I was at the same time inspired and daunted by “The Pigeon Tunnels”. It’s a kind of autobiographical work, consisting of a series of short essays, just a few thousand words each. The essays detail some of the people he has met, and the places he has been, as a world-famous writer, researching novels in trouble spots; hob-nobbing with the great and the good; burying old ghosts. Inspired – because a thousand-word essay, almost anyone can write. Daunted, because le Carre’s craft, and his connections and background, both seem miles from my own.
For someone like me who comes from dust, out of a comprehensive school/polytechnic background, he makes little of his own patrician roots. For this I am thankful. But it is clear that many of his heroes are in fact he, or possibly, more likely, his father. That said, le Carre does note (of the writer’s trade) that at some point, you have to get out and meet people – stories come from people, and the people are out in the world.
In an account (“In deep cover”) of burying an old Cold Warrior, some old spy, he speaks well of the Cold War infiltration of subversive groups. But he writes that he is ostensibly repelled by such infiltration today, arguing that it is not justified. I think this is disingenous. But then, later, in “Son of the author’s father”, le Carre writes about “the writer as conman“. He describes the similarity between himself (a successful writer) and his father (a successful conman) relating the two arts – that of conman and writer.
The writer and the conman:
- Spin stories out of the air, from nothing
- Sketch characters that do not exist
- Paint golden opportunity where none exist
- Blind you with bogus detail
- Clarify knotty points
- Withhold great secrets
- Whisper those same secrets in your ear
This chapter on his father Ronnie is as moving and as revelatory a chapter as ever I have read, and was most enlightening. How far from my own experience. I have been a very different kind of father, and my own father, though perhaps not much more flawed than I, a very different kind of man again.
I always used to say of his writing, you could read a dozen early John Le Carre novels, and you would learn little or nothing about the writer’s own personal politics. You need read only a dozen or so pages of a Tom Clancy “Patrick Ryan” novel to know his. But that’s not true of his later, post-Cold War material – stuff like “Our kind of Traitor”, where his politics – and his anger – almost boils off the page.
Writing about documenting and reporting on the horror of the Eastern Congo, he says that “cameras don’t work for me. When I write a note, my memory stores the thought. When I take a picture, the camera steals my job”. This is important. The writer paints pictures with words: the camera exists; it cannot be un-invented. But just as pen and paper render memory less necessary, even as GPS erodes our innate sense of direction, and even as wristwatches mean we no longer need a sense of time or duration, so the rise of the universal camera is making the written story rarer and harder to create.