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'{{short description|1957 spy fiction novel by Ian Fleming}} {{featured article}} {{Use British English|date=September 2012}} {{Use dmy dates|date=April 2016}} {{Infobox book | name = From Russia, with Love | image = From Russia With Love-Ian Fleming-First edition.jpg | alt = Book cover, with a drawing of a revolver lying on a rose; the stem passes through the trigger guard. In black block letters in the bottom left hand corner is the title, and the authors name appears in black block letters in the bottom right. | caption = First edition cover | author = [[Ian Fleming]] | cover_artist = [[Richard Chopping]]<br />Devised by Ian Fleming | country = United Kingdom | series = [[James Bond]] | genre = [[Spy fiction]] | publisher = [[Jonathan Cape]] | release_date = 8 April 1957 (hardback) | pages = 253 (first edition) | preceded_by = [[Diamonds Are Forever (novel)|Diamonds Are Forever]] | followed_by = [[Dr. No (novel)|Dr. No]] }} '''''From Russia, with Love''''' is the fifth novel by the English author [[Ian Fleming]] to feature his fictional British [[Secret Intelligence Service|Secret Service]] agent [[James Bond (literary character)|James Bond]]. Fleming wrote the story in early 1956 at his [[Goldeneye (estate)|Goldeneye estate]] in Jamaica; at the time he thought it might be his final Bond book. The novel was first published in the United Kingdom by [[Jonathan Cape]] on 8 April 1957. The story centres on a plot by [[SMERSH (James Bond)|SMERSH]], the Soviet [[counter-intelligence]] agency, to assassinate Bond in such a way as to discredit both him and his organisation. As bait, the Russians use a beautiful cipher clerk and the Spektor, a Soviet decoding machine. Much of the action takes place in [[Istanbul]] and on the [[Orient Express]]. The book was inspired by Fleming's visit to Turkey on behalf of ''[[The Sunday Times]]'' to report on an [[Interpol]] conference; he returned to Britain by the Orient Express. ''From Russia, with Love'' deals with the East–West tensions of the [[Cold War]], and the decline of British power and influence in the post-Second World War era. ''From Russia, with Love'' received broadly positive reviews at the time of publication. The book's sales were boosted by an advertising campaign that played upon a visit by the British Prime Minister [[Anthony Eden]] to the Goldeneye estate, and the publication of an article in ''[[Life (magazine)|Life]]'', which listed ''From Russia, with Love'' as one of US President [[John F. Kennedy]]'s ten favourite books. The story was serialised in the ''[[Daily Express]]'' newspaper, first in an abridged, multi-part form and then as a comic strip. In 1963 it was adapted into the [[From Russia with Love (film)|second film]] in the [[James Bond in film|Bond series]], starring [[Sean Connery]]. ==Plot== {{Quote box|quote=Not that it matters, but a great deal of the background to this story is accurate.&nbsp;... SMERSH, a contraction of Smiert Spionam—Death to Spies—exists and remains today the most secret department of the Soviet government.|source = Ian Fleming, ''From Russia, with Love'', Author's note{{sfn|Fleming|1957|p=6}}|align=right|width=30em|border=1px|salign=right}} [[SMERSH (James Bond)|SMERSH]], the Soviet [[counterintelligence]] agency, plans to commit a grand act of terrorism in the intelligence field. For this, it targets the British secret service agent [[James Bond (literary character)|James Bond]]. Due in part to his role in the defeat of the SMERSH agents [[Le Chiffre]], Mr Big and [[Hugo Drax]], Bond has been listed as an enemy of the Soviet state and a "death warrant" is issued for him. His death is planned to precipitate a major sex scandal, which will run in the world press for months and leave his and his service's reputations in tatters. Bond's killer is to be the SMERSH executioner Donovan "Red" Grant, a British Army deserter and psychopath whose homicidal urges coincide with the full moon. Kronsteen, SMERSH's chess-playing master planner, and Colonel [[Rosa Klebb]], the head of Operations and Executions, devise the operation. They instruct an attractive young cipher clerk, Corporal [[Tatiana Romanova]], to falsely defect from her post in [[Istanbul]] and claim to have fallen in love with Bond after seeing a photograph of him. As an added lure for Bond, Romanova will provide the British with a Spektor, a Russian decoding device much coveted by [[MI6]]. She is not told the details of the plan. [[File:Orient Express 2.jpg|thumb|The [[Orient Express]], on which Bond travelled from Istanbul to Paris]] The offer of defection is received by MI6 in London, ostensibly from Romanova, but is conditional that Bond collects her and the Spektor from Istanbul. MI6 is unsure of Romanova's motive, but the prize of the Spektor is too tempting to ignore; Bond's superior, [[M (James Bond)|M]], orders him to go to Turkey. Once there, Bond forms a comradeship with Darko Kerim, head of the British service's station in Turkey. Bond meets Romanova, and they plan their route out of Turkey with the Spektor. He and Kerim believe her story, and the three board the [[Orient Express]]. Kerim quickly discovers three Russian [[Ministry of State Security (Soviet Union)|MGB]] agents on board, travelling incognito. He uses bribes and trickery to have two of them taken off the train, but he is later found dead in his compartment with the body of the third MGB agent. At [[Trieste]] a man introduces himself as Captain Nash, a fellow MI6 agent, and Bond presumes he has been sent by M as added protection for the rest of the trip. Romanova is suspicious of Nash, but Bond reassures her that the man is from his own service. After dinner, at which Nash has drugged Romanova, they rest. Nash later wakes Bond, holding him at gunpoint, and reveals himself as the killer Grant. Instead of killing Bond immediately, he describes SMERSH's plan. He is to shoot both of them, throw Romanova's body out the window, and plant a film of their love-making in her luggage; in addition, the Spektor is [[booby-trapped]] to explode when examined. As Grant talks, Bond places his metal cigarette case between the pages of a book he holds in front of him, positioning it in front of his heart to stop the bullet. After Grant fires, Bond collapses to the floor and, when Grant steps over him, he attacks and kills the assassin. Bond and Romanova escape. Later, in Paris, after successfully delivering Romanova and the booby-trapped Spektor to his superiors, Bond meets Rosa Klebb. She is captured but manages to kick Bond with a poisoned blade concealed in her shoe; the story ends with Bond fighting for breath and falling to the floor. ==Background and writing history== By January 1956 the author [[Ian Fleming]] had published three novels—''[[Casino Royale (novel)|Casino Royale]]'' in 1953, ''[[Live and Let Die (novel)|Live and Let Die]]'' in 1954 and ''[[Moonraker (novel)|Moonraker]]'' in 1955. A fourth, ''[[Diamonds Are Forever (novel)|Diamonds Are Forever]]'', was being edited and prepared for production.