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The James Bond movies are the longest-running franchise in film history, making 007 the most iconic spy figure in international cinema. Likewise, Fleming's novels enjoyed immense popularity during the Cold War, especially after John F. Kennedy announced in an interview with Life magazine that From Russia with Love ranked as one of his top ten favorite books. In fact, at the time of Fleming's death in August 1964, over thirty million copies of Bond books had been sold, and two years later, at the height of Bond mania, that number had doubled to sixty million (Giblin 24). When inflation is considered in the calculations, the cinematic versions of Fleming's novels reflect equally impressive numbers; From Russia with Love (1963), Goldfinger (1964), Thunderball (1965), Diamonds Are Forever (1971), The Spy Who Loved Me (1977), and GoIdeneye (1997) all rank among the top one hundred highest grossing films of all time ("List of Highest Grossing Films").
With Penguin Books re-releasing the Bond novels, many people are now turning (or returning) to Fleming's work, and what is perhaps most striking to these twenty-first century readers is the stark political incorrectness that the author employs. As several academic pieces on James Bond reveal,1 the spy clearly views non-British cultures as far inferior to his own, and these views are usually depicted through Fleming's villains who, to Englishmen, are racial others. These characters, which include Bulgarians, Italians, Germans, Yugoslavs, Russians, Koreans, Turks, and Americans, are the victims of shameless racial stereotypes and ethnic slurs (Arms 75). For example, in his first novel, Casino Royale, Fleming describes the local Bulgarians as "stupid, but obedient" and notes that they are merely used by the Russians "for simple killings or as fall-guys for more complicated ones" (27). In Diamonds Are Forever, American gangsters are described as "mostly a lot of Italian bums with monogrammed shirts who spend the day eating spaghetti and meatballs and squirting scent all over themselves" (18). Likewise, many of Fleming's villains, in both the novels and the films, possess sexual deviancies and physical abnormalities demarcating them as degenerate enemies. Stromberg, in The Spy Who Loved Me, possesses webbed hands; Scaramanga, in The Man with the Golden Gun, sports three nipples; Kidd and Wmt, in Diamonds Are Forever, are homosexual...