A Quote by Charles Stross

I like lassic British spy thrillers. Seriously. If the cold war was still on, that's something I'd be writing. — © Charles Stross
I like lassic British spy thrillers. Seriously. If the cold war was still on, that's something I'd be writing.
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 in some ways what Snowden is, is he's a mix of a cold war spy novel and post-9/11 spy novel.
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.
I come out of a Cold War sensibility, a Cold War mentality, and during those Cold War years, I used to know, I thought, the answers to everything. And since the end of the Cold War, I'm just a dumb as everyone else.
I think, primarily, we love spy thrillers, and I think, instinctively, we love the tension that those thrillers can bring.
I've read a lot of war writing, even World War I writing, the British war poetry of Wilfred Owen and Siegfried Sassoon, Robert Graves's memoir "Goodbye to All That," and a civilian memoir "Testament of Youth" by Vera Brittain .
I've read a lot of war writing, even World War I writing, the British war poetry of Wilfred Owen and Siegfried Sassoon, Robert Graves's memoir 'Goodbye to All That,' and a civilian memoir, 'Testament of Youth,' by Vera Brittain.
With stealth technology, the U.S. could spy on its Cold War adversaries without running the risk of getting caught.
I don't live in the Cold War. Some people maybe still live in the Cold War, but this is their problem, not mine.
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.
The magnificent army that fought in Desert Storm is a great army, and it still is a magnificent army today. But it was one we designed for the Cold War, and the Cold War has been over for ten years now.
Solitude is independence. It had been my wish and with the years I had attained it. It was cold. Oh, cold enough! But it was also still, wonderfully still and vast like the cold stillness of space in which the stars revolve.
What Stieg Larsson was up to - it was the Swedish guilt over World War II. All of our neighbors had the most terrible experiences with the bad forces, but Sweden didn't. I think we use the thrillers in a different way. We never write a thriller like 'Who is the murderer?' The big question in most of our thrillers is... 'Why?'
There seems to be a sense in the British media that prime ministers enjoy going to war. They do not. The decision to send British soldiers into battle is the worst and most stomach-churning senior politicians have to take. It makes them wake up in the middle of the night in a cold sweat worrying if they have done the right thing.
We had a world dominated by the Soviet Union on the one hand, and the Americans on the other hand. They called it the Cold War. But it wasn't cold. I am someone who comes from the third world. In the third world, the cold war wasn't cold. Millions had been killed. It was a proxy war.
During the Civil War, the Underground Railroad became a spy network, so we could still have fresh stories for these characters years into the future, with desperate people still doing desperate things.
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