{{sfn|Lycett|1996|pp=268–69}}<ref name="IFP: Books" />{{efn|''Diamonds Are Forever'' was published in March 1956.{{sfn|Lycett|1996|p=289}} }} That month Fleming travelled to his [[Goldeneye (estate)|Goldeneye estate]] in Jamaica to write ''From Russia, with Love''. He followed his usual practice, which he later outlined in ''[[Hansom Books|Books and Bookmen]]'' magazine: "I write for about three hours in the morning&nbsp;... and I do another hour's work between six and seven in the evening. I never correct anything and I never go back to see what I have written&nbsp;... By following my formula, you write 2,000 words a day."{{sfn|Faulks|Fleming|2009|p=320}} He returned to London in March that year with a 228-page first-draft manuscript{{sfn|Chancellor|2005|p=101}} that he subsequently altered more heavily than any of his other works.{{sfn|Benson|1988|p=13}}{{sfn|Fleming|Higson|2006|p=v}} One of the significant re-writes changed Bond's fate; Fleming had become disenchanted with his books{{sfn|Benson|1988|p=14}} and wrote to his friend, the American author [[Raymond Chandler]]: "My muse is in a very bad way&nbsp;... I am getting fed up with Bond and it has been very difficult to make him go through his tawdry tricks."{{sfn|Parker|2014|p=209}} Fleming re-wrote the end of the novel in April 1956 to make Klebb poison Bond, which allowed him to finish the series with the death of the character if he wanted. <blockquote>Breathing became difficult. Bond sighed to the depth of his lungs. He clenched his jaws and half closed his eyes, as people do when they want to hide their drunkenness.&nbsp;... He prised his eyes open.&nbsp;... Now he had to gasp for breath. Again his hand moved up towards his cold face. He had an impression of Mathis starting towards him. Bond felt his knees begin to buckle&nbsp;... [he] pivoted slowly on his heel and crashed head-long to the wine-red floor.<p> ''From Russia, with Love'', novel's closing lines</blockquote> Fleming's first draft ended with Bond and Romanova enjoying a romance.{{sfn|Lycett|1996|p=293}} By January 1957 Fleming had decided he would write another story, and began work on ''[[Dr. No (novel)|Dr. No]]'' in which Bond recovers from his poisoning and is sent to Jamaica.{{sfn|Lycett|1996|pp=307–08}} Fleming's trip to Istanbul in June 1955 to cover an [[Interpol]] conference for ''[[The Sunday Times]]'' was a source of much of the background information in the story.{{sfn|Chancellor|2005|pp=96–97}} While there he met the Oxford-educated ship owner Nazim Kalkavan, who became the model for Darko Kerim;{{sfn|Benson|1988|p=12}} Fleming took down many of Kalkavan's conversations in a notebook, and used them verbatim in the novel.{{sfn|Chancellor|2005|pp=96–97}}{{efn|While in Turkey, Fleming wrote an account of the [[Istanbul pogrom]]s, "The Great Riot of Istanbul", which was published in ''The Sunday Times'' on 11 September 1955.<ref name="Fleming: Istanbul" />}} Although Fleming did not date the event within his novels, John Griswold and [[Henry Chancellor (author and filmmaker)|Henry Chancellor]] — both of whom wrote books for [[Ian Fleming Publications]]—have identified different timelines based on events and situations within the [[List of James Bond novels and short stories|novel series]] as a whole. Chancellor put the events of ''From Russia, with Love'' in 1955; Griswold considers the story to have taken place between June and August 1954.{{sfn|Griswold|2006|p=13}}{{sfn|Chancellor|2005|pp=98–99}} In the novel, General Grubozaboyschikob of the MGB refers to the Istanbul pogrom, the Cyprus Emergency, and the "revolution in Morocco"—a reference to demonstrations in Morocco that forced France to grant independence in November 1955—as recent events.{{sfn|Takors|2010|p=222}} In August 1956, for fifty [[Guinea (coin)|guineas]], Fleming commissioned [[Richard Chopping]] to provide the art for the cover, based on Fleming's design; the result won a number of prizes.{{sfn|Benson|1988|p=16}}{{sfn|Lycett|1996|p=300}} After ''Diamonds Are Forever'' had been published in March 1956, Fleming received a letter from a thirty-one-year-old Bond enthusiast and gun expert, [[Geoffrey Boothroyd]], criticising the author's choice of firearm for Bond. <blockquote>I wish to point out that a man in James Bond's position would never consider using a .25 Beretta. It's really a lady's gun—and not a very nice lady at that! Dare I suggest that Bond should be armed with a .38 or a nine millimetre—let's say a German Walther PPK? That's far more appropriate.<ref name="DT: Boothroyd" /></blockquote> Boothroyd's suggestions came too late to be included in ''From Russia, with Love'', but one of his guns—a .38 [[Smith & Wesson]] [[snubnosed revolver]] modified with one third of the trigger guard removed—was used as the model for Chopping's image.{{sfn|Chancellor|2005|p=160}} Fleming later thanked Boothroyd by naming the armourer in [[Dr. No (novel)|''Dr. No'']] Major Boothroyd.{{sfn|Benson|1988|p=15}} ==Development== ===Plot inspirations=== [[File:Enigma-G.jpg|thumb|upright|alt=A mechanical machine, much like an old-fashioned typewriter, is in a wooden box|The [[Enigma machine]] was used as the basis for the fictional Soviet Spektor decoding machine]] As with several of his works, Fleming appropriated the names or backgrounds of people he knew or had heard of for the story's characters: Red Grant, a Jamaican river guide—whom Fleming's biographer [[Andrew Lycett]] described as "a cheerful, voluble giant of villainous aspect"—was used for the half-German, half-Irish assassin.{{sfn|Lycett|1996|p=282}}{{sfn|Macintyre|2008|p=90}} Rosa Klebb was partly based on [[Zoya Voskresenskaya|Colonel Rybkina]], a real-life member of the Lenin Military-Political Academy about whom Fleming had written an article for ''The Sunday Times''.{{sfn|Macintyre|2008|p=93}}{{sfn|Halloran|1986|p=163}} The Spektor machine used as the bait for Bond was not a [[Cold War]] device, but had its roots in the Second World War [[Enigma machine]], which Fleming had tried to obtain while serving in the [[Naval Intelligence Division (United Kingdom)|Naval Intelligence Division]].