cimorene: cartoony drawing of a woman's head in profile giving dubious side-eye (queen)
Actually, the afterword on The Russia House about le Carré being followed around Gorbachev's Moscow on his first post-Communist trip in 87 is the funniest and most memorable thing I've read by him so far (though admittedly much less thrilling than his novels).

There's a great opportunity for humor there that in his fiction is usually only visible at its darkest, but one shouldn't forget that most of the time it's more The Death of Stalin than Smiley's People.
cimorene: Black and white image of a woman in a long pale gown and flower crown with loose dark hair, silhouetted against a black background (goth)
Our Kind of Traitor is the only le Carré I've read so far that doesn't feature at least one central man with a fatal-flaw twisted obsession, of a particularly gendered and objectifying kind, with a woman.

There are other kinds of relationships with women too, and there are female characters and narrators; but it can't help giving the impression that romanticized fixation is the next most common element of spycraft after waiting. You'd think they would have designed inoculations or obsession resistance training at this rate.
cimorene: cartoony drawing of a woman's head in profile giving dubious side-eye (serious)
The main interrogation in Smiley's People made me wish Smiley would study me and brilliantly determine the most psychologically effective way to interrogate me.

Not in a kinky way.

I still have plenty of other le Carré and even other Smiley-verse books that I haven't read*, but it was so great that I do feel a little bereft in case none of them are as enjoyable.

Though now I have the two Alec Guinness miniseries (I've never resented "series" for being its own plural before! I should treat it like Finnish maybe: 'seriekset'😐. At least that's fun to say) to look forward to (once we manage to get hold of them).

 

Though I will read something else first, because I always read at least one other book in between books of a series to minimize how much they blur together in my mind later. If I gulp it all down at once, the details will generally disappear from my memory after a few years.
cimorene: cartoony drawing of a woman's head in profile giving dubious side-eye (writing)
[H]is smile went with him everywhere. The typists declared that he slept in it, and hand-washed it at weekends.

-The Honourable Schoolboy

Forty is a difficult age at which to stay awake, he decided. At twenty or at sixty the body knows what it’s about, but forty is an adolescence where one sleeps to grow up or to stay young.

-The Honourable Schoolboy

The whole house gently asserted an air of old age; it had a quality, like incense, of courteous but inconsolable sadness.

-The Looking Glass War
cimorene: cartoony drawing of a woman's head in profile giving dubious side-eye (glasses)
Since being gay was a 3000% improvement in the character of Peter Guillam, my thoughts returned to it frequently while reading and I think you could do it quite well in The Honourable Schoolboy... )
cimorene: closeup of a large book held in a woman's hands as she flips through it (reading)
...and I am so, so sick of these gross middle-aged male characters who are grossly obsessed with various women and/or with all women all the time, like so sick of them that I don't actually care that that's the point and they're gross on purpose and the obsession is potentially their downfall and it's not even really unrealistic. (At least I presume not.) Like, just let me out of this gross POV character's head.

UGH.

(And that's not actually the hardest part about the book. All the White Man's Burden stuff is worse.)

(But Smiley is great. My favorite Smiley moment so far in this book is when Connie Sachs and Peter Guillam are watching him reading files to himself in his weird little eccentric way and she mouths "Isn't he a love?" at Guillam, much to Guillam's strangely intense righteous fury [even though he himself has just been thinking how cute it is].)
cimorene: cartoony drawing of a woman's head in profile giving dubious side-eye (working)
I'm having an unexpected problem reading the second Karla trilogy book: it's mostly focused on British Hong Kong (in spite of a solid dose of George Smiley and Peter Guillam in London). I don't think I've ever read anything set there before, and I just keep getting distracted by the colonialism - not the attitude of the author or even necessarily the characters (not always), just the... plausibly realistic facts of it, I guess.

Obviously this isn't a new issue - colonialism is a familiar subject of literature! - so I assume it's the new-to-me setting, and the context that I know comparatively less about, which had given me less opportunity to get used to thinking about it.

On the other hand, after this book and recently seeing Crazy Rich Asians I'm eager to read more about the region and this history.

