
New George Smiley novel will not be glamorous like Bond, says Nick Harkaway
The 52-year-old, from Cornwall, is the son of John le Carre, who died in 2020 aged 89, and wrote the original spy series about an intelligence officer who works for The Circus, Britain's overseas intelligence agency.
Harkaway, whose real name is Nicholas Cornwell, published his first continuation novel, Karla's Choice, last year.
Speaking to the PA news agency, he said: 'Last time I was kind of deliberately unaware of how much pressure there actually was.
'I sort of sat down (to write) and didn't really think about it. And then, after I finished, and as the reviews started to come out and they were positive, I got retrospective terror.
'I realised… and particularly when you read the reviews, what you realise is that all of them begin with 'I really expected to hate this book, and I don't'. And I thought 'Gosh, that would have been really awful'.'
He continued: 'There's a lot of reasons why it shouldn't work… So I think everybody had sort of legitimate fear, and I have great respect for that.'
In the new novel, The Taper Man, George Smiley is sent, for the first time, on an operation to America to pursue an old communist network across the West Coast.
'We have Smiley going to America, to the United States, for the first time, into the kind of culmination of the Civil Rights decade,' said Harkaway.
'It's a period of massive, massive, tumultuous change, and not all of it peaceful, you know – there's some quite extraordinary acts of domestic terrorism in the early '60s, around desegregation.
'It's a deep dive, and I'm kind of daunted by it, but you do these things with respect, and you feel your way, and you learn,' he said.
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The novel is set in 1965, 18 months after Karla's Choice, and amid the backdrop of the Vietnam War as well as the Civil Rights era.
'I'm not just writing to the 1960s, I'm also writing to the world of George Smiley and he's not the guy who shows up at a Beatles concert,' said Harkaway.
'We're not going to see the kind of glamorous '60s that you see in a James Bond film from the period; we're going to be looking at, always, the shadows and the grey spaces and the places where things have potential to go seriously wrong.
'And looking for somebody who can potentially make them go right, and will that person be heard? It's always about ambiguity, rather than the kind of acid orange of the '60s.'
It has also been announced that Harkaway's father's global best-selling thriller, The Spy Who Came In From The Cold, is to be staged in London's West End for the first time in November.
Harkaway told PA: 'I am excited about that… I have seen the play. I saw it at Chichester, and it runs on rails towards the kind of inevitable, staggering conclusion of the story… It's incredibly powerful.'
Le Carre, whose real name was David Cornwell, wrote best-selling novels including Tinker Tailor Soldier Spy and The Night Manager.
Prior to his career as a writer, he worked in British intelligence throughout the 1950s and 1960s.
Career intelligence officer Smiley became the author's best-known character and was made even more famous by Alec Guinness in the TV series of Tinker Tailor Soldier Spy which aired in the late 1970s.
Film versions of Le Carre's novels include 2001's The Tailor Of Panama, starring Pierce Brosnan, Geoffrey Rush and Jamie Lee Curtis; 2005's The Constant Gardener, starring Ralph Fiennes and Rachel Weisz; and 2011's Tinker Tailor Soldier Spy, starring Gary Oldman, Colin Firth and Tom Hardy.
Harkaway has written novels including The Gone-Away World, Angelmaker, Tigerman, Gnomon and The Price You Pay (as Aidan Truhen).
– The Spy Who Came in From the Cold will play at Soho Place from November 17 2025 until February 21 2026.
