A ‘world of method and intrigue’: Muriel Spark's Literary Intelligence

In 1944, Muriel Spark was recruited by the Foreign Office to work as a Duty Secretary in the Political Warfare Executive at Milton Bryan. ‘I played a very small part,’ Spark wrote in her autobiography, ‘but as a fly on the wall I took in a whole world of method and intrigue in the dark field of Black Propaganda or Psychological Warfare, and the successful and purposeful deceit of the enemy.’ Drawing on research in Spark's personal and literary archives at the McFarlin Library, Tulsa, and the National Library of Scotland, this essay explores the ways in which this ‘world of method and intrigue’ is taken in and reformulated in Spark's writing. Political espionage takes centre-stage in several of Spark's fictions, and a preoccupation with secrecy and spying runs through her work. But the methods of black propaganda can also be read as a secret sharer of some of Spark's most characteristic aesthetic strategies. Focusing in particular on Spark's most direct treatment of her secret war work – The Hothouse by the East River – critical tension centres on reading Spark's literary intelligence less as a re-enactment than as a subversion of the logics of disinformation.

Muriel Spark and the Art of Deception: Constructing Plausibility with the Methods of WWII Black Propaganda

From May to October 1944, Muriel Spark was employed by the Political Warfare Executive (PWE), a secret service created by Britain during the Second World War with the mission of spreading propaganda to enemy and enemy-occupied countries. This was a formative experience which allowed her to develop an understanding of literal truth as elusive and historically contingent—even a constructed effect—as well as an interest in fictional fabrication and deception. Drawing on an account of the methods of WWII British black propaganda, Spark’s biographical accounts, and heretofore untapped archival documents from the Political Warfare Executive Papers (National Archives), this essay analyses how Spark employs the fictional equivalent of the methods of WWII black propaganda in order to examine the creation of plausibility in her novels. It explores Spark’s deployment of verifiable facts, evidence, precise information, appropriate tone, narrative coherence, targeting, covert motives, chronological disruption and repetition to construct the key elements of fiction in her novels. I argue that such fictional strategies provide a political and moral antidote to totalitarian thinking by presenting reality as necessarily contingent, and therefore open to external contestation and democratic debate. Bringing together history, biography and literary criticism, this is the first systematic and archivally supported examination of how Spark’s work for the PWE opens up a way of rethinking her fascination with the art of deception.

Accident as Event

Dealing with a broad sweep of experimental novels of the period that make accident a central concern, this chapter examines writing by Samuel Beckett, Brigid Brophy, Eva Figes, Gabriel Josipovici, Nicholas Mosley, Muriel Spark, and Stefan Themerson. In these the accident emerges as a thematic motif or philosophical principle: as chronological paralysis, traumatic violence, revelatory or epiphanic understanding, or eroticized encounter with technology. In late modernism, the uneasy mingling of the precariousness induced by an awareness of life as threatened by the atomic as well as constituted by it seems contradictory to an understanding of the accident as inevitable. This is prevalent in Beckett’s invocation of the void as much as in the frantic figurations of a writer like Brophy. The accident then emerges as what reveals the late modernist disposition to passivity, non-mastery, dissolution, and silence, pushing at the limits of what can and cannot be known.

“From Scotland to the World”: The Poetry of Hope Mirrlees, Helen Adam, Muriel Spark, and Veronica Forrest-Thomson

The four poets that provide the material for this chapter did not know each other and they probably did not know each other’s work. However, they had important formative experiences in common: They were all educated in Scotland and they all left Scotland after that early education. Yet, they all retained special, although different, ties to that country, to its history, and its writing. They were all “modern” in their poetry, sometimes bizarrely so: Of each of them it could be said, “There was no one like her.” This strangeness they also share, as they share a willingness, even desire, to shock, a muddling of contemporary and archaic, of real and legendary. Veronica Forrest-Thomson’s “Hold on to your seat-belt Persephone” is an indicative phrase. I aim to show that these serially inimitable modern writers have complicated and intertwined Scottish and international connections.

New Realism and ‘the times at hand’

The chapter opens by considering the contested definitions of realism that often characterize discussions of the novel in the postwar British literary field. The Snow Circle—C. P. Snow, Pamela Hansford Johnson, and William Cooper—is then introduced. Hansford Johnson’s and Cooper’s attacks on the nouveau roman are shown to rehearse the Snovian critique of modernism, as well as to replicate its elisions regarding its own valuation of an opposing realism. Then novels by Rayner Heppenstall (The Connecting Door, and The Woodshed (both 1962)) and Muriel Spark (The Mandelbaum Gate (1965)) are contrasted. Both writers explicitly engage with the nouveau roman in their novels, and value it positively as a form of realism. However, Heppenstall is shown to remain within the frame of reference set down by European high modernism, while Spark sees the nouveau roman as exemplifying something new. The chapter concludes by showing how Spark’s understanding of the nouveau roman’s realism is echoed in the critical statements of a number of other writers, most revealingly B. S. Johnson.