{{sfn|Chancellor|2005|p=97}} The idea of the Orient Express came from two sources: Fleming had returned from the Istanbul conference in 1955 by the train, but found the experience drab, partly because the restaurant car was closed.{{sfn|Benson|1988|p=12}}{{sfn|Black|2005|p=30}} He also knew of the story of Eugene Karp and his journey on the Orient Express: Karp was a US naval attaché and intelligence agent based in Budapest who, in February 1950, took the Orient Express from Budapest to Paris, carrying a number of papers about blown US spy networks in the [[Eastern Bloc]]. Soviet assassins were already on the train. The conductor was drugged and Karp's body was found shortly afterwards in a railway tunnel south of [[Salzburg]].{{sfn|Chancellor|2005|p=96}} Fleming had a long-standing interest in trains and, following his involvement in a near-fatal crash in 1927, associated them with danger; they also feature in ''Live and Let Die'', ''Diamonds Are Forever'' and ''[[The Man with the Golden Gun (novel)|The Man with the Golden Gun]]''.{{sfn|Chancellor|2005|p=16}} The cultural historian [[Jeremy Black (historian)|Jeremy Black]] points out that ''From Russia, with Love'' was written and published at a time when tensions between East and West were on the rise and public awareness of the Cold War was high. A [[Operation Gold|joint British and American operation]] to tap into landline communication of the [[Soviet Army]] headquarters in Berlin using a tunnel into the [[Soviet occupation zone|Soviet-occupied zone]] had been publicly uncovered by the Soviets in April 1956. The same month the diver [[Lionel Crabb]] had gone missing on a mission to photograph the propeller of the Soviet cruiser ''[[Soviet cruiser Ordzhonikidze|Ordzhonikidze]]'' while the ship was moored in [[Portsmouth Harbour]], an incident that was much reported and discussed in British newspapers. In October and November that year a [[Hungarian Revolution of 1956|popular uprising]] in Hungary was repressed by Soviet forces.{{sfn|Black|2005|p=28}} ===Characters=== To make Bond a more rounded character, Fleming put further aspects of his personality into his creation. The journalist and writer Matthew Parker observes that Bond's "physical and mental ennui" is a reflection of Fleming's poor health and low spirits when he wrote the book.{{sfn|Parker|2014|p=208}}{{sfn|Panek|1981|p=316}} The early depictions of Bond were based on earlier literary characters. In ''[[New Statesman]]'', the journalist William Cook writes of the early Bond: <blockquote>James Bond is the culmination of an important but much-maligned tradition in English literature. As a boy, Fleming devoured the [[Bulldog Drummond]] tales of Lieutenant Colonel [[H. C. McNeile|Herman Cyril McNeile]] (aka "Sapper") and the [[Richard Hannay]] stories of [[John Buchan]]. His genius was to repackage these antiquated adventures to fit the fashion of postwar Britain&nbsp;... In Bond, he created a Bulldog Drummond for the jet age.<ref name="Cook (2004)" /></blockquote> Following on from the character development of Bond in his previous four novels, Fleming adds further background to Bond's private life, largely around his home life and personal habits, with Bond's introduction to the story seeing him at breakfast with his housekeeper, May.{{sfn|Benson|1988|p=106}} The novelist [[Raymond Benson]]—who later wrote a series of Bond novels—sees aspects of self-doubt entering Bond's mind with the "soft" life he has been leading when he is introduced in the book. Benson identifies Bond's fear when the flight to Istanbul encounters severe turbulence from a storm, and notes Bond's apparent nervousness when he first meets Romanova; he seems concerned and guilty about his mission.{{sfn|Benson|1988|pp=106–07}} The other characters in the book are also well developed, according to Benson. He considers that the head of the Turkish office, Darko Kerim Bey, is "one of Fleming's more colourful characters"; Kerim is a similar type of dependable and appealing ally that Fleming also created with Quarrel (in ''Live and Let Die'') and Colombo (in the short story "[[Risico]]").{{sfn|Benson|1988|pp=107–08}} Parker considers that Kerim is "an antidote" to Bond's lethargy,{{sfn|Parker|2014|p=209}} while the essayist [[Umberto Eco]] sees the character as having some of the moral qualities of the villains in the series, but that those qualities are used in support of Bond.{{sfn|Eco|2009|p=39}}<ref name="Synnott: Beauty" /> ''From Russia, with Love'' is one of the few stories by Fleming in which the Soviets are the main enemy,{{sfn|Panek|1981|p=208}} although Eco considers Bond's Russian opponents "so monstrous, so improbably evil that it seems impossible to take them seriously".{{sfn|Eco|2009|p=46}} Fleming introduced what was a new development for him, a female opponent for Bond, although much like the former adversaries in the series, Rosa Klebb is described as being physically repulsive, with poor hygiene and gross tastes.{{sfn|Benson|1988|p=108}}{{sfn|Black|2005|pp=28–29}} Eco—and Anthony Synnott, in his examination of aesthetics in the Bond novels—consider that despite Klebb being female, the character is more akin to a "sexually neuter" individual.{{sfn|Eco|2009|p=39}} Red Grant was Fleming's first "psychotic opponent" for Bond, according to Benson.{{sfn|Benson|1988|p=108}} [[Charlie Higson]]—who later wrote the [[Young Bond]] series—finds Grant to be "a very modern villain: the relentless, remorseless psycho with the cold dead eyes of a 'drowned man'."{{sfn|Fleming|Higson|2006|p=vii}} ==Style== According to Higson, Fleming spent the first four novels changing the style of his books, and his approach to his characters, but in ''From Russia, with Love'' the author "finally hits on the classic Bond formula, and he happily moved into his most creative phase".{{sfn|Fleming|Higson|2006|p=vi}} The literary analyst LeRoy L. Panek observes that the previous novels were, in essence, episodic detective stories, while ''From Russia, with Love'' is structured differently, with an "extended opening picture" that describes Grant, the Russians and Romanova before moving onto the main story and then bringing back some of the elements when least expected.{{sfn|Panek|1981|pp=212–13}} The extensive prose that describes the Soviet opponents and the background to the mission takes up the first ten chapters of the book, and Bond is only introduced into the story in chapter eleven.{{sfn|Benson|1988|p=105}} Eco identifies that the opening passage introducing Red Grant is a "cleverly presented" beginning, similar to the opening of a film.{{efn|The narrative describes Grant as an immobile man, lying by a swimming pool, waiting to be massaged; it has no direct connection to the main storyline.