For John le Carre, it was always who's betraying who: the hall-of-mirrors kind of thing. When you go back to the '30s, it's a case of good vs. evil, and no kidding. When I have a hero who believes France and Britain are on the right side, a reader is not going to question that.
What you get in the Cold War is 'the wilderness of mirrors' where you have to figure out what's good and what's evil. That's good for John le Carre, but not me.
What le Carré is so good at is unpicking something very specific about Englishness. That is almost part of why I think he wrote the novel. You can feel le Carré's anger that someone who has had the benefits of an English education and an English upbringing is using that privilege to basically do the worst things imaginable. There is an anger in the book about that.
There's a blockbuster side to Knopf, whether it's P. D. James or John le Carre or our best-selling books. We try to sell our writers as aggressively as those houses regarded as commercial with a capital C.
I am indeed a fan of John le Carre's novels.
There are few writers who, if they publish anything, I am going to buy it: Ian McEwan, Scott Turow, Pat Conroy - he was a buddy of mine and I always read his stuff. Also: Harlan Coben, Elmore Leonard, John Le Carre, but he's pushing ninety.
I will read anything by Laura Hillenbrand, Walter Isaacson, Barbara Kingsolver, John le Carre, John Grisham, Hilary Mantel, Toni Morrison, Anna Quindlen and Alice Walker.
John le Carre's 'The Night Manager' is a relentlessly exhilarating thriller with profound emotional depths.
I think John le Carre is, at 77, the greatest living writer alive. He is a master craftsman.
Le Carre's voice - patrician, cold, brilliant and amused - was perfect for the wilderness-of-mirrors undertow of the Cold War, and George Smiley is the all-time harassed bureaucrat of spy fiction.
Fast-paced from start to finish, 'The Honourable Schoolboy' is fired by le Carre's conviction regarding evil done and its consequences.
He [John Le Carré] really paid tribute to the people who are willing to risk their own lives to fight injustice - they are greater men and women than I.
Corrupt fantasy points us, or forms us, in a consciousness that can lead to thinking that evil is good and good is evil. In the worst case, this may have long range effects, prompting the reader intuitively, subconsciously, to do evil while thinking they're doing good.
To walk into the hall of mirrors of Versailles as Louis XIV and deliver a monologue on your own in an empty hall of mirrors is like no other experience.
I'm pretty omnivorous - in fact, I don't think of books in terms of genres. J. K. Rowling's 'Harry Potter' books are no more Y.A. reading, to me, than John le Carre's 'Smiley' novels are spy stories.
There isn't one album that says 'Hall & Oates.' It's always 'Daryl Hall and John Oates.' From the very beginning. People never note that. The idea of 'Hall & Oates,' this two-headed monster, this thing, is not anything we've ever wanted or liked.
Bush and bin Laden are really on the same side: the side of faith and violence against the side of reason and discussion. Both have implacable faith that they are right and the other is evil. Each believes that when he dies he is going to heaven. Each believes that if he could kill the other, his path to paradise in the next world would be even swifter. The delusional "next world" is welcome to both of them. This world would be a much better place without either of them.