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“... John le Carré has patiently established himself over the last twenty-five years as the discriminating reader’s favourite thriller writer. The BBC’s adaptations of the George Smiley trilogy in 1979 and 1982 made him almost overnight a popular author on the Ian Fleming scale, and it can have done no harm that the TV version of Tinker, Tailor, Soldier, Spy coincided with the Blunt scandal ...”

“... John le Carré has now published 23 books, the Great Bear of that night sky being the series of novels lit by the round English gentleman, spymaster George Smiley, he who wipes his glasses with the thick end of his unfailing tie. Among the features of these spy stories is a concern with patriotism and uncertainty, not least with the uncertainties of patriotism ...”

“... The thing about John le Carré used to be that he was a brilliantly ingenious spyhack but couldn’t really write; and one way of getting back at him for being rich and famous was to mock at his almost lovably transparent wish to have this judgment changed. He had said one or two testy things about the arrogance of highbrow critics, their unwillingness to see quality in the so-called lower genres, and he would regularly pepper his spy books with quotations, literary references, browfurrowing Germanic aphorisms and the like ...”

“... department is normally the section that spies on the other side’s intelligence department. John le Carré writes novels about this kind of espionage: we know that whether or not Smiley defeats Karla, it will make no difference to the price of eggs. The alternative is to link the spies with some event or threat of ...”

“... to divine that something odd is going on behind the scenes of Adam Sisman’s new biography of John le Carré. In the past, would-be biographers have been discouraged from poking their noses into the business of David Cornwell, the former spy who has written under that curious pseudonym since 1961. Robert Harris chose ...”

“... When John le Carré published A Perfect Spy in 1986, Philip Roth, then spending a lot of time in London, called it ‘the best English novel since the war’. Not being such a fan of A Perfect Spy, I’ve occasionally wondered what Roth’s generous blurb says about the postwar English novel ...”

“... Pilgrim comes out at the same time as the Fred Schepsi-Tom Stoppard film of The Russia House. Le Carré and Sean Connery have both had very profitable Cold War careers. But it’s been a long duration. Connery is now so grizzled and ‘gamy’ (as one unkind American critic put it) that one can scarcely imagine Michelle Pfeiffer giving him a second ...”

“... result-based frame of mind be as simple and total and empty as is suggested by this film (and the John le Carré novel it is based on)? Is the working principle of the war on terror that real terrorists can keep at it as long as lots of accused terrorists are picked so that everyone seems busy? Only asking. The film is slow ...”

“... played with the idea that they were pantomime villains, a bit of a joke. ‘More Woody Allen than John Le Carré,’ the Sunday Times said, while nevertheless doing its best to turn its report into the raciest of spy stories, presenting a sexed-up version of the 55-page charge sheet released by the FBI – the only actual ...”

“... to enter his enclosure, and slides around in his own darkness. Exactly 146 interviews later, John le Carré, our premier narrative spook-meister, exhibits, by his own admission, that knack whereby the memory fails and the lie takes over. There is something in his tone that advises us not to believe him too much. The ...”

“... John Le Carré called it ‘the Abteilung’, but the real name of the East German foreign intelligence department was the Hauptverwaltung Aufklärung, or Main Intelligence Directorate, and the man who ran it for almost 34 years was Markus Wolf. When the Berlin Wall fell, three years after his retirement in 1986, Wolf was courted by other intelligence services – West German, American, even Israeli – who hoped to exploit his vulnerable position ...”

“... to just sit behind a desk somewhere and think sad stuff all day long.’ The central character in John Le Carré’s new novel is said to have ‘a whole self-accusing chorus’ within him: ‘He had people inside himself who really drove him mad.’ Not as mad as the people outside himself are trying to drive ...”

“... upper echelons of what she referred to as the Fairground had her pegged by some as the heir to le Carré – one of an admittedly long list of legatees’. It’s hard not to read this throwaway remark as a glancing, self-deprecating self-portrait: in the universe that Herron has created in his Slough House series, the headquarters of one of Britain’s ...”

“... affected by Charles Maclean’s workmanship in plotting such horror out of forgetfulness. John Le Carré’s new book, The Little Drummer Girl, has an unhappy English actress with radical leanings recruited as an agent by the Israeli intelligence service in order to infiltrate a Palestinian terrorist network ...”

“... to the Arabs because such a compromise would lead to Israel’s death; the second attacked John le Carré for suggesting that Israel might have over-reacted (‘It is as if we British had lost our temper with the IRA,’ le Carré had written in the previous week’s ...”