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FALL 2025

“The Last Penumbra of Empire:” Imperialism and the British Foreign Intelligence Service

Nixon Gorka

The University of Texas at Tyler

Gorka Nixon.JPG

Nixon Gorka is an undergraduate student at the University of Texas at Tyler studying history. Her research interests include twentieth-century American intellectual and cultural history, with a specific focus on historiography and intelligence studies.

BRITISH INTELLIGENCE AND THE ADVANCEMENT OF THE EMPIRE

IMPERIAL INTELLIGENCE ON THE DEFENSE: THE COLD WAR

INTELLIGENCE AND EMPIRE IN THE CULTURE CONSCIOUSNESS

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Like military and intelligence activities, popular culture was an important and persuasive tool used to grow, protect, and maintain the British empire. Though books could not achieve the tangible goals of war and territorial expansion, their reach surpassed what any military could accomplish. In depicting fictional actions of British intelligence services, British spy novels in turn cultivated the “myth” of British Intelligence in the Western cultural consciousness. They upheld the illusion of a functioning and stable empire, even when the reality was far from it.

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The British spy novel first found its foundations in what Ted Beardow calls the “empire hero.” In his article, Beardow explores the concept of an empire hero, a British gentleman defending the empire abroad, in Victorian and Edwardian adventure literature. This hero, he claims, “tends to manifest an upper-class perception of responsibility for English society, as well as a degree of racism and a feeling of superiority over less privileged persons.”     The military values and violent masculine behaviors of these protagonists were, according to Beardow, “seen as necessary and appropriate for males as defenders of the imperial order—especially in the more exotic, “uncivilized” areas on the frontiers of the empire.”    The adventure novel’s “empire hero,” therefore, represented the standard for British masculinity in the era of empire and painted a picture of British superiority and stability in its imperial endeavors.

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Though Beardow points out that not all early British spy novels included an “empire hero,” many of their protagonists took inspiration from them. In Rudyard Kipling’s Kim, for example– an early fixture in British spy literature– Kimball O’Hara uses his street smarts to take on Russian influence in British India. The British spy novel, like the British adventure novel, was first popularized at the height of the British empire and led to a genre so popular that it even influenced governmental legislation, such as when Le Queux’s Spies of the Kaiser stoked so much public fear over foreign agents that it led to the creation of the 1911 Official Secrets Act.    David A. T. Stafford describes the British spy novel’s protagonist in a similar way to Beardow’s “empire hero” saying that he formed a “symbol of stability in response … to fundamental changes in the nature of Britain's place within the international system.”    Kipling’s Kim proves a good example of this as it depicts a British spy solidifying Britain’s hold on its Asian empire through intelligence gathering and subversion. Like the “empire hero,” spy protagonists like Kimball O’Hara maintain the rugged and adaptable qualities of the “empire hero” while engaging in “the great game” of colonial espionage. They reflected the sustained connection between empire and masculinity, the general xenophobia of the time, and the illusion of stability in times of change. Spy novels, therefore, have been political, if not imperial, tools from their inception.

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Though at the end of Beardow’s essay he claims that as the British empire declined in the twentieth century, so did the “empire hero,” it can be argued that instead the “empire hero” underwent change. Both the World Wars and the Cold War fundamentally changed the nature of empire and, as it did for foreign intelligence activities, changed the depiction of empire in literature. The “empire hero” was a tool crafted to suit the needs of its time and, as times changed, so did it. Therefore, by the mid-twentieth century the “empire hero” perhaps had not disappeared but simply morphed into the British spy hero who advanced and protected the empire, just in a different way. This is exemplified most clearly in Ian Fleming’s books about a dashing British intelligence officer named James Bond.

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The James Bond novels are situated within a period of British imperial decline. Fleming’s first Bond novel, Casino Royale (1953), was published on the coattails of the Indian and Palestinian partitions. Likely Fleming’s most famous book, From Russia With Love (1957), came out after the Suez Crisis and his later Bond novels were published amidst the loss of Briain’s African possessions. Bond is historically significant, not just because of his immense popularity, but because of the context in which his narrative occupies. In the first Bond novel, Casino Royale, in which agent 007 is tasked with bankrupting and ultimately defeating a well-placed Soviet agent, this is especially the case. Christine Berberich, in her article “Putting England Back on Top? Ian Fleming, James Bond, and the Question of England,” argues that Fleming’s Casino Royale was a response to the defection of the Cambridge Spies in 1951. Much like the effect 9/11 had on the American Intelligence Services, the reveal and defection of the Cambridge Spy network, a group of Soviet double agents within the British intelligence apparatus, largely discredited MI6 in the eyes of the public. Fleming, a former intelligence officer himself, thus took it upon himself to return British intelligence to its rightful public glory through fiction. In depicting a British superspy such as Bond, he was able to ensure the perceived stability and superiority of British intelligence in the Western popular consciousness. Fleming’s novels don’t just respond to the Cambridge Spies, but also to the demise of traditional imperialism and the Cold War as a whole. Berberich states that the novels “reflect the confusion of a time of widespread and rapid change” and show “an awareness of waning British influence in the world while also trying to maintain the myth of British — and here, particularly English — superiority.”    Furthermore, the Bond novels depict the triumph of Western capitalism in the face of the Cold War, and they additionally respond to the demise of the British Empire by reinventing it as an empire of secrets, with Bond at its helm.

