John le Carre Quotes
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Totalitarian states killed with impunity and no one was held accountable. That didn't happen in the West.
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A desk is a dangerous place from which to view the world.
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I taught principally German language and literature at Eton. But any master with private pupils must be prepared to teach anything they ask for. That can be as diverse as the early paintings of Salvador Dali or how bumblebees manage to fly.
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But there is a big difference in working for the West and working for a totalitarian state.
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A committee is an animal with four back legs.
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I don't know the literary world; I was scared of being confronted with famous names, not knowing what they had written. It was occupied territory I was entering.
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Most people like to read about intrigue and spies. I hope to provide a metaphor for the average reader's daily life. Most of us live in a slightly conspiratorial relationship with our employer and perhaps with our marriage.
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I made an awful mess of my first marriage. It was hard to live with me being me. I was so abnormal. I mean, most writers struggle. I hadn't struggled. I couldn't suddenly go down to the PEN Club and behave like a normal human being, because most of those guys were struggling to make a couple of thousand pounds a year.
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During the Cold War, we lived in coded times when it wasn't easy and there were shades of grey and ambiguity.
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I was quite able at the insignificant work I did in MI6, but absolutely dysfunctional in my domestic life. I had no experience of fatherhood. I had no example of marital bliss or the family unit.
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Having your book turned into a movie is like seeing your oxen turned into bouillon cubes.
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Every writer knows he is spurious; every fiction writer would rather be credible than authentic.
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By the age of 9 or 10, I knew that I had to cut my own cloth and make my own way.
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The creation of George Smiley, the retired spy recalled to hunt for just such a high-ranking mole in 'Tinker, Tailor,' was extremely personal. I borrowed elements of people I admired and invested them in this mythical character. I'm such a fluent, specious person now, but I was an extremely awkward fellow in those days.
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In the last 15 or 20 years, I've watched the British press simply go to hell. There seems to be no limit, no depths to which the tabloids won't sink. I don't know who these people are but they're little pigs.
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In the '60s - and right up to the present day - the identity of a member of the British Secret Services was and is, quite rightly, a state secret. To divulge it is a crime. The Services may choose to leak a name when it pleases them.
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In every war zone that I've been in, there has been a reality and then there has been the public perception of why the war was being fought. In every crisis, the issues have been far more complex than the public has been allowed to know.
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'The Spy Who Came in from the Cold' was the work of a wayward imagination brought to the end of its tether by political disgust and personal confusion.
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I wrote 'The Spy Who Came in from the Cold' at the age of 30 under intense, unshared personal stress and in extreme privacy. As an intelligence officer in the guise of a junior diplomat at the British Embassy in Bonn, I was a secret to my colleagues, and much of the time to myself.
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Remember Graham Green's dictum that childhood is the bank balance of the writer? I think that all writers feel alienated. Most of us go back to an alienated childhood in some way or another. I know that I do.
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You have no idea how humiliating it was, as a boy, to suddenly have all your clothes, your toys, snatched by the bailiff. I mean we were a middle-class family, it's not as if it was happening up and down the street. It made me ashamed, I felt dirty.
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I am still making order out of chaos by reinvention.
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Fools, most linguists. Damn all to say in one language, so they learn another and say damn all in that.
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The merit of 'The Spy Who Came in from the Cold,' then - or its offence, depending where you stood - was not that it was authentic, but that it was credible.