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BBC News
10 hours ago
- BBC News
David Hurn: Photographer turns lens on lesser-celebrated Wales
David Hurn is routinely described as Wales' most important living photographer - but he's not a fan of overstatement. "I'm a photographer, it's like being a plumber - it's no better than, it's less useful than," he says from his cottage in Tintern, Monmouthshire. Over the past seven decades the 90-year-old has documented everything from the Aberfan disaster to The Beatles at the height of his latest project David, who made his name photographing people, has turned to something different - the Welsh landscape. Anyone expecting quintessential images of Wales' rugged mountains and dramatic coastlines would be mistaken. Instead his book takes in some of the country's lesser-celebrated sites, including graveyards, council estates and even a public toilet."I wasn't the least bit interested in romantic sort of postcards, people do that for a living and they do it incredibly well so don't compete with someone who does something better than you do," said David. Instead he set about allowing various experts to suggest what he should photograph when it came to exploring the human effect on the landscape. The result - Wales As Is - is an unflinchingly unsentimental portrayal of Wales. Author Richard King, who David invited to write an essay to accompany his photographs, said he found the images refreshing. He said searching for Welsh identity in the landscape seemed to be "a national hobby and a national obsession"."The thing that really struck me is how much we want to impose a narrative on these places," he said. David said he wanted his photographs to explore what people in Wales meant when they said "this is my culture"."Because whenever I asked them what they meant by the word they got all defensive which means they don't know what they're talking about," he laughed. "I wish that people who wanted to talk about culture were cultured, it's not asking a lot." Richard and David first met when Richard interviewed David about his experience of photographing the Aberfan disaster for one of his books. On 21 October 1966, David was one of the first photographers on the scene when a colliery spoil tip collapsed onto a school killing 116 children and 28 is an experience that has remained with him all his life. "It was undoubtedly the most difficult thing I've ever had to do and that is because you can't think of anything more obscene than children being suffocated with slurry off a tip," he said. It was made all the harder because he understood that the parents and miners desperately digging children out of the slurry did not want to be photographed - but it was also imperative he did so. "That's very difficult to deal with, very difficult and in this case we're talking children which makes it even more difficult," said David."It was obvious they saw you as voyeurs but you as a photographer, as a journalist, realised you had to be there because this was an important thing that needed to be documented and you didn't want it to be pushed under the carpet. One of the ways to stop things being pushed under the carpet is to document them and publish them." Alongside his documentary photography, David made a name for himself photographing stars such as Audrey Hepburn, Jane Fonda, Michael Caine, Sophia Loren and The also shot five covers for fashion magazine Harper's Bazaar. "Of course all these things pay a lot of money. It's the trivial that pays a lot of money and what you try to do seriously pays the least," he said."To go to the Canary Islands with 11 models in the '60s was nothing but fun, I enjoyed doing it but I wasn't the least bit interested in the end result, it's as simple as that." Many people of his age and with a long career behind them may be thinking of slowing down, but not fact he says work on his next five books is already underway."It's difficult because my legs don't want to work and to shoot pictures you have to walk places and that's difficult now I'm at an age where I struggle," he said."But I want to do it."


The Herald Scotland
2 days ago
- The Herald Scotland
'Masterpiece' - Scot blew the door of psychedelic revolution wide open