{{sfn|Eco|2009|p=51}}}} Eco remarks that "Fleming abounds in such passages of high technical skill".{{sfn|Eco|2009|p=51}} Benson describes the "Fleming Sweep" as taking the reader from one chapter to another using "hooks" at the end of chapters to heighten tension and pull the reader onto the next.{{sfn|Benson|1988|p=85}} He feels that the "Fleming Sweep steadily propels the plot" of ''From Russia, with Love'' and, though it was the longest of Fleming's novels, "the Sweep makes it seem half as long".{{sfn|Benson|1988|p=105}} [[Kingsley Amis]], who later wrote a Bond novel, considers that the story is "full of pace and conviction",{{sfn|Amis|1966|pp=154–55}} while Parker identifies "cracks" in the plot of the novel, but believes that "the action mov[es] fast enough for the reader to skim over them".{{sfn|Parker|2014|p=198}} Fleming used known brand names and everyday details to produce a sense of realism,{{sfn|Faulks|Fleming|2009|p=320}}{{sfn|Butler|1973|p=241}} which Amis calls "the Fleming effect".{{sfn|Amis|1966|p=112}} Amis describes "the imaginative use of information, whereby the pervading fantastic nature of Bond's world&nbsp;... [is] bolted down to some sort of reality, or at least counter-balanced."{{sfn|Amis|1966|pp=111–12}} ==Themes== The cultural historians Janet Woollacott and [[Tony Bennett (sociologist)|Tony Bennett]] consider that Fleming's preface note—in which he informs readers that "a great deal of the background to this story is accurate"—indicates that in this novel "cold war tensions are most massively present, saturating the narrative from beginning to end".{{sfn|Bennett|Woollacott|1987|p=28}} As in ''Casino Royale'', the concept of the loss of British power and influence during the post-Second World War and Cold War period was also present in the novel.{{sfn|Macintyre|2008|p=113}} The journalist William Cook observes that, with the British Empire in decline "Bond pandered to Britain's inflated and increasingly insecure self-image, flattering us with the fantasy that Britannia could still punch above her weight."<ref name="Cook (2004)" /> Woollacott and Bennett agree, and maintain that "Bond embodied the imaginary possibility that England might once again be placed at the centre of world affairs during a period when its world power status was visibly and rapidly declining."{{sfn|Bennett|Woollacott|1987|p=28}} In ''From Russia, with Love'', this acknowledgement of decline manifested itself in Bond's conversations with Darko Kerim when he admits that in England "we don't show teeth any more—only gums."{{sfn|Macintyre|2008|p=113}}{{sfn|Fleming|Higson|2006|p=227}} Woollacott and Bennett argue that in selecting Bond as the target for the Russians, he is "deemed the most consummate embodiment of the myth of England".{{sfn|Bennett|Woollacott|1987|p=138}} The literary critic [[Meir Sternberg]] sees the theme of [[Saint George and the Dragon]] running through several of the Bond stories, including ''From Russia, with Love''. He sees Bond as [[Saint George]]—the [[patron saint]] of England—in the story, and notes that the opening chapter begins with an examination of a [[dragonfly]] as it flies over the supine body of Grant.<ref name="Style: Dragon" />{{efn|Sternberg also points out that in ''Moonraker'', Bond's opponent is named Drax ({{lang|de|Drache}} is German for dragon), while in ''[[On Her Majesty's Secret Service (novel)|On Her Majesty's Secret Service]]'' (1963) the character Marc-Ange Draco's surname is Latin for dragon, and in ''From Russia, with Love'' Darko Kerim's first name is "an anagrammatic variation on the same cover name".<ref name="Style: Dragon" />}} In ''From Russia, with Love'' Fleming wanted to promote a "West is the best" message by creating two parallel characters who would prove Western superiority over the Soviet Union.{{sfn|Takors|2010|pp=221-222}} Two of the novel's most important characters, Tatiana Romanova and Donald Grant are both defectors who go in opposite directions, and the juxtaposition of the two characters serves to contrast the two systems.{{sfn|Takors|2010|p=223}} According to Takors, Bond both literally and metaphorically seduces Romanova over to the West as he is able to sexually satisfy her in a way that her Russian lovers never could.{{sfn|Takors|2010|p=224}} The way that Bond is portrayed as sexually superior to Russian men was possibly meant by Fleming as a metaphor for how the West was superior to the Soviet Union.{{sfn|Takors|2010|p=224}} Hugh Willard noted that "During the Cold War, the secret agents of the East and West sometimes did kill each other in dark alleys - though probably not as often as they are seen doing in spy thrillers. But blowing up the diplomatic missions of the other side was unheard of, far beyond the pale. For British agents in Turkey to just blow up the Soviet Consulate as an act of private revenge just beggars the imagination. For Bond to just take it in his stride beggars the imagination even more. As soon as Darko Kerim showed Bond the bomb under the Consulate, Bond should have ordered him to dismantle it, there and then. It should have been immediately reported to London. Such a provocative act could have led to Darko Kerim being instantly dismissed as being unreliable and a major security risk, and it might have led to Bond's entire mission being aborted. At a minimum, Kerim should have been severely reprimanded and a regular British intelligence officer stationed permanently in Turkey to keep an eye on him (which should have been done in the first place). (...) Bond inexplicably fails to do anything about it, and eventually Kerim is assassinated on the train and Kerim's vengeful family go ahead and blow up the Consulate - thereby handing the Soviet a major coup on a silver platter. (...) The Soviets had thought up a convoluted plot to destroy Bond and thereby discredit British Intelligence - but British agents blowing up their Consulate would cause British Intelligence a disgrace many orders of magnitude greater. The British could hardly deny it, when digging in the ruins would soon uncover the tunnel leading directly to Kerim's headquarters. (...) Such a scandal would inevitably open a diplomatic rift between Britain and its NATO partner and besmirch the reputation of British Intelligence for years to come. It would not be the agent James Bond who would be at the storm center - his superior M. would be very lucky to survive... "<ref>Hugh G. Willard, "Real Spies and Thriller Spies", in Dr. Enoch Carter (ed.), "The Mythologies of the Twentieth Century Revisited - a Multi-Disciplinary International Round Table", p. 25, 28, 31.