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John le Carré

Was he John or was he David? That’s the trouble with being a literary double agent: there’s always the significant other to consider. David Cornwell, alias John le Carré, devised his pseudonym in 1958, on the same day he also created his most famous character, George Smiley, on the opening page of his first novel, Call for the Dead. This was when le Carré – a fresh recruit to MI5 and on his daily two-hour train commute into central London – ‘just began writing in a little notebook’.

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Writing in The New York Times on 15 December 2020, three days after John le Carré’s death, Philippe Sands, genocide scholar and professor of law at University College London, recounted a 1962 encounter in Vienna between his friend (Sands knew Le Carré by his birth name, David Cornwell) and the famous Nazi hunter Simon Wiesenthal. Cornwell had asked Wiesenthal how he could continue to live in the city, given Vienna’s history of anti-Semitism. Wiesenthal replied: ‘If you are studying the disease you have to live in the swamp.’

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The voice on the telephone, not brusque or curt, came straight to the point. ‘How long are you in London for? And would you be free for dinner this Friday?’

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Sherlock Holmes, fairly early on in his career, survived an attempt by Arthur Conan Doyle to kill off the character in ‘The Adventure of the Final Problem’. Although Conan Doyle had wanted to dispense with Holmes and write about something else, he bowed to the pressure to continue the great detective’s adventures that ...

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Of all the stories John le Carré has invented – more than a score of novels, nearly all bestsellers – his own is perhaps the most fascinating. It is dominated by two characters, le Carré himself (real name David Cornwell) and his father, Ronnie.

Biographers naturally pay close attention to the influence of their subjects' parents, but seldom can they e ...

In describing the enduring cultural impact of The Spy Who Came in from the Cold – published fifty years ago and often nominated as the best spy novel ever written – a good place to start, strange though it may sound, is James Bond. John le Carré’s squalid yet subtle world of Cold War spies may appear antithetical to the glamorous fantasy of Bond. But it is clear from the last three Bond films, and especially the latest, Skyfall (2012), which of the two visions of espionage, Fleming’s or le Carré’s, is the more mature and compelling.

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