I had an articled published last month in the John Buchan Journal (unsurprisingly, the journal of the John Buchan Society). It is about the way that John Buchan drew on his First World War experience as a customer of Sigint to use cryptanalysis in one of his books and in a short story to advance the narrative, and to develop characters.
A key point, I feel, is that it is impossible to describe the process of cryptanalysis in a work of fiction and make it interesting for the general reader. Buchan’s answer was to give a vague idea of an encryption system: Playfair in one, double transposition in the other; make the reader understand that this is something really difficult, and that therefore the practitioners have to be intelligent, and not just lucky; and move on, making the story (or the relevant part of the story) about people who break codes or ciphers, not about the process of breaking them.
Two of the novels of Dorothy L Sayers have cryptanalytic sub-plots. Lord Peter Wimsey certainly shows himself to be intelligent in breaking the messages concerned, but the eight or nine pages in Chapter 28 of Have His Carcase, in which he goes step by step through the process of breaking a message enciphered with Playfair, and takes no prisoners while doing so. (She doesn’t try quite as hard in The Nine Tailors, in which she describes in just two or three pages an encryption method which uses as its key the course of the treble bell in a peal of Kent Treble Bob Major.)
Perhaps the process of cryptanalysis is of limited interest to the reader of a novel because the process of Sigint – interception, analysis, cryptanalysis – is analogous (though less interesting) to having somebody physically steal a copy of the message. The point the author is aiming at is that somebody who shouldn’t have had access to the message now has it, so the story can move on. There are more and less interesting ways of doing this, and pausing the story so that Lord Peter can show off is at the ‘less’ end of the scale.
I’m not aware, and I think the reason why is clear, that there is that much at all about Sigint in literature. I’ve dealt with Buchan; From Russia With Love is the only Bond story which touches on it (the attempt to steal a Soviet encryption device draws from British plans to steal Enigmas during the Second World War that Ian Fleming was closely involved with); John Hale’s The Whistle Blower is about cryptologists, but not cryptology; are there any more? (I'm speaking of British novels.)
There is one candidate for a novel about GCHQ, though: The Tin Men by Michael Frayn. His National Service was spent being trained in Russian so that he could be a Sigint linguist. The novel is about a research organisation: The William Morris Institute of Automation Research. The institute is at the forefront of automation: computers are being programmed to write newspaper articles, produce popular TV shows and say prayers. But problems begin when programmers begin to program computers to welcome HM The Queen on a royal visit to the Institute. No spoilers, but it is as funny a book as you would expect the author of Noises Off to have written, and could probably claim the title of the first satirical novel about AI.
The novel was published in 1965, at a time when any mention of GCHQ and the work it carried out would have brought an author to charges under the Official Secrets Act. But in the succeeding fifty years the story has been passed down in GCHQ that The Tin Men was Frayn’s attempt to make sense of the UK’s national Sigint organisation.
Do read it!