</ref> ===Other themes=== Another theme of the novel is how France is portrayed as the weak link of the West. The French press is portrayed as left-wing and under the control of the Soviet government, which is why Grant is ordered to kill Bond in France in order to ensure maximum publicity for the "death with dishonor" that the MGB is planning to inflict on him.{{sfn|Takors|2010|p=226}} The French Fourth Republic was unstable with governments coming and going while France had been defeated in Vietnam, becoming the first western nation to be defeated by a Communist nation. From late 1954 onward, France was engaged in the bloody Algerian war that was increasingly pushing France to the brink of civil war as the 1950s went on. Grubozaboyschikov alludes to these troubles as he describes France as the nation that the Soviet spies had plunged into chaos and were in the process of steadily taking over, making "great political gains".{{sfn|Takors|2010|p=222}} Some French newspapers had reported (correctly) that the French Army routinely engaged in torture, rape and extrajudicial killings in Algeria, a very controversial claim at the time that divided French society about the justice of the Algerian war. Fleming believed that the FLN was a Soviet-inspired movement and that the criticism of the Algerian war in France was likewise Communist-inspired. That the French press is presented as corrupt and under Soviet control in the book while France is generally portrayed as the weakest link seems to be a reference to these troubles.{{sfn|Takors|2010|p=226}} The lurid murder-sex scandal that is planned is ultimately meant to break up the Anglo-American "special relationship" as Grant taunts Bond that there will be "No more atom secrets from the Yanks".{{sfn|Takors|2010|p=227}} Fleming was indirectly referencing the Maclean-Burgess affair which severely damaged Anglo-American relations and led the United States to cease sharing much intelligence with the United Kingdom for much of the 1950s on the grounds that the British government was a nest of Soviet spies.{{sfn|Takors|2010|p=227}} An important theme of the novel is heteronormativity. In contrast to the resolutely heterosexual Bond, most of his opponents are not. Rosa Klebb is an ugly woman with "toad like figure" who is a lesbian while Kronsteen is bisexual and "a monster".{{sfn|Takors|2010|p=224}} Klebb tries to seduce Romanova in her apartment, causing her to flee in terror. Reflecting a leitmotif in Fleming's novels when it came to the treatment of villains, the deformed and hideous appearance of the MGB officers serves as a metaphor for their deformed and hideous personalities.{{sfn|Takors|2010|p=224}} One of major themes of the novel is what Fleming saw as the continuity of Russian/Soviet history with the Soviet Union as merely a continuation of Imperial Russia. At one point, it is objected that Tatiana Romanova who as her surname suggests is related to the House of Romanov, albeit distantly, and thus cannot serve on a mission in Turkey, leading Klebb to say that "all our grandparents were former people. There is nothing one can do about it".{{sfn|Takors|2010|p=222}} Fleming was suggesting that the 1917 revolutions were a sham, and the "former people" (the disparaging Soviet term for the elite of Imperial Russia) in fact continued to rule on after 1917.{{sfn|Takors|2010|p=222}} The fact that Grubozaboyschikov uses lashing with a knout (a favored punishment in Imperial Russia) to punish his subordinates is again meant to show the continuity of Russian/Soviet history. Throughout the book, the term Russia and Russians are used rather than the Soviet Union and Soviets, emphasising the historical continuity.{{sfn|Takors|2010|p=220}} In one passage, it is stated that extreme violence is merely routine state policy in Russia/the Soviet Union, as Fleming wrote in an apparent reference to the ''Yezhovshchina'' of 1936-38 that "a million people" had to be killed in one year because it was necessary for the Soviet state.{{sfn|Takors|2010|p=225}} Joseph Stalin is not mentioned as a reason for this violence, and instead the state violence in the Soviet Union is explained on racial grounds as "some of their race are among the cruellest in the world", suggesting the Russians or at least a great many of them are a pathologically warped people.{{sfn|Takors|2010|p=225}} However, the same passage also states the "average Russian" is not a "cruel man". {{sfn|Takors|2010|p=225}} The massive state violence of the Stalin era is not presented as an aberration in Russian/Soviet history, but rather as the norm.{{sfn|Takors|2010|p=225}} Another theme of the novel is the failure of modernization under the Turkish republic and the picture of the Turks as "oriental".<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> When Bond arrives in Istanbul, he is met by "dark, ugly, neat little officials" with "bright, angry, cruel eyes that had only lately come down from the mountains...They were hard, untrusting, jealous eyes. Bond didn't take to them.".<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> Kerim Bey tells Bond at one point: "That is the only way to treat these damned people. They love to be cursed and kicked. It is all they understand. It is in the blood. All this pretence of democracy is killing them. They want some sultans and wars and rape and fun. Poor brutes, in their striped suits and bowler hats. They are miserable. You’ve only got to look at them. However, to hell with them all. Any news?"<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> That Kerim is half-Turkish and lives in Turkey is intended to give authenticity and authority to passages such as this.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> When Bond and Romanova board the Orient Express, he thinks: "By tomorrow they would be out of these damn Balkans and down into Italy, then Switzerland, then France — among friendly people and away from these dark, furtive lands that stank of conspiracy and treachery".<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> ==''Rusya’dan Sevgilerle''== Singer noted that in ''Rusya’dan Sevgilerle'', the Turkish version of ''From Russia, with Love'' that was published in 1983, the translator Yakut Güneri made major changes to the story that presented Turkey and Turks in a more positive light.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> All references to the 1955 pogrom in ''From Russia, with Love'' are removed from ''Rusya’dan Sevgilerle''.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> On his flight to Istanbul, Bond stops in Athens where: "Near the airport a dog barked excitedly at an unknown human smell. Bond suddenly realized that he had come into the East where the guard-dog howls all night."