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One of the facets by which Bond forms such an ideological statement is through his displays of misogyny and masculinity. James Bond, like many other spy novel heroes, upholds the hyper-masculinity that is seen in Beardow’s “empire hero” which was considered necessary for the advancement of the empire and the maintenance of British superiority. The Bond novels (and films) are known for their masculine values and poor treatment of women. Fleming’s Casino Royale makes clear Bond’s misogyny with his stated belief that women should be kept to the domestic sphere— or, in his words, to their “pots and pans”— and his often violent sexualization of the women around him. Berberich claims in her article that these displays are not simple comments on gender, but political in nature as well. As they were in the narratives of the “empire hero,” masculinity and gender norms were tools used by spy novelists to reinforce their overarching arguments. Berberich believes that this is the case in Casino Royale as she interprets Bond’s misogynistic treatment of Vesper, a woman he is forced to work with though ultimately betrays him, as a symbolic triumph over wavering British nationalism. 

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It is in ways like these that the James Bond novels can, in Berberich’s words, “construct an imaginary world in which the Pax Britannica still operates.”    When the British empire was crumbling one colony at a time, the world of Bond assured that all was okay underneath the surface. That with a great foreign intelligence service, with great agents like Bond in its ranks, the Britain known for its influence, power, and strength would be maintained in the face of decolonization and the Soviet threat. As the history of the British intelligence services show, this was in some cases true. Despite the loss of its territorial colonies, Britain was able to maintain the commonwealth and an expansive intelligence network that is still in operation today. However, the myth brought forward by Fleming’s Bond and its fellow spy novels inevitably falls short. The great British intelligence service depicted in these novels was still serving a great empire— one that was and is no longer in existence.

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From the inception of the so-called “empire hero” and the British spy novel, these narratives were used to build the illusion of stability in a changing world. From Kipling’s Kim to Fleming’s Casino Royale, they accomplished this. The objective of the “empire hero” survived the changes of the early twentieth century by changing with it. By Fleming’s time, there was no empire to glorify and sustain, but rather a past to cling to. In the James Bond novels and the film franchise that was born of them, this illusory past is made real in an effort to provide stability in a time filled by questions. If nothing else, these narratives attempted to convince their audience that one thing could be sure: British intelligence could be counted on, even after the fall of the very thing they were made to protect.

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The British foreign intelligence service, for its entire history, has been directly linked to empire. From its hazy beginnings in Venetian embassies to its Cold War preoccupation with independence movements, British intelligence gathering had been solely done in service of the empire. Even after Britania had been reduced to a fraction of its size by 1965, MI5 and MI6 sought to make an empire of secrets to replace the one they had lost. “The last penumbra of empire” are the words that MI6 deputy chief Sir Gerry Warner used to describe this secret empire as the Cold War came to a close. What Warner failed to account for in describing the modern role of Britain’s foreign intelligence service is the place it held within the collective popular consciousness. Through its depiction in popular spy novels like those of Bond, British intelligence has been able to live within a collective public imaginary; one in which the past was recreated and British intelligence went beyond the last penumbra of empire and became the empire itself.

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    Ted Beardow, “The Empire Hero,” Studies in Popular Culture 41, no. 1 (2018): 67, https://www.jstor.org/stable/26582197.
    Beardow, “The Empire Hero,” 76.

    David A. T. Stafford, “Spies and Gentlemen: The Birth of the British Spy Novel, 1893-1914,” Victorian Studies 24, no. 4 (1981): 499, http://www.jstor.org/stable/3827226.
    Stafford, “Spies and Gentlemen,” 491.

   Christine Berberich, “Putting England Back on Top? Ian Fleming, James Bond, and the Question of England,” The Yearbook of English Studies 42 (2012): 14, https://doi.org/10.5699/yearenglstud.42.2012.0013.
   Berberich, “Putting England Back on Top?” 23.

   Berberich, “Putting England Back on Top?” 26.

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