The Glasgow-born troubadour, whose mission was, in his own words, 'to bring poetic vision to popular music', began to make his name when, as yet unsigned, he appeared on the television show Ready Steady Go! in January 1965. On March 12 he sang his debut single, Catch the Wind, on TV, impressing a certain Little Steve Wonder, who was in the audience. The song zipped into the charts at number four, and continuing exposure on television and radio helped ensure that 'my name, my face and my music were in every home in Britain'. America beckoned, and he found himself on the Ed Sullivan Show – the same show that had broken the Beatles in the USA, less than a year earlier. His refusal not to join the rest of the performers for a final bow at the end brought him to the attention of industry heavyweight Allen Klein, who rang the renowned record producer, Mickie Most, and recommended Donovan to him. Donovan also toured Britain, where he was linked in the public mind with Joan Baez and Bob Dylan, the rising stars of folk music. A second single, Colours, reached the same chart position as Catch the Wind. His debut album, What's Bin Did and What's Bin Hid, was released in May, a few days after his 19th birthday; it peaked at number three in the charts. Such sudden fame did not come without its critics, however. Some in the music press had sniped that Donovan was but a pale imitation of Dylan, but after Donovan had met Dylan in his room at London's Savoy Hotel, the American told Melody Maker: 'He played some songs to me. I like him. He's a nice guy'. So ended, the magazine reported, 'one of the biggest controversies that has ever split the British music scene'. One Savoy encounter, incidentally, was immortalised by D.A. Pennebaker for Dont Look Back, his documentary about Dylan's 1965 British tour; Donovan borrowed Dylan's guitar to play a song, To Sing for You; Dylan responded with It's All Over Now, Baby Blue. Little could impede Donovan's rise. He played the 1965 Newport Folk Festival (the one in which Dylan famously 'went electric') and was feted in the States. He was friends with the Beatles (below), the Byrds and PJ Proby, was introduced to Paul Simon, had chart success with an EP featuring Buffy Saint-Marie's Universal Soldier, and took his first LSD trip. He had fallen in love, too, with a woman, Linda Lawrence, the former girlfriend of the Rolling Stones' guitarist Brian Jones, and mother to his son Julian. The Beatles appeared on the same showA second Donovan album, Fairytale, was released in October 1965. It contained some of his finest songs: Colours, Sunny Goodge Street and Ballad of a Crystal Man, and a cover of Oh Deed I Do, the work of his fellow Scot, the brilliant pioneering guitarist, Bert Jansch. In his memoir Donovan refers to the 'new way of seeing' that he was industriously developing at that time. He cites the lyrics to the jazz-fusion track, Sunny Goodge Street: 'I was describing the sub-culture emerging from the underground and the elusive search for the self. Two years before the beginning of 'Flower Power' and before the Beatles used the same refrain' he was singing … 'I tell you his name is/ Love, love, love''. He also records that he 'felt the need to introduce key spiritual ideas' . [The album] set the scene for my performance as a 'Bard' who would present a way of seeing the wonder of the natural world. I was mocked as a simpleton, when I sang of birds and bees and flowers like a child. Indeed, I was keeping the 'wonder eye' open - just like a child'. Among the many budding musicians who bought and loved Fairytale, here or in the States, was a young man in Indiana named John Mellencamp. The year 1965 had not quite finished with Donovan: in December, at Abbey Road studios, he began work on his 'experimental' third album, Sunshine Superman, with producer Mickie Most and the noted arranger John Cameron. Most, Donovan writes, 'realised I was hearing sounds which came from many sources: classical, jazz, ethnic, medieval minstrelsy, and he saw the potential for a veritable new fusion of music, a 'world music' sound, before this term was thought of'. Read more The album itself was a clever blend of folk music and some of the first psychedelia to ever be committed to vinyl. Musicians such as the double bass player Danny Thompson guested on the album. Shawn Phillips, a Texan musician, contributed sitar. By this time, Donovan's relationship with Linda, who was living thousands of miles away in Los Angeles, was looking uncertain. The title track (on which Jimmy Page, then a session guitarist, played) was the first song to emerge from his oppressive fog of sorrow. When Most heard it in the studio, he instinctively knew that it would be a hit single. He was right: it went to number two in the charts towards the end of 1966. The second track, Legend of a Girl Child Linda, saw Donovan finger-picking his acoustic guitar in front of an orchestra. 'We certainly broke the mould of pop music – and folk music, for that matter', he recalls in Hurdy Gurdy Man. '…There were no songs like mine to compare with. It was all new directions, uncharted seas'. Donovan continued to write songs for the new album in the new year of 1966. Linda appeared in most of the songs on one guise or another, including the gorgeous track, Celeste. Its aching lyric, Donovan notes, said he was disillusioned with everything. One striking line – 'I intend to come right through them all with you' – was in one respect about the changes his generation was encountering but at a deeper level was a song to Linda. In February he enjoyed another turning-point in his career when he headlined at New York's prestigious Carnegie Hall, accompanied by Phillips on sitar and 12-string guitar. It was the first time that a Western pop audience had witnessed the former instrument on a stage. Donovan writes entertainingly of his adventures in the States that year as he finished work on the new album in LA. 