Ian Fleming Criticism
Ian Fleming, an English novelist and creator of the iconic character James Bond, crafted a series of fourteen books that have become staples of popular fiction. These works, including Casino Royale and Goldfinger, have not only sold millions of copies but have also been successfully adapted into films, captivating audiences with their glamorous settings, complex plots, and memorable characters. Bond's character, described by Fleming as "a dull, uninteresting man to whom things happened," cleverly blends ordinary traits with extraordinary adventures, offering readers a form of escapism through his dangerous exploits and encounters with beautiful women and grotesque villains.
The realism embedded in the fantastical elements of Fleming's stories is partly derived from his experiences as an assistant to the director of British naval intelligence during World War II. This background provided inspiration for many of Bond's thrilling escapades, such as the card game against Le Chiffre in Casino Royale, a fictionalized version of an event Fleming experienced firsthand, albeit with a different outcome.
Critics have had mixed reactions to Fleming's work. While some praise his ability to craft suspenseful, atmospheric narratives, others criticize his works for their perceived moral shortcomings. As noted in Bernard Bergonzi's critique, the Bond books have been labeled as morally destructive, a sentiment echoed by Paul Johnson, who condemned Doctor No's excessive "sex, sadism, and snobbery." In contrast, Kingsley Amis defended Fleming's literary contributions in The James Bond Dossier, emphasizing the series' strengths. Furthermore, the novels have been interpreted as modern renditions of ancient myths, as explored by Ann S. Boyd.
Ultimately, despite criticisms, Fleming's intent was straightforward: to engage readers and keep them turning pages, a testament to his success as a popular storyteller.
Contents
- Fleming, Ian
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Fleming, Ian (Lancaster)
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R. D. Charques
(summary)
In the following review, R. D. Charques describes Ian Fleming's novel "Casino Royale" as a lively and ingeniously detailed Secret Service thriller, praising its well-bred style beneath a tough exterior, though noting a particularly sadistic scene, while highlighting its suspenseful narrative and intriguing characters, including the enigmatic Soviet agent Le Chiffre.
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Spices and Charlatans
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The critic praises Ian Fleming's Casino Royale for its engaging blend of espionage, sophistication, and local atmosphere, while acknowledging some plot improbabilities but commending the convincing Secret Service details and the poetic depiction of casino settings.
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A Hero of Our Time
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In the following essay, Anthony Hartley critiques Ian Fleming's thriller From Russia With Love, highlighting its reliance on the character of James Bond, while critiquing Fleming's stylistic excesses and plot weaknesses, yet acknowledging Bond's enduring appeal due to his unapologetic carnivorous traits amidst modern sensibilities.
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Not So Sparkling
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In the following essay, Dan Jacobson critiques Ian Fleming's The Diamond Smugglers for its lack of thrilling narrative and inadequate character development, suggesting that while Fleming attempts to create suspense, the book's realist exploration of diamond smuggling fails to captivate or entertain as a thriller.
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The Case of Mr Fleming
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In the following essay, Bernard Bergonzi critiques Ian Fleming's James Bond novels for their lack of ethical depth compared to John Buchan's works, highlighting Bond's focus on sensationalism, violence, and sexuality without moral grounding, while acknowledging Fleming's detailed knowledge and vivid fantasies as reflective of contemporary cultural conditions.
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Martin Dodsworth
(summary)
In the following essay, Martin Dodsworth argues that Ian Fleming's James Bond novels, often criticized for their reliance on sex, snobbery, and violence, employ a sophisticated narrative irony, positioning Bond as a sacrificial figure whose suffering reflects class tensions and moral complexity, thus challenging simplistic moral readings.
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Gilt-Edged Bond
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In the following essay, Simon Raven defends Ian Fleming's novels against critiques of lacking ethical frameworks and argues that despite their perceived vulgarity, these works offer unparalleled entertainment through their imaginative storytelling, technical detail, and descriptive prowess.
