policemen, neither are they quite the moral realists they like to think they are. If your mission in life is to win over traitors to your cause, you can hardly complain when one of your own, even if you loved him as a brother and cherished colleague, and shared every aspect of your secret work with him, turns out to have been obtained by someone else. It was a lesson I had taken to heart by the time I wrote The Spy Who Came in from the Cold. And when I came to write Tinker Tailor Soldier Spy , it was Kim Philbyâs murky lamp that lit my path.
Spying and novel writing are made for each other. Both call for a ready eye for human transgression and the many routes to betrayal. Those of us who have been inside the secret tent never really leave it. If we didnât share its habits before we entered it, we will share them ever after. For proof of this we need look no further than Graham Greene, and the anecdotal account of his self-imposed game of foxes with the FBI . Perhaps it is recorded by one of his disobliging biographers, but better not to look.
All through his later life, Greene, the novelist and former spy, was convinced that he was on the FBI blacklist of subversive pro-communists. And he had good reason, given his numerous visits to the Soviet Union, his continuing and outspoken loyalty to his friend and fellow spy Kim Philby, and his futile exertions to reconcile the Roman Catholic and communist causes. When the Berlin Wall went up, Greene had himself photographed posing on the wrong side of it, while telling the world heâd rather be there than here. Indeed, Greeneâs aversion to the United States and his fear of the consequences of his radical pronouncements reached such heights that he insisted that any meeting with his US publisher be conducted on the Canadian side of the border.
Came a day, then, when he was at last able to demand sight of his FBI file. It contained one entry only: that he had kept company with the politically erratic British ballerina Margot Fonteyn, when she was fighting the doomed cause of her paralysed and faithless husband, Roberto Arias.
Spying did not introduce me to secrecy. Evasion and deception were the necessary weapons of my childhood. In adolescence we are all spies of a sort, but I was a veteran. When the secret world came to claim me, it felt like a coming home. Why this was so is best left to the later chapter called âSon of the authorâs fatherâ.
2
Dr Globkeâs laws
Bloody Bonn was what we young British diplomats called the place in the early sixties, not out of any particular disrespect for the sleepy Rhineland spa, seat of the prince-electors of the Holy Roman Empire and birthplace of Ludwig van Beethoven, but as a sceptical doffing of the cap to our hostsâ absurd dreams of moving the German capital up the road to Berlin, which we happily shared with them in the certainty it would never happen.
In 1961 the British Embassy, a sprawling industrial eyesore on the dual carriageway between Bonn and Bad Godesberg, boasted three hundred souls, the majority of them home-based rather than locally engaged. To this day I canât imagine what the rest of us got up to in the fuggy Rhineland air. Yet for me the three years in Bonn contain such seismic shifts in my life that today I think of it as the place where my past life entered its unstoppable demise, and my writing life began.
True, back in London I had had my first novel accepted by a publisher. But it wasnât till Iâd been in Bonn several months that it made its modest appearance. I remember driving to Cologne airport on a damp Sunday afternoon, buying copies of the British newspapers, then parking the car and sitting down on a sheltered garden bench in Bonn and reading them alone. Reviewers were benign, if not quite as ecstatic as I had hoped. They approved of George Smiley. And suddenly that was all there was.
Probably all writers, at any stage in their lives, tend to feel