'This much I knew then: I was making the music and writing the songs which reflected the emerging consciousness of my generation. I was here to do this … I felt the spirit move within me. I knew that this album would be my masterpiece'. When the album was released in the States in September, the LA Times's Pete Johnson said: 'Donovan, a very talented, if unearthly, writer and singer of folk songs, croons 10 songs to form an album follow-up to his very popular single record, 'Sunshine Superman'. The LP does not fulfill the promise of his single, but it supplies a good measure of his soft understated singing of the medieval-modern, dream-reality mystical imagery. 'The best tracks', Johnson added, 'are 'Sunshine Superman', 'The Trip', 'Season of the Witch', 'Legend of a Girl Child Linda' and 'The Fat Angel'. Like many other singers, Donovan has fallen under the spell of Indian music, which provides structure for most of his non-rock songs'. For business-related reasons the album did not go on sale in the UK until June 1967. It reached 25 in the album charts, someway short of the exalted number-one status it enjoyed in many countries across the world. Melody Maker wrote that "every number has a mood, an atmosphere, a current along which the perceptive listener can float. Donovan glides playing beautiful guitar and singing his songs like they should be sung - with love'. Much lay ahead of Donovan, including a sold-out January 1967 headline appearance at at the Royal Albert Hall, his continuing involvement with the Beatles, his lasting popularity in the States and elsewhere, his 1968 masterwork – the double album box-set, Gift From a Flower to a Garden – and bestselling singles such as Mellow Yellow, Jennifer Juniper and Hurdy Gurdy Man. In a recent interview with Mojo magazine, John Cameron, Donovan's arranger and collaborator, reflected: 'The amount of work we did between '66 and '70 was phenomenal, we had a string section that rode motorbikes. They'd be on Yamahas with their Strads [violins] strapped to their backs, going from studio to studio. It was the only way they'd get from one to the other on time'. Donovan himself reconnected with Linda, and they were married in October 1970. Having done everything he had wanted to do, he then took a decisive step back from the industry. New records followed, but his time in the cultural spotlight was over. Read more On the Record Interviewed by Mojo magazine's Sylvie Simmons in 1996, to promote his 'comeback' album, Sutras, which was produced by Rick Rubin, Donovan explained: "If I can do a thumbnail sketch of 20 years, around about 1970 I had achieved everything I could have possibly dreamed of and much more. "Having been at the top of the ladder, there was nowhere else to go. So I walked onto a British Airways jet in Tokyo and out of a tax plan called a drop-out year where I was going to earn more millions of dollars than any young solo artist of his time. It had ended. I didn't burn out, I wasn't a drug addict, but I was wounded in some way, and I came home to my cottage in England.... I married Linda, my great love and teenage muse — four years of '60s madness had kept us apart — and I walked away from fame, the Rolls Royce, the yacht, the mansion. "We went to Joshua Tree in the California desert for much of the '70s and brought up the children up as an alternative family... But something was happening while I wasn't watching. In the '80s, things were getting very dark, the earth was wounded, and I felt dispirited. In '83 I stopped making records completely, I had a personal crisis, musical crisis, and Linda saw me through it. I came out around 1990. "A new impulse got me... I'd gone into the studio and started recording these song ideas... Rick Rubin had been in the studio with Tom Petty, who was playing one of my songs. Rick says, 'I love Donovan, I've always wanted to record him'. Tom says, 'Why don't you phone him up?'