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“... metaphysical, not homespun enough. Richard Hughes was one of our most effective local magicians; John Fowles has become one; William Golding has had the status a long time. His new novel confirms him as a master craftsman in his particular sort of magic. It is beautifully constructed, it grips the reader – so much so that its effectiveness gives it the ...”

“... espionage worlds, and subsequently in business journalism. Unlike Fleming’s previous biographer John Pearson, Donald McCormick makes no attempt to psychologise his subject – or to reproduce the fluency which made Pearson’s book read as easily as a James Bond thriller. His justification is to produce, among much that is already familiar, some new ...”

“... bipolar Kulturkampf, it did leak out to a wide public through the fictions of Len Deighton and John Le Carré. Watching the shadow-play on the walls of the Cold War cave, and seeing the literal interpenetration of opposites as Karla penetrated ‘us’, and ‘we’ reciprocated, one could make the induction that the spy ...”

“... Ian Fleming called him the ‘most formidable spy in history’; other admirers included John le Carré, Tom Clancy and General MacArthur. Owen Matthews – whose new biography of Sorge is the fifth to appear in English – is well qualified to write this book: his Ukrainian maternal grandfather was Boris ...”

“... Highgate.’ He adapts the tone and texture of other ex-spooks who ‘went over’: Ian Fleming, John le Carré. He admits that his dialogue is invented, all his East End villains are squeezed into one composite character, Mickey Williams. MI6 became nervous of the Marks connection in the wake of the Littlejohn affair, two ...”

“... as winning the Cold War, or the ‘war on terror’. One of the things that’s so good about John le Carré’s Cold War thrillers is their moral murkiness, as they explore what happens when the people playing the game lose sight of its ultimate purpose, as they all inevitably do, and begin to play for the game’s own ...”

“... palette of thrillers and mysteries is often distinctly dark. From, say, Conan Doyle to, say, Le Carré, the genuineness of the gloom provides a note of authenticity, a convincing bass line, to underpin the various implausibilities of the main plot. Fleming is in that tradition. Everyone knows about his pioneering use of brand names as a way of making ...”

“... faces and momentous events is a familiar move in Boyd’s fiction. In The New Confessions (1987), John James Todd, a Scottish filmmaker, fights in the trenches, is pauperised by the Wall Street crash, witnesses the rise of Nazism in Berlin (where he attends parties with Fritz Lang and Thomas Mann), and arrives in Hollywood just in time to fall foul of ...”

“... In his unfortunate account of a Ter Borch brothel scene, Goethe earnestly identifies the leering john as a ‘noble, knightly father’ admonishing his wayward but honourable daughter (the prostitute). The pale mother, he explains, is sipping a glass of wine because she is delicate, and wishes to hide her slight embarrassment: she is, in fact, the procuress, depicted so as to suggest alcoholism and possibly a touch of syphilis ...”

“... American realism, once a belief, is now an idle liberty. Writers such as Robert Stone, Joan Didion, John Irving and even Don DeLillo, are praised for their ‘realism’, for the solidity of their plots, the patience of their characterisation, the capillary spread of their social portraits, the leverage of their political insight ...”

“... like the whiff of cordite long after the gun has been fired. When I mention this to David Cornwell/John le Carré, he says: ‘I can still feel it in my nostrils now.’ Historians, like spooks, need a sensitive nose, Orwell’s ‘Sniff, sniff’ for the detection of ‘all the smelly little orthodoxies which are now ...”

“... his reinstatement on the Navy List is promised. Despite such plots O’Brian’s Aubrey novels, as John Bayley has said in this paper, are ‘emphatically not adventure stories, or the sort of mechanical marine thrillers which sprang up in the wake of C.S. Forester’. For one thing, delicacy and generosity of feeling are constant themes in O’Brian’s ...”

“... Britain in the era of anti-Fascism. Broda’s protagonists do not belong in the shadowy world of John le Carré’s intelligence professionals or agents, or even the milieu of full-time Communist Party or Comintern functionaries, let alone the Party cadres trained into total identification with Moscow in institutions like ...”

“... and Co are the modern equivalents of heroic Jesuit priests plotting against Elizabeth. In Le Carré’s world the dingy agents of the KGB and MI6 are interchangeable. Who can forget A.J.P. Taylor’s jibe that no spy ever told his masters anything of value they could not have gleaned from the press? Or Malcolm Muggeridge’s chronicles of his wasted time ...”

“... John Weightman, reviewing Jean-Denis Bredin’s monumental work in the Observer, wrote of the Dreyfus Affair that ‘it was perhaps a good thing for France that the abscess burst when it did, because this brought tensions out into the open and revealed the “undeclared civil war” which would need to be resolved in the 20th century ...”