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...Le Carre, John

The Spy Who Came in from the Cold
Tinker Tailor Soldier Spy
Absolute Friends

John Le Carre

John le Carré's Absolute Friends is his best in years, capturing the verve and mastery of the magnificent early work. In fact, as a prelude to the book, you could do worse than reread The Spy Who Came in from the Cold again, and be forcibly reminded how le Carré transformed the spy thriller 40 or so years ago. And the consolidation of his achievement came with the George Smiley sequence (inaugurated with Tinker, Tailor, Soldier, Spy). As the Cold War came to an end, le Carré seemed to be in need of a new focus for his literary universe, but this was soon to come as the author explored newer social threats, with The Constant Gardener utilising the power of the pharmaceutical companies as nemesis, and producing yet another critical and popular success.
Absolute Friends, even before publication, had some of the best word of mouth any le Carré novel had enjoyed, and every word of it was justified. As a penetrating character study, it's nonpareil, with the (very different) friends of the title brilliantly realised.
Ted Mundy is the son of a British Infantry officer who left India under a cloud after partition, while Sasha is the crippled son of a religious German family who became a star of Far Left politics in the 1960s, at which point he encounters the ungainly Ted, taught by his father--and a committed girlfriend--to loathe British imperialism and all its current offshoots. In the present, Ted finds himself acting as an eccentric tour guide at Ludwig's palaces in Bavaria. When the two men meet again, they once more become involved in clandestine activities--with lethal results. If the author's own anti-Blair/Bush feelings are sometimes foregrounded, this is still le Carré at his considerable best, and a reminder of what a great talent the UK has in this writer. --Barry Forshaw
The Mission Song
A Perfect Spy
The Honourable Schoolboy
Smiley's People

John Le Carre
The Constant Gardener

John Le Carre

There were those who feared that the end of the Cold War would deal a fatal blow to the creativity of many first-rate thriller writers who specialised in this territory. In the case of John le Carré, this would have meant the loss of not only Britain's finest thriller writer, but a serious novelist of quite as much literary gravitas as any of his mainstream contemporaries. Certainly, The Spy Who Came In From The Cold remains as utterly compelling today as when it was written, whereas such post-cold war le Carré themes as financial double-dealing seemed to inspire him less than the world of shifting identity he had dealt in so skilfully. But with The Constant Gardener, we have the author once again firing on all cylinders. The characterisation is as elegant and expressive as ever, the prose as limpid and forceful. But, most of all, le Carré has found a theme quite as pregnant as any he has handled in the past: the malign, deceptively ameliorative world of global pharmaceuticals. In the new novel, the customary themes of betrayal and danger are explored in a narrative that exerts a total grip throughout its considerable length. His protagonist, Justin Quayle, is an unreflective British diplomat whose job in the British High Commission in Nairobi suggests one of Graham Greene's dispossessed protagonists trying to survive in the sultry corruption of foreign climates. President Arap Moi's Kenya is a country in the grip of AIDS, while political machinations maintain a deadly status quo. When Quayle's wife (who has taken more interest in what is happening around her than her husband) is killed, his investigation of her murder leads him into a murky web of exploitation involving Kenyan greed and a major pharmaceutical company eager to promote its "wonder cure" for tuberculosis. As Quayle looks deeper into the company which his wife had been investigating, all he has carefully built around him begins to crumble. The steady accumulation of tension and rigorous delineation of character is emblematic of le Carré at his finest, and it is a tremendous pleasure to find the author so resolutely back on form, fired with a real sense of anger at the duplicity of the modern world:
"Specious, unadulterated, pompous Foreign Office bullshit, if you want its full name... trade isn't making the poor rich. Profits don't buy reforms. They buy corrupt government officials and Swiss bank accounts".
--Barry Forshaw (This Review refers to the hardback edition of this title)
Call for the Dead

John Le Carre
The Constant Gardener

John Le Carre

There were those who feared that the end of the Cold War would deal a fatal blow to the creativity of many first-rate thriller writers who specialised in this territory. In the case of John le Carré, this would have meant the loss of not only Britain's finest thriller writer, but a serious novelist of quite as much literary gravitas as any of his mainstream contemporaries. Certainly, The Spy Who Came In From The Cold remains as utterly compelling today as when it was written, whereas such post-cold war le Carré themes as financial double-dealing seemed to inspire him less than the world of shifting identity he had dealt in so skilfully. But with The Constant Gardener, we have the author once again firing on all cylinders. The characterisation is as elegant and expressive as ever, the prose as limpid and forceful. But, most of all, le Carré has found a theme quite as pregnant as any he has handled in the past: the malign, deceptively ameliorative world of global pharmaceuticals. In the new novel, the customary themes of betrayal and danger are explored in a narrative that exerts a total grip throughout its considerable length. His protagonist, Justin Quayle, is an unreflective British diplomat whose job in the British High Commission in Nairobi suggests one of Graham Greene's dispossessed protagonists trying to survive in the sultry corruption of foreign climates. President Arap Moi's Kenya is a country in the grip of AIDS, while political machinations maintain a deadly status quo. When Quayle's wife (who has taken more interest in what is happening around her than her husband) is killed, his investigation of her murder leads him into a murky web of exploitation involving Kenyan greed and a major pharmaceutical company eager to promote its "wonder cure" for tuberculosis. As Quayle looks deeper into the company which his wife had been investigating, all he has carefully built around him begins to crumble. The steady accumulation of tension and rigorous delineation of character is emblematic of le Carré at his finest, and it is a tremendous pleasure to find the author so resolutely back on form, fired with a real sense of anger at the duplicity of the modern world:
"Specious, unadulterated, pompous Foreign Office bullshit, if you want its full name... trade isn't making the poor rich. Profits don't buy reforms. They buy corrupt government officials and Swiss bank accounts".
--Barry Forshaw (This Review refers to the hardback edition of this title)
The Tailor of Panama

John Le Carre
The Spy Who Came in from the Cold

John Le Carre
A Small Town in Germany
The Russia House
The Looking Glass War

John Le Carre
The Little Drummer Girl
Our Game

John Le Carre
A Murder of Quality
The Night Manager
Single and Single

John Le Carre

Those who have followed le Carré's remarkable progress as writer (from the lean and brilliantly-plotted The Spy Who Came in from the Cold onwards) will be aware that the end of the Cold War gave the author no pause at all; while other espionage writers were floundering around for a subject, le Carré was able to deal with the dangerous realities of the modern world in precisely the same compulsive way he had always done. If some of the recent novels have, nevertheless, not had quite the elegant and commanding power of his best work, it's refreshing to welcome this new book as one of his most assured in years.
A corporate lawyer is brutally killed on a hillside in Turkey, and the reader is transported into a disparate but compelling series of events, taking us from a Devon seaside resort through the lethal world of the Russian Mafiosi to a tense climax in the High Caucasus. Of course, for le Carré character is every bit as important as plot: his protagonist, concealing his past security work by working as a children's magician, has failings as a father (which match the problems he had with his own father). In terms of the narrative, as so often before, the author has us at his command from the very first page.--Barry Forshaw