ian Fleming cling to the whole career carried through relatively a long time. Skillfully depicted with the elements both from literature and life, are the stories of John Buchan (The Thirty Nine Steps, 1915). Since the time of Buchan the British spy had begun to be presented with the elements of xenophobia. But the first stories of espionage with really realistic elements and character may be considered in “ Ashenden: or the British Agent” (1928) written by Somerset Maugham, who himself was active for the Foreign Office during the war. After the WWI and before WWII the international politics appeared in the midst of interest and the spy novel reached its ripeness, which was demonstrated by some works of the spy novel authors, e.g Eric Ambler with Background to Danger (1937) , Graham Greene with The Confidential Agent (1939). And due to all these facts a spy novel could be created as full-valued as any other kind and form of fiction. Later with the approaching threat of WWII, a number of authors changed their topics and themes, and

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turned for the first time to depict international intrigues and politics. After the war and restoration of normal life situation the same writers returned to their usual themes again. I would say that spy story and its next development, generally speaking, is in sound condition and on the good way today. Now there are lots of spy novel authors devoting presumably full time to such kind of fiction. First of all there ar e England´s John le Carr é, Len Deighton or Frederyck Forsythe who have a good taste for orientation in an international political development and intrigues, and then Amer ic an´s James Grady, Charles McCarry and Clive Eric Cussler, who writes political thrillers and stories from counter-espionage. Le Car ré and Deighton feature the conflicts with moral elements in espionage, and political conflict, particularly during the Cold War. Their spies are forced to face crimes from inside and outside view of their governments, authorities and secret services. Modern crime novels try, and often even successfully, to combine the common elements involved in spy story with the tendency to puzzle and surprise. In my opinion, British dominance in espionage literature has started to grow weak owing to a strong competition, but not British. Approximately since the 80´s of the twenty century, also many American authors like Robert Ludlow and Tom Clancy have competed their British counterparts, colleagues in writing the best-selling spy fiction. It is not obvious only to me, but to whoever else that the world of international politics is no longer perceived and viewed as western-centric or east-centric or even bipolar as it used to be during the period of the twentieth century, especially the second half of the twentieth century. As international secret services and agencies turn to current crises and cases like illicit traffic of drugs, trafficking and terrorism, white slavery, the diminishing world stage will be more and more reflected on the pages of the literature also in the following years. The end of the Cold War did not result in the doom and disappearance of the spy novel, but it led to reorientation of secret service agents and to the change of their tasks, and to a new target-determination of new potential enemies. In context of the events of 11 September 2001, the outline turns out what new course the genre of spy fiction will take.

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9. Resu m é

Té matem pro moji dipl omovou prá ci jse m si zvolila špion ážní román v angl ic ké li teratur e, jelikož již rá da ct u a obzvlá šte det ektivní prí behy nebo prí behy se špion ážním pozadí m. Do mnívá m se , že i tomuto li terární mu žánr u by m el a být venována pozornos t tak, ja k je treba venována pozor nost j iným li te rárním žánr um, nebo i š pionáž ní román pat rí roz hodne k plnoh odnotným li te rá r ním díl um. Zárove n se domnívá m, že v dnešní dobe se je dná o vel mi akt uál ní té ma, nebot se špionáží se mužeme set kat kdekol iv, at ji ž v podobe ruzných cl ánku v denním ti sk u, zprá v z rá dia ci televi zní obra zovky nebo i ze svého osobní ho ži vota, pokud budeme sa mi v ysta veni tr eba i bežnému pozor ování , sle dování z necí stra ny. Ve své práci jsem se pokusi la nastínit vývoj tohoto literá rního žánr u od svých pocát ku až do so ucasnos ti , a uvést to hlavní, co te nto literární žánr v a nglic kého literatur e ovlivnilo, a ja k se je ho vývoj celkove ubíral, kdo patril a patrí k je ho hlavním pre d sta vitelu m vcet ne te ch nej ste žej nejších del te cht o autoru. Svou pozor nost jsem rovne ž venoval a tomu, ja k je dnotliví prot agonist é tohot o žánr u ke špion áži vubec pri stupují a ja k ji prezentuj í ve svých díl ech. Ne každý aut or, venují cí se tomuto té matu, má ste jný pohle d na vec. Soucástí mé prá ce bylo i zamer ení se na charakte ristic ké rys y hla vníc h hr dinu – špion u nekte rýc h ste žejních del tohot o žánr u. Do mnívá m se, že mn ou nashr omá ždené informa ce a pozna tky, kte ré tato prá ce obsahuj e, budou prí nosné pro všec hny, kter í se zabývají literaturou, a obzvlá šte pro ty, je jichž zál ibou je cet ba špion ážníc h r ománu.

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Lathrop, Charles E. The Literary Spy: The Ultimate Source for Quotations on Espionage and Intelligence. Devon: Duke & Company. 2004

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Maxwell, Richard. The Mysteries of Paris and London. The University of Virginia. 1992 Navrátil , Jan. Struc né deji ny USA . Praha : Nakl adatel ství Svoboda. 1984 Ousby, Ian. The Cambridge Guide to Literature in English. Cambridge: Cambridge University Press. 1992

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Priestman, Martin. The Cambridge Companion to Crime Fiction. Cambridge: Cambridge University Press. Sanders, Andrew. The Short Oxford History of English Literature. Oxford: Oxford University Press. 2000 Slater, Michael. An int elligent person´ s guide t o Dickens . London: Gerald

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Internet sources

Espionage. The Meriam-Webster Dictionary. 18 March 2009