Bonded Ideologies

  • Tony Bennett
  • Janet Woollacott
Chapter
Part of the Communications and Culture book series

Abstract

‘I must confess,’ Fleming once said of Bond, ‘I quite often get terribly excited myself at his adventures. There are times when I can hardly wait to turn the next page.’1 In this sense, perhaps, Fleming was his own ideal reader, the reader who would want, as he put it, to ‘turn the page’, to find out what happens next.2 Although in itself no more than a happy coincidence, this symmetry between Fleming’s account of his experience of the process of writing and his description of the urge towards narrative completion he aimed to produce in the reader suggests a further respect in which Eco’s approach to the Bond novels needs to be qualified. For Eco, as we have seen, the pleasures of the ‘average reader’ are accounted for solely in terms of the operation of the novels’ plot mechanics. This is to suppose that the reader has access to such plot mechanics independently of the specific formal or ‘ways-oftelling’ devices which condition the mode of their narrative realisation. This is clearly not the case. Whilst plot and narrative mechanisms are logically separable for the purpose of analysis, the reader encounters the plot only in the form of a ‘plot-in-the-text’, indissociable from the forms of its narrative organisation.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes and References

  1. 2.
    I. Fleming, ‘How to Write a Thriller’, Books and Bookmen, May 1963, p. 14.Google Scholar
  2. 3.
    S. Neale, Genre, BFI, London, 1980, p. 20.Google Scholar
  3. 6.
    K. Amis, The James Bond Dossier, Jonathan Cape, London, 1965, p. 86.Google Scholar
  4. 8.
    D. Cannadine, ‘James Bond and the Decline of England’, Encounter, 53 (3), 1979, p. 48.Google Scholar
  5. 9.
    R. Usborne, Clubland Heroes: A Nostalgic Study of Some Recurrent Characteristics in the Romantic Fiction of Dornford Yates, John Buchan and Sapper, Constable, London, 1953, p. 155.Google Scholar
  6. 11.
    J. Cawelti, Adventure, Mystery and Romance, University of Chicago Press, 1976, p. 40.Google Scholar
  7. 14.
    S. Heath, The Sexual Fix, Macmillan, London, 1982, pp. 96–7.CrossRefGoogle Scholar
  8. 15.
    T. Eagleton, Literary Theory: An Introduction, Blackwell, Oxford, 1983, p. 179.Google Scholar
  9. 16.
    This is especially true of D. Ormerod and D. Ward, ‘The Bond Game’, The London Magazine May 1965, which we draw on substantially in what follows.Google Scholar
  10. 17.
    R. Trahair, ‘A Contribution to the Psychoanalytical Study of the Modern Hero: The Case of James Bond’, La Trobe Sociology Papers, La Trobe University, 1976.Google Scholar
  11. 20.
    J. Lacan, The Language of the Self: The Function of Language in Psychoanalysis, Delta Publishing Co., New York, 1968, p. 271.Google Scholar

Copyright information

© Tony Bennett and Janet Woollacott 1987

Authors and Affiliations

  • Tony Bennett
  • Janet Woollacott

There are no affiliations available

Personalised recommendations