A Quote by Alex Berenson

I think in some ways what Snowden is, is he's a mix of a cold war spy novel and post-9/11 spy novel. — © Alex Berenson
I think in some ways what Snowden is, is he's a mix of a cold war spy novel and post-9/11 spy novel.
Of John Le Carre's books, I've only read 'The Spy Who Came In From The Cold,' and I haven't read anything by Graham Greene, but I've heard a great deal about how 'Your Republic Is Calling You' reminded English readers of those two writers. I don't really have any particular interest in Cold War spy novels.
I think I honestly invented my own genre, the historical spy novel.
I invented the historical spy novel.
It is important to note that Edward Snowden was labeled as a spy not a whistle-blower - even though he exposed the reach of the spy services into the lives of most Americans. More importantly, he was denounced as being part of a generation that unfortunately combined being educated with a distrust of authority.
In '94, I started writing a novel about an enormous terrorist act that destroyed the United States. The novel takes place twenty years after this destruction, with all the stuff that we're dealing with now - a dirty war, the disappeared, the concept of terrorism. Anyway, 9/11 happened some years into the process, and I was like, OK, I don't have a novel.
According to The Washington Post, the NSA has been monitoring phone calls and emails of people in Mexico. So apparently it's not enough to spy on American citizens, they feel they have to spy on FUTURE American citizens as well.
There's no prospect that the Russians are going to send Snowden back. Snowden is in the land of spy swaps now. Putin is not going to give this guy up for nothing.
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.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
Everybody thinks it's glamorous and this spy versus spy stuff is so exciting, but working in that industry and being a CIA operative, like a field officer, is tough. That's a difficult job that usually dismantles their lives in some capacity.
I like lassic British spy thrillers. Seriously. If the cold war was still on, that's something I'd be writing.
We have learned in recent years to translate almost all of political life in terms of conspiracy. And the spy novel, as never before, really, has come into its own.
A murderer is less loathsome to us than a spy. The murderer may have acted on a sudden mad impulse; he may be penitent and amend; but a spy is always a spy, night and day, in bed, at table, as he walks abroad; his vileness pervades every moment of his life
The U.S. obviously has all the evidence they need to prosecute bankers. They just need to search their own spy database and then there you go - 1,000 bankers in jail, a trillion dollars in fines. But it doesn't happen. Instead, the spy network is being used to fight a copyright case. They used Prism to spy on me.
With stealth technology, the U.S. could spy on its Cold War adversaries without running the risk of getting caught.
In that period, we had the Cold War mentality imbued through us - the Post-war [environment] and the Cold War. I think we were reflecting some of that. This was before the Wall collapsed, etc.
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