Rupert Hughes: A Forgotten Figure of Intelligence and Literary History
The annals of intelligence services are replete with names of authors, journalists, and other wordsmiths who contributed their talents to the shadowy world of espionage. John le Carré, Graham Greene, and W. Somerset Maugham are just a few of the literary luminaries who lent their skills to British intelligence. However, one name remains largely obscured by the passage of time: Rupert Hughes. While his relatives, like eccentric billionaire Howard Hughes, achieved notoriety, Rupert Hughes faded into relative obscurity, a forgotten figure in both literary and intelligence circles.
Hughes’s life and career unfolded during a period of immense transformation. The First World War revolutionized warfare with its technological advancements, and simultaneously, the burgeoning fields of communication and mass media amplified the power of propaganda and disinformation. As a U.S. military intelligence officer, Hughes witnessed firsthand the nascent stages of these developments, grappling with themes and methodologies that continue to resonate in the present day. His unique position at the intersection of literature and intelligence provides a valuable lens through which to examine this pivotal era.
Unlike many of his contemporaries who focused on a specific genre, Hughes displayed remarkable versatility as a writer. He penned fiction for magazines, authored novels, delved into nonfiction with books on music, composed poetry, crafted essays and editorials, and contributed a staggering volume of newspaper articles. His literary output spanned a wide range of styles and formats, reflecting the diverse tastes of the early 20th-century reading public. He even ventured into the avant-garde, shocking New York’s literary elite with short stories published under the pseudonym Marmaduke Humphrey. These stories, featuring a memorable prostitute named Slab-sided Sal, offered a glimpse into the underbelly of society and showcased Hughes’s willingness to push boundaries.
Hughes’s creative endeavors extended beyond the written word. As a playwright, he contributed to the burgeoning world of theater, with one of his plays, "All for a Girl" (1908), launching the career of a young Douglas Fairbanks. His influence also reached the nascent film industry, with over 50 films, from silent movies to 1950s noir, either written by him or adapted from his work. Further demonstrating his multi-faceted talents, Hughes was a composer and songwriter, and even designed and patented a combat knife based on the switchblade for use in trench warfare.
His relative obscurity today can be attributed to several factors. He was primarily a writer of his time, catering to the popular tastes of his era, which may not resonate with modern audiences. Furthermore, his involvement in intelligence activities remained largely hidden, contributing to his anonymity within that field. Despite his prolific output and diverse contributions, Hughes’s name seldom appears in literary or intelligence history discussions.
As head of MI10, the U.S. military intelligence branch responsible for censorship, Hughes held a broad mandate. His responsibilities encompassed traditional wartime censorship as well as pioneering work in radio intercepts, a precursor to modern Signals Intelligence (SIGINT). He innovated by establishing mobile listening posts along the Mexican border and fixed stations in the American embassy in Mexico City and Maine, demonstrating a forward-thinking approach to intelligence gathering. His most significant contributions, however, emerged towards the end of the war, the details of which remain largely unexplored. Further research into Hughes’s wartime work promises to shed light on a critical period in the history of intelligence and its intersection with the evolving media landscape.