. So he did. We met and we found similarities extraordinarily alike." Speaking to Record Collector magazine in January 2024, he said: 'When I started singing, the message was in the song. The revolution was on. The important part was giving young people a shock in that there were different things to talk about in songs, other than, 'I love you, why'd you make me blue?' This was important' In the same interview he noted: 'I think my songwriting was very influential. Breaking all the rules and experimenting in the studio was encouraging to others'. Things came full circle in a way in 2102, when Donovan was inducted into the Rock and Roll Hall of Fame by none other than John Mellencamp. Donovan was introduced as the man who "blew the door of the psychedelic revolution wide open". Recalling the first time he had bought a Donovan album, in 1965, Mellencamp told the audience: 'I was in the seventh grade, and back then we waited for every record and I waited for every album to come out so that I could learn to play those songs. I wasn't just listening to Donovan, I was living Donovan. I was stealing all the s— from Donovan'. A few moments later, to applause and cheers, he held up his original, much-played copy of Donovan's second album, Fairytale. The word 'Mellencamp' was etched in ink along the top of the cover. 'See how it says Mellencamp?' he said. 'In Indiana, we used to use these things like money. If you didn't have any money, you would sell this for a dollar and a half or trade it for two Led Zeppelin records and then they'd trade it back. You always wanted to keep track of your stuff. That's why I have my name all over it'. * Donovan is marking his 60th year as a recording artist with a week of events in Paris between June 1 and 7. Website:


Daily Mirror
3 days ago
- Daily Mirror
Lesser-known Oasis album still splits fans' opinions 20 years on from release
Oasis released their sixth studio album on this day 20 years ago - and it still splits fans on whether it is a quality release, with some fans calling it an underrated gem Celebrating its 20th anniversary this year, a lesser-known Oasis album still divides fan opinion. Noel Gallagher and Liam Gallagher are gearing up for a series of sold-out gigs around the globe later this year. The brothers' first joint gig in 16 years will see them hitting stages at London's Wembley Arena, Edinburgh's Murrayfield Stadium, and Manchester's Heaton Park. Although the Gallagher's are reuniting onstage after such a long hiatus, debates continue among fans regarding the merits of their less celebrated album. Whether tracks from this album will feature on the upcoming tour remains to be seen. Fans remain split on the quality of the album, though. Don't Believe the Truth, released on this day, 30 May, in 2005, still stirs up divided opinions amongst fans over its excellence. The album raced to become one of the UK's fastest-selling records and was met with critical approval when it dropped. Oasis enthusiasts have been voicing their thoughts on the r/Oasis subreddit, debating whether the album holds up, with some critiquing its "filler" tracks as "boring and bland." A subreddit user posed the question: "Opinions on Don't Believe the Truth? What are everyone's thoughts and opinions on Don't Believe the Truth? I've only listened to the album start to finish once and it really bored me. It's an album I really want to like and I'm considering giving it another chance, should I?" The album remains contentious amongst listeners, with some arguing that it doesn't quite live up to the praise it received from critics back in the day. One fan was unimpressed by the album's lesser-known tracks, remarking: "Singles are very good but fillers are boring and bland, Heathen Chemistry is a better album overall despite having some weak moments. I still prefer Don't Believe the Truth singles to those on Dig Out Your Soul though." Another Oasis enthusiast chimed in with their concerns over the production quality: "I love the album, but I just think it suffers from poor production. The songs are good, but they all sound muffled and don't have that wall of sound the first two albums did." A third devotee saw things a bit more positively, applauding the album among the band's later efforts: "It's the best one of the last three albums. "It did feel like a 'return to form'. Importance of Being Idle was massive, and had a spark of clever and original songwriting again." Criticism emerged over the production choices for one particular track: "A Bell Will Ring had that Beatles 'up in the sky' vibe. "The retro production, stripped back to just support the songs, was a revelation after the dreary, distortion dad rock-by-numbers approach of HC imo. However, it has aged extremely badly. "The production sounds like muffled sh** now, the backing elements added to each tune are laughable and sound terrible (like the backing vox on Love Like a Bomb) and Liam is doing a Liam caricature throughout. In retrospect it feels like it was all a bit of a con job, the title quite apposite." Echoing the sentiment regarding the album's lack of timelessness, another user professed: "I think this album is the most dated of any Oasis album tbh, it's just totally unremarkable for the most part. "The songs are fine but not spectacular and Dave Sardy's production style of this album is just dreary (much like Noel's first solo album). Any life the songs had is sucked out by Sardy's chosen approach."