And finally there's an element of personal curiosity - my paternal great-grandfather, a Russian jew, was recalled from Oxford by his White Russian father to fight the first Russian revolution and then fled Moscow to Hong Kong, where he spent years amassing wealth as an opium smuggler, winding up in Chinese prison. He emigrated to Canada and then New York thereafter and used his prison connections to continue smuggling opium to North America for some time before switching to other forms of questionably legal import. My great-grandmother had the sense to divorce him after only a few years and we know fairly little about him as a result, but my grandfather had a Chinese junk ship in a bottle from him, and having now encountered smugglers and Chinese junks and Hong Kong White Russians in the novel, my imagination is fired up.
cimorene: cartoony drawing of a woman's head in profile giving dubious side-eye (love)
... and the changes made to the gay (/bisexual) content when converting book to movie, in both directions:

...oh. Yes, I see. Well, I think it was well meant and the change to Guillam was all to the good, but... if they thought that a change from text into subtext wouldn't make any real difference to the meat of the story, I don't think I agree.
cimorene: cartoony drawing of a woman's head in profile giving dubious side-eye (queen)
Nightflyers (which [personal profile] waxjism continued to watch even though according to doesthedogdie.com it wasn't free of warnings )) seems to be the same type of tragic narrative as le Carré's The Looking Glass War (which I talked about here), kind of like a fictional longread exposé.

It's the detailed, in-depth itemized timeline of all the fuckups involved in one massive clusterfuck of a situation.

The thing is, this kind of suspense depends on a type of dramatic irony - where you just have to watch people make bad choices and then watch all the consequences hit them - that's one of my biggest narrative squicks. But sometimes I don't mind it, because the effect varies widely with a lot of factors. )
cimorene: painting of a glowering woman pouring a thin stream of glowing green liquid from an enormous bowl (misanthropy)
Wikipedia had failed to inform me that Peter Guillam (played by Cumberbatch) wasn't gay in the book! A deftly-chosen alteration that increased relevancy to the present while also enabling it to illuminate an issue that was quite a bit worse in the time it's set in. I admit, when I saw the publication date I was a bit surprised about that at first (but since his narrative ends in misery I figured it was still regressive... though more 80s-90s than 60s).

I went back to look at Wikipedia just to check, and there's no space dedicated to adaptational choices or differences or anything, even though the book and the movie both have their own articles and the book's has a subheading about the movie.

The book's Guillam has the same unconscious casual misogyny as the not-a-hero protagonist of The Spy Who Came in from the Cold, I think, although we see that one form an attachment to a woman eventually while still being both completely awful and completely earnest (that might be where this is going too). This is obviously not sympathetic, but it's also obviously on purpose, because we can see what le Carré's ideas of not awful attitudes to women are elsewhere in his work. So while I'm not enjoying it, I can give him credit since it's what he was going for, like when someone does a successful job of making a food you don't like, or of painting something really disgusting. Like "Yep. That worked, that's doing what you wanted it to."

So far Guillam is a womanizer, which is even more tiresome than just basic misogyny, from my point of view. I mean, I'm still going to finish the book, but since that keeps putting me off it's definitely slowing me down. I might've just stayed up and finished it last night already if that weren't the case. (And also if in addition to not being offputting a character had actually been gay, I might've finished it days ago, since after I first picked it up I set it aside and read Full Fathom Five and about 100,000 words of fanfiction before coming back to it yesterday.)
cimorene: closeup of Jeremy Brett as Holmes raising his eyebrows from behind a cup of steaming tea (eyebrows)
Since the release of Tinker Tailor Soldier Spy we've watched two more le Carré adaptations, The Little Drummer Girl (with Florence Pugh, the lovely Alexander Skarsgård, Michael Shannon) and before that The Night Manager (with Tom Hiddleston, Hugh Laurie, Elizabeth Debicki, Tom Hollander, Olivia Colman).

I was remarking that all three of them were really good and I wondered how they compared to the books. Neither Wax nor I had ever read a single member of the spy thriller genre (though I can think of lots of film examples of it that have interested me going back to Inspector Gadget as a little kid and watching Get Smart with my dad when I was 8 or 9). After that my curiosity about the literary vs media genre was piqued and it was inevitable, so I looked up le Carré's bibliography. Spoiler-free ... not exactly reviews... sort-of reviews? of The Looking Glass War, Our Kind of Traitor, and The Spy Who Came in from the Cold )

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