Investigating soviet espionage and subversion: the case of Donald Maclean
This essay sets out the dimensions of investigating Soviet espionage and subversion, highlighting how Maclean's image as a Soviet agent has developed over the past 50 years. It will then consider to what extent new documents at the Public Record Office alter his image. Maclean's crime was treachery but what exactly is the intellectual challenge in investigating espionage? Just what can be achieved? Sir Dick White former head of MI6 offered this advice: Espionage is a crime that often leaves no trace of evidence. The investigator relies upon intuition for coincidences. After considering the circumstances, he might reach the moment of epiphany when all the facts added up to one conclusion1
The Secret Hotline to Moscow: Donald Maclean and the Berlin Crisis of 1948
Donald Maclean was a talented and respected senior official who worked at the British Embassy in Washington from May 1944 until 1 September 1948. Unknown to his contemporaries, he was one of ‘Stalin’s Englishmen’.1 His secret role was to provide the information that his Soviet ‘control’ requested and to keep the Soviets informed of western developments. This chapter will assess what effect Maclean’s espionage had upon British and American relations with the Soviet Union during the Berlin blockade, the first acute confrontation of the cold war. Policy-makers and academics have drawn some of the ground rules of crisis management from this experience, but overlooked the presence of Maclean, who gave the Soviets a secret and clear view into the inner circles of Anglo-American diplomacy.2
"The Plain Round Tale of Faithful Thady": Castle Rackrent as Slave Narrative
Critics of Maria Edgeworth’s Castle Rackrent tend to focus on textual elements—gender issues, the symbolism of the Big House, colonial hegemony— or contextual readings by placing Edgeworth in the Anglo-Irish history and tradition. While such criticism usually in some way examines the main theme of the text, the appropriation of power and authority, little of it accomplishes both the textual and contextual analysis that Castle Rackrent deserves. Exploring Thady’s “plain round tale” as a slave narrative in content and form sheds new light on the work both textually and contextually; in Thady Quirk, Edgeworth has created a typical slave narrator who recounts a history of oppression which is ultimately mediated by an outside editor. As John Cronin writes of Castle Rackrent, “What Maria Edgeworth has given us . . . is a magnificently realised slave, a terrifying vision of the results of colonial misrule. There must have been a moment of clearly deliberate artistic decision in which she realised that what needed to be said must be said through one of the submerged people.”1 The three main textual elements of the narrative indicate its likeness to typical slave narratives: its presentation of a conflicted slave narrator, its use of the framing device of the outside editor, and its narrative structure of episodic anecdotes that utilizes memory, description, and didacticism.