<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> The stop-over in Athens is eliminated from the Turkish version.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> In Istanbul, where Bond is met by "dark, ugly, neat little officials" with "bright, angry, cruel eyes that had only lately come down from the mountains...They were hard, untrusting, jealous eyes. Bond didn't take to them." The reference to Turks being ugly is removed as is the remark about them "had only lately come down from the mountains."<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> The “hard, untrusting, jealous eyes” of the Turks became "hard, fearless, anguished eyes".<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> Kerim has in his office a portrait of Winston Churchill hanging in a prominent spot together with a portrait of Queen Elizabeth II.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> Churchill is a hated figure in Turkey who is detested as the First Lord of the Admiralty who confiscated two battleships that the Ottoman empire had paid for in 1914; for his role in launching the Dardanelles campaign of 1915; for advocating British support for Greece and finally supporting David Lloyd George in 1922 when he decided to go to war with Turkey.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> In ''Rusya’dan Sevgilerle'', Kerim has only a portrait of Elizabeth II.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> Kerim shakes Bond's hand with "a hand with strength that could break the bones of fingers by squeezing [them]" while the references to the "Western handful of operative fingers" and "the banana skin handshake of the East" are removed.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> In ''From Russia, with Love'' Kerim has two citations for military service for Britain while in ''Rusya’dan Sevgilerle'' he has none.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> In the English original Kerim tells Bond about his children: "They would all die for me—and for M. I have taught them he is just below God."<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> As this statement might sound rather blasphemous in Muslim Turkey, Kerim in the Turkish version says his children "greatly respect M".<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> The passage about Kerim talks about how the Turks "want some sultans and wars and rape and fun" is removed altogether in the Turkish version where Kerim just asks Bond if he has "any news?"<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> Bond's remark about how Kerim does not "belong outside his territory" is removed from the Turkish version.<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> Singer concludes: "The cumulative effect of all these changes is that Güneri transforms Kerim from a symbol of a Hail Britannia-enthusiast voicing Fleming's disdain for savage Turks into the epitome of British-Turkish partnership and the sophisticated modern Turk...Turkey is the setting for this adventure, but Güneri and Fleming imagine the country very differently. Turkey and its place in the world thus became points of contention between author and translator. For Fleming, the Darko Kerim character is a critical voice of Kemalism's failed if admirable modernizing mission. In contrast, Güneri allows for Kerim's Britishness and Turkishness (more accurately, a certain type of Turkishness) to comfortably co-exist, which they must if Darko Kerim is to symbolize the possibilities Turkey's modernization has created."<ref name="Singer">{{cite news |last1=Singer |first1=Sean |title=Lost in Translation: James Bond's Istanbul|url=https://www.the-american-interest.com/2012/12/12/lost-in-translation-james-bonds-istanbul/ |access-date=20 October 2020 |publisher=The American Interest |date=12 December 2012}}</ref> ==Publication and reception== ===Publication history=== ''From Russia, with Love'' was released in the UK as a hardback on 8 April 1957, by the publishers [[Jonathan Cape]].<ref name="Richardson (1957)"/> The American edition was published a few weeks later by [[Macmillan Publishers|Macmillan]].{{sfn|Benson|1988|p=16}}<ref name="Boucher (1957)" /> Fleming was pleased with the book and later said: <blockquote>Personally I think ''from Russia, with Love'' was, in many respects, my best book, but the great thing is that each one of the books seems to have been a favourite with one or other section of the public and none has yet been completely damned.{{sfn|Chancellor|2005|p=97}}</blockquote> In November 1956 the Prime Minister, [[Anthony Eden|Sir Anthony Eden]], had visited Fleming's Jamaican Goldeneye estate, to recuperate from a breakdown in his health. This was much reported in the British press,{{sfn|Benson|1988|p=15}} and the publication of ''From Russia, with Love'' was accompanied by a promotional campaign that capitalised on Fleming's raised public profile.{{sfn|Lycett|1996|p=313}} The serialisation of the story in ''[[Daily Express|The Daily Express]]'' in 1957 provided a boost to the sales of the book;{{sfn|Lindner|2009|p=16}} a bigger rise in sales was to follow four years later. In an article in ''[[Life (magazine)|Life]]'' on 17 March 1961, the US President [[John F. Kennedy]] listed ''From Russia, with Love'' as one of his ten favourite books.<ref name="Time: Kennedy" />{{efn|Kennedy's brother [[Robert F. Kennedy|Robert]] was also an avid reader of the Bond novels, as was [[Allen Dulles]], the [[Director of Central Intelligence]].{{sfn|Parker|2014|pp=260, 262}}}} This accolade, and its associated publicity, led to a surge in sales that made Fleming the biggest-selling crime writer in the US.{{sfn|Fleming|Higson|2006|p=vi}}{{sfn|Lycett|1996|p=383}} There was a further boost to sales following the release of the [[From Russia with Love (film)|film of the same name]] in 1963, which saw the sales of the [[Pan Books|Pan]] paperback rise from 145,000 in 1962 to 642,000 in 1963 and 600,000 in 1964.{{sfn|Bennett|Woollacott|2009|pp=17, 21}} ===Reception=== ''From Russia, with Love'' received mainly positive reviews from critics.{{sfn|Parker|2014|p=239}} [[Julian Symons]], in ''[[The Times Literary Supplement]]'', considered that it was Fleming's "tautest, most exciting and most brilliant tale", that the author "brings the thriller in line with modern emotional needs", and that Bond "is the intellectual's [[Mike Hammer]]: a killer with a keen eye and a soft heart for a woman".<ref name="Symons (1957)" /> The critic for ''[[The Times]]'' was less persuaded by the story, suggesting that "the general tautness and brutality of the story leave the reader uneasily hovering between fact and fiction".