KARLA'S CHOICE

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Had to give up on Nick Harkaway's debut under his dad's John Le Carré name, KARLA'S CHOICE. Liked what I read of it (and I adore Harkaway's work, GNOMON especially; his turning of phrase and rhythm is spectacular) and Harkaway made an honest go of it, but it lacked the authenticity of his dad's work. Not in the spycraft sort of way, but in the human voice behind it. Felt too much like reading a really good novelization of a really good film adapt of a Le Carré classic: I'd rather read the original. Had a similar feeling watching Mangold's INDIANA JONES flick: the characters are there but the absence of the heart behind is acutely felt. Time to let Le Carré rest. Solid go, but no.

SILVERVIEW

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Finished the final John le Carré novel written by David this morning, first written by Nick buried, somewhere, on the to-read stack. While it read as a coda to a 60+-year career and never reached the heights of his greatest – THE SPY WHO CAME IN FROM THE COLD, TINKER, TAILOR, SOLDIER, SPY, and THE CONSTANT GARDENER – it wasn't lacking in the character-driven pleasure of even the most middling le Carré efforts and was an enjoyable interlude between longer reads.

That said, one passage in particular packed a punch, a goodbye – not just from a character, but from a literary voice to his reader (or to his son, carrying on his tradition?):

"I am in the past now, Julian. I can do no harm. I wish you to know that, if occasion arises, you are free to discuss me. There are people we must never betray, whatever the cost. I do not belong in that category. I have no claim on you. I loved your father. Now give me your hand. So. When we return to the car park I shall say only a formal farewell to you."

"Smiley is woven into my life…"

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‘Smiley is woven into my life,” said Harkaway. “Tinker Tailor was written in the two years after I was born and I grew up with the evolution of the Circus, so this is a deeply personal journey for me, and of course it’s a journey which has to feel right to the le Carré audience. It also seems as if we need the Smiley stories back now because they ask us the questions of the moment: what compassion do we owe to one another as human beings, and at what point does that compassion become more important than nation, law or duty?”

Love Nick Harkaway's work, GNOMON especially. Can't wait to see what he does with his dad's toybox.

THE CONSTANT GARDENER (John Le Carré, 2000)

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While THE SPY THAT CAME IN FROM THE COLD remains my favorite Le Carré, this is a close second (though the protagonist here, Justin Quayle, may be my favorite; yes, even more than the ubiquitous George Smiley). At turns thrilling, maddening, and poignant – the Le Carré trademark – GARDENER is also possessed of a deep wellspring of humanity throughout, of identity and understanding found through shared purpose (and the regret that it came too late). Haven't seen Fernando Meirelles's film adaptation since it came out, but might have to revisit at some point. Recommended.

P.S. very excited for Errol Morris's upcoming Le Carré documentary, THE PIGEON TUNNEL.