From the nineteenth century to the twenty-first century, British espionage fiction documents relations between the UK and its European neighbours. In many countries, spying was conducted under the auspices of the Foreign Office, albeit at arm’s length. From the 1920s until 1968, British spies often worked in Passport Control Offices, which were attached to consulates in Europe and around the world. These spies, however, did not hold diplomatic status. In novels such as The Riddle of the Sands (1903), The Secret Agent (1907), The Thirty-Nine Steps (1915), A Small Town in Germany (1968), and A Perfect Spy (1986), amateur and professional spies take diplomatic cover or work in tandem with government officials. More often than not, early spy fiction presumes that European interests are inimical to British sovereignty and security. In The Riddle of the Sands, Germans plan to invade England. In The Thirty-Nine Steps, continental Europeans foment an assassination plot against the Greek Prime Minister to instigate a war. Although Cold War alignments and membership in the European Union change this dynamic, Britons remain suspicious of European motives. In this regard, British spy fiction asks the same question in different historical contexts: in what ways are Britons European, or not?

It is well known that Britten visited the Soviet Union on five occasions between 1960 and 1971 and established warm friendships with members of the Soviet musical elite: Dmitri Shostakovich, Sviatoslav Richter, Mstislav Rostropovich, and Galina Vishnevskaya. Using a range of declassified archival material, this article places this engagement in the wider historical context of Anglo-Soviet political, commercial, and cultural relations, from the wartime alliance with Stalin to the collapse of the Soviet Union in 1991. It considers the operation of the Anglo-Soviet Cultural Agreement, alongside the importance of individuals such as the impresario Victor Hochhauser and a sequence of supportive British ambassadors and cultural attachés. It also examines the role of the British Council on the ground and some of the constraints placed upon this cultural engagement through resourcing and the rules of the political game. Finally, it assesses engagement beyond Britten’s lifetime, in the light of the visits of pop artists such as Sir Cliff Richard and the Bootleg Beatles to the Soviet Union and the first performances of works hitherto taboo, such as Elgar’s The Dream of Gerontius.

This chapter examines the marginal notes added to the key British dossiers relating to the Sung Man Cho v. Superintendent of Prisons case, revealing a picture of perplexity and even confusion as to the way ahead in ongoing correspondence between the British Foreign Office, the Colonial Office, the Secretary of State for the Colonies, the Home Office and other concerned departments. In the background, especially as interpreted by Crown Council F. C. Jenkin QC, stood a complex British legal discourse on banishment/deportation and extradition.