<ref name="Times (1957)" /> Although the review compared Fleming in unflattering terms to [[Peter Cheyney]], a [[crime fiction]] writer of the 1930s and 1940s, it concluded that ''From Russia, with Love'' was "exciting enough of its kind".<ref name="Times (1957)"/> ''[[The Observer]]''{{'}}s critic, Maurice Richardson, thought that ''From Russia, with Love'' was a "stupendous plot to trap&nbsp;... Bond, our deluxe cad-clubman agent" and wondered "Is this the end of Bond?"<ref name="Richardson (1957)" /> The reviewer for the ''[[Oxford Mail]]'' declared that "Ian Fleming is in a class by himself",{{sfn|Chancellor|2005|p=97}} while the critic for ''The Sunday Times'' argued that "If a psychiatrist and a thoroughly efficient copywriter got together to produce a fictional character who would be the mid-twentieth century subconscious male ambition, the result would inevitably be James Bond."{{sfn|Chancellor|2005|p=97}} Writing in ''[[The New York Times]]'', [[Anthony Boucher]]—described by a Fleming biographer, [[John Pearson (author)|John Pearson]], as "throughout an avid anti-Bond and an anti-Fleming man"{{sfn|Pearson|1967|p=99}}—was damning in his review, saying that ''From Russia, with Love'' was Fleming's "longest and poorest book".<ref name="Boucher (1957)" /> Boucher further wrote that the novel contained "as usual, sex-cum-sadism with a veneer of literacy but without the occasional brilliant setpieces".<ref name="Boucher (1957)"/> The critic for the ''[[New York Herald Tribune]]'', conversely, wrote that "Mr Fleming is intensely observant, acutely literate and can turn a cliché into a silk purse with astute alchemy".{{sfn|Chancellor|2005|p=97}} Robert R Kirsch, writing in the ''[[Los Angeles Times]]'', also disagreed with Boucher, saying that "the espionage novel has been brought up to date by a superb practitioner of that nearly lost art: Ian Fleming."<ref name="Kirsch (1957)" /> In Kirsch's opinion, ''From Russia, with Love'' "has everything of the traditional plus the most modern refinements in the sinister arts of spying".<ref name="Kirsch (1957)"/> ==Adaptations== {{see also|James Bond (comic strip)}} ''From Russia, with Love'' was serialised in ''The Daily Express'' from 1 April 1957;<ref name="D Exp serial" /> it was the first Bond novel the paper had adapted.{{sfn|Lindner|2009|p=16}} In 1960 the novel was also adapted as a daily [[comic strip]] in the paper and was syndicated worldwide. The series, which ran from 3 February to 21 May 1960,{{sfn|Fleming|Gammidge|McLusky|1988|p=6}} was written by [[Henry Gammidge]] and illustrated by [[John McLusky]].{{sfn|McLusky|Gammidge|Hern|Fleming|2009|p=5}} The comic strip was reprinted in 2005 by [[Titan Books]] in the ''Dr. No'' anthology, which also included ''Diamonds Are Forever'' and ''Casino Royale''.{{sfn|McLusky|Gammidge|Hern|Fleming|2009|p=135}} The film ''[[From Russia with Love (film)|From Russia with Love]]'' was released in 1963, produced by [[Albert R. Broccoli]] and [[Harry Saltzman]], and directed by [[Terence Young (director)|Terence Young]]. It was the second Bond film in the [[Eon Productions]] series and starred [[Sean Connery]] as Bond.<ref name="Brooke BFI" /> The film version contained some changes to the novel, with the leading villains switching from SMERSH to [[SPECTRE]], a fictional terrorist organisation.{{sfn|Barnes|Hearn|2001|p=21}} In the main it was a faithful adaptation of the novel; the ending was changed to make clear Bond's survival. Benson declares that "many fans consider it ''the'' best Bond film, simply because it is close to Fleming's original story".{{sfn|Benson|1988|pp=172–74}} The novel was dramatised for radio in 2012 by Archie Scottney, directed by [[Martin Jarvis (actor)|Martin Jarvis]] and produced by [[Rosalind Ayres]]; it featured a full cast starring [[Toby Stephens]] as James Bond and was first broadcast on [[BBC Radio 4]]. It continued the series of Bond radio adaptations featuring Jarvis and Stephens following [[Dr. No (novel)|''Dr. No'']] in 2008 and [[Goldfinger (novel)|''Goldfinger'']] in 2010.<ref name="BBC adaps" /> ==Notes and references== ===Notes=== {{notes}} ===References=== {{reflist|colwidth=25em|refs= <ref name="Style: Dragon"> {{cite journal|last1=Sternberg|first1=Meir|author-link1=Meir Sternberg|title=Knight Meets Dragon in the James Bond Saga: Realism and Reality-Models|journal=Style|date=Spring 1983|volume=17|issue=2|pages=142–80|jstor=42945465|publisher=Penn State University Press|location=University Park, PA}} {{subscription}}</ref> <ref name="Synnott: Beauty"> {{cite journal|last1=Synnott|first1=Anthony|title=The Beauty Mystique: Ethics and Aesthetics in the Bond Genre|journal=International Journal of Politics, Culture, and Society|date=Spring 1990|volume=3|issue=3|pages=407–26|doi=10.1007/BF01384969|jstor=20006960|s2cid=143938867}} {{subscription}}</ref> <ref name="DT: Boothroyd"> {{cite news |title=Bond's unsung heroes: Geoffrey Boothroyd, the real Q |url=https://www.telegraph.co.uk/culture/film/jamesbond/5320024/Bonds-unsung-heroes-Geoffrey-Boothroyd-the-real-Q.html |access-date=24 March 2016 |work=The Daily Telegraph |date=21 May 2009 |archive-url=https://web.archive.org/web/20150924190337/http://www.telegraph.co.uk/culture/film/jamesbond/5320024/Bonds-unsung-heroes-Geoffrey-Boothroyd-the-real-Q.html |archive-date=24 September 2015 |url-status=dead }}</ref> <ref name="Fleming: Istanbul"> {{cite news|last=Fleming|first=Ian|title=The Great Riot of Istanbul|newspaper=The Sunday Times|page=14|date=11 September 1955}}</ref> <ref name="Cook (2004)"> {{cite news|last=Cook|first=William|title=Novel man|newspaper=New Statesman|date=28 June 2004|page=40}}</ref> <ref name="Time: Kennedy">{{cite journal|last=Sidey|first=Hugh|title=The President's Voracious Reading Habits|journal=Life|date=17 March 1961|volume=50|issue=11|page=59|url=https://books.google.com/books?id=vUUEAAAAMBAJ&pg=PA5|access-date=5 October 2011|issn=0024-3019|archive-url=https://web.archive.org/web/20160506171126/https://books.google.com/books?id=vUUEAAAAMBAJ&lpg=PA5&pg=PA5#v=onepage&q&f=false|archive-date=6 May 2016|url-status=live}}</ref> <ref name="Symons (1957)"> {{cite news|last=Symons|first=Julian|title=The End of the Affair|newspaper=The Times Literary Supplement|date=12 April 1957|author-link=Julian Symons|page=230}}</ref> <ref name="Times (1957)"> {{cite news|title=New Fiction|newspaper=The Times|date=11 April 1957|page=13}}</ref> <ref name="Richardson (1957)"> {{cite news|last=Richardson|first=Maurice|title=Crime Ration|newspaper=The Observer|date=14 April 1957|page=16}}</ref> <ref name="Boucher (1957)"> {{cite news|last=Boucher|first=Anthony|title=Criminals at Large|newspaper=The New York Times|date=8 September 1957|page=BR15}}</ref> <ref name="Kirsch (1957)"> {{cite news|last=Kirsch|first=Robert R|title=The Book Report|newspaper=Los Angeles Times|date=28 August 1957|page=B5}}</ref> <ref name="IFP: Books"> {{cite web |title=Ian Fleming's James Bond Titles |url=http://www.ianfleming.com/books/ |publisher=[[Ian Fleming Publications]] |access-date=7 August 2015 |archive-url=https://web.archive.org/web/20150810024322/http://www.ianfleming.com/books/ |archive-date=10 August 2015 |url-status=dead }}</ref> <ref name="D Exp serial"> {{cite news|title=From Russia With Love|newspaper=Daily Express|date=1 April 1957|page=10}}</ref> <ref name="Brooke BFI"> {{cite web |last=Brooke |first=Michael |title=From Russia with Love (1963) |url=http://www.screenonline.org.uk/film/id/520462/ |work=Screenonline |publisher=[[British Film Institute]] |access-date=5 October 2011 |archive-url=https://web.archive.org/web/20160414181929/http://www.screenonline.org.uk/film/id/520462/ |archive-date=14 April 2016 |url-status=dead }}</ref> <ref name="BBC adaps"> {{cite web |title=Saturday Drama: From Russia with Love |url=http://www.bbc.co.uk/programmes/b01kxzr6 |publisher=BBC |access-date=15 July 2012 |archive-url=https://web.archive.org/web/20161219090509/http://www.bbc.co.uk/programmes/b01kxzr6 |archive-date=19 December 2016 |url-status=dead }}</ref> }} ===Sources=== {{refbegin|30em}} * {{Cite book|last=Amis|first=Kingsley|author-link=Kingsley Amis|title=The James Bond Dossier|year=1966|publisher=Pan Books |location=London |oclc=154139618}} * {{Cite book|last1=Barnes|first1=Alan|last2=Hearn|first2=Marcus|year=2001|title=Kiss Kiss Bang! Bang!: the Unofficial James Bond Film Companion|publisher=Batsford Books|location=London|isbn=978-0-7134-8182-2}} * {{Cite book|last1=Bennett|first1=Tony|author-link1=Tony Bennett (sociologist)|last2=Woollacott|first2=Janet|title=Bond and Beyond: The Political Career of a Popular Hero|year=1987|publisher=Routledge|location=London|isbn=978-0-416-01361-0|url-access=registration|url=https://archive.org/details/bondbeyondpoliti0000benn}} * {{Cite book|last1=Bennett|first1=Tony|last2=Woollacott|first2=Janet|contribution=The Moments of Bond|editor-last=Lindner|editor-first=Christoph|title=The James Bond Phenomenon: a Critical Reader|pages=13–34|year=2009|location=Manchester|publisher=Manchester University Press|isbn=978-0-7190-6541-5}} * {{Cite book|last=Benson|first=Raymond|title=The James Bond Bedside Companion|year=1988|publisher=Boxtree Ltd|location=London|isbn=978-1-85283-233-9}} * {{Cite book|last=Black|first=Jeremy|title=The Politics of James Bond: from Fleming's Novel to the Big 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Care (Faulks novel)|Devil May Care]]|publisher=Penguin Books|location=London|isbn=978-0-14-103545-1}} * {{Cite book|last1=Fleming|first1=Ian|author-link1=Ian Fleming|title=From Russia, with Love|year=1957|publisher=Macmillan|location=New York|oclc=368046}} * {{cite book|last1=Fleming|first1=Ian|last2=Gammidge|first2=Henry|last3= McLusky|first3=John|author-link1=Ian Fleming|author-link2=Henry Gammidge|author-link3=John McLusky|title=Octopussy|year=1988|publisher=Titan Books|location=London|isbn=978-1-85286-040-0}} * {{Cite book|last1= Fleming|first1=Ian|author-link1=Ian Fleming|last2= Higson|first2=Charlie |author-link2=Charlie Higson|title=From Russia, with Love|year=2006|publisher=Penguin Books|location=London|isbn= 978-0-14-102829-3}} * {{Cite book|last=Griswold|first=John|title= Ian Fleming's James Bond: Annotations and Chronologies for Ian Fleming's Bond Stories |url=https://books.google.com/books?id=uariyzldrJwC&q=%22Death%20Leaves%20an%20Echo%22%20fleming&pg=PP1|publisher=AuthorHouse|location=Bloomington, IN|year=2006|isbn=978-1-4259-3100-1}} * {{Cite book|last=Halloran|first=Bernard F|title=Essays on Arms Control and National Security|year=1986|publisher=Arms Control and Disarmament Agency|location=Washington, DC|oclc=14360080}} * {{Cite book|last=Lindner|first=Christoph|title=The James Bond Phenomenon: a Critical Reader|url= https://books.google.com/books?id=x9-1QY5boUsC&pg=PP1|location=Manchester|publisher=Manchester University Press|year=2009|isbn=978-0-7190-6541-5}} * {{Cite book|last= Lycett|first= Andrew|title= Ian Fleming|year=1996|publisher=Phoenix|location=London|isbn= 978-1-85799-783-5}} * {{Cite book|last=Macintyre|first=Ben|title=For Your Eyes Only|year=2008|publisher=Bloomsbury Publishing|location=London|isbn=978-0-7475-9527-4}} * {{cite book|last1=McLusky|first1=John|last2=Gammidge|first2=Henry|last3=Hern|first3=Anthony|last4=Fleming|first4=Ian|title=The James Bond Omnibus Vol. 1|year=2009|publisher=Titan Books|location=London|isbn=978-1-84856-364-3}} * {{cite book|last=Panek|first=LeRoy|title=The Special Branch: The British Spy Novel, 1890–1980|url=https://archive.org/details/specialbranchbri0000pane|url-access=registration|year=1981|publisher=Bowling Green University Popular Press|location=Bowling Green, OH|isbn=978-0-87972-178-7}} * {{Cite book|last=Parker|first=Matthew|title=Goldeneye|year=2014|publisher=Hutchinson|location=London|isbn=978-0-09-195410-9}} * {{Cite book|last=Pearson|first=John|title=[[The Life of Ian Fleming|The Life of Ian Fleming: Creator of James Bond]]|year=1967|publisher=Jonathan Cape|location=London|oclc=463251270}} *{{cite chapter|last=Takors|first=Jones|chapter='The Russians could not longer be the heavies' ''From Russia with Love'' and the Cold War in the Bond Series|pages=219–232|title=Facing the East in the West: Images of Eastern Europe in British Literature, Film and Culture|publisher=Rodopi|location=London|date=2010|editor1=Korte, Barbara |editor2=Pirker, Eva Ulrike |editor3=Helff, Sissy |isbn=978-9042030497}} {{Refend}} ==External links== * {{wikiquote-inline|Ian Fleming#From Russia with Love (1957)|''From Russia, with Love''}} * [http://www.ianfleming.com/ Ian Fleming.com] Official website of [[Ian Fleming Publications]] * {{FadedPage|id=20160104|name=From Russia With Love}} {{Portalbar|novels|1950s}} {{JB SMERSH stories}} {{Bond books}} {{Ian Fleming}} {{Authority control}} {{DEFAULTSORT:From Russia, With Love (Novel)}} [[Category:1957 British novels]] [[Category:British novels adapted into films]] [[Category:Cold War spy novels]] [[Category:Fictional representations of Romani people]] [[Category:From Russia with Love (film)]] [[Category:James Bond books]] [[Category:Jonathan Cape books]] [[Category:Novels by Ian Fleming]] [[Category:Novels set in Istanbul]] [[Category:Novels set on the Orient Express]] [[Category:Novels adapted into radio programs]]'