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Sex, Snobbery and Sadism
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In the following essay, Paul Johnson argues that Ian Fleming's novel Dr No combines unhealthy English elements of sadism, adolescent sexuality, and snobbery, criticizing its poorly constructed narrative and suggesting that its appeal reflects and exacerbates the moral decline of post-war society.
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Excitement from England
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In the following essay, Robert Hatch critiques Ian Fleming's James Bond novels as sub-literary works that seduce readers with their exotic details and imperialistic fantasies, while simultaneously portraying a disturbing combination of sex, violence, and Cold War paranoia.
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Bond's Baedeker
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In the following essay, the critic examines Ian Fleming's travel writings in "Thrilling Cities" as reflecting a superficial yet condescending portrayal of foreign locales and cultures, while also highlighting Fleming's ability to capture unique details despite his dismissive attitude towards international experiences.
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Double O Seven James Bond: A Report
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In the following essay, O. F. Snelling analyzes Ian Fleming's departure from his usual narrative style in "The Spy Who Loved Me," arguing that while the novel's format and focus on a female perspective diverged from traditional Bond stories, it still maintained the thrilling essence characteristic of Fleming's work.
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M for Murder
(summary)
In the following essay, Kingsley Amis critiques Ian Fleming's "The Man with the Golden Gun" as an uninspired work lacking the usual excitement and complexity of Fleming’s James Bond novels, attributing this to Fleming's response to criticisms of his earlier books' perceived immorality and sensationalism.
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'Goldigger'; or, Did 007's Creator Perpetrate a Remarkable Snow-Job?
(summary)
In the following essay, Gene Smith critiques Ian Fleming's James Bond novels, arguing that Fleming's portrayal of exaggerated and offensive character traits lacks humor and subtly mocks readers, suggesting that Fleming may have taken his own sensationalized narratives too seriously, unlike the genuinely insightful storytelling of contemporaries like W. Somerset Maugham.
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To Valhalla with Twin Exhausts
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In the following essay, Anthony Lejeune examines Ian Fleming's final James Bond novel, The Man with the Golden Gun, noting its lighter plot and diminished innovation compared to earlier works, while also defending Fleming against criticisms of snobbery, arguing that Bond's lasting appeal lies in its glamorized realism and rejection of disillusionment.
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Kingsley Amis
(summary)
In the following essay, Kingsley Amis explores the character of James Bond, arguing that Bond's appeal lies in his professionalism, moral code, and embodiment of a modern Byronic hero, while Ian Fleming's writing cleverly balances fantastical plots with realistic detail, thus engaging readers in Bond's adventurous world.
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The Very Last of 007
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In the following essay, Alex Campbell argues that Ian Fleming's depiction of James Bond as a chivalrous hero, rather than an anti-hero, aligns Bond with classic storybook heroes, suggesting that despite modern trends, Bond's character remains a true-blue hero marked by his reluctance to harm women.
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James Bond As Literary Descendant of Beowulf
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In the following essay, Bernice Larson Webb draws parallels between Ian Fleming’s James Bond and the epic hero Beowulf, highlighting similarities in narrative structure, mythological elements, and heroic ideals, while noting a key divergence in Bond's reluctance to accept traditional honors, reflecting modern sensibilities.
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Ann S. Boyd
(summary)
In the following essay, Ann S. Boyd contends that Ian Fleming's James Bond series should be viewed as a modern mythological saga, where Bond, much like St. George, combats twentieth-century personifications of evil, revealing a deeper exploration of modern sin and societal values beneath the thrilling escapist narratives.
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Ian Fleming
(summary)
In the following essay, LeRoy L. Panek critically assesses Ian Fleming's contributions to spy fiction, arguing that despite Fleming's popular success, he remains a minor writer who failed to advance the genre, relying heavily on episodic storytelling, superficial characterizations, and elements borrowed from the hard-boiled detective tradition and love romance conventions.
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R. D. Charques
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