1{2 "document_id": "lb_hotpotqa_fbd2e6218ec7c8fc1a90b05bf6858a15d376704a278fa79f",3 "family": "public_hotpotqa",4 "split": "dev",5 "text": "Passage 1:\nCall for the Dead\nCall for the Dead is John le Carré's first novel, published in 1961. It introduces George Smiley, the most famous of le Carré's recurring characters, in a story about East German spies inside Great Britain. It also introduces a fictional version of British Intelligence, called \"the Circus\" because of its location in Cambridge Circus, that is apparently based on MI6 and that recurs throughout le Carré's spy novels. Call for the Dead was adapted for film as The Deadly Affair (1966).\n\nPlot summary\nFollowing a wartime excursion undercover in Germany, George Smiley returns to England and marries Lady Ann Sercombe. Although Smiley is a devout husband, Ann is serially unfaithful, and begins an affair with a Cuban racing driver before absconding the country with him. Smiley, infinitely self-controlled and self-deprecating, does nothing, and instead lets Ann continue to utilise their finances whilst he continues to live at their home in Bywater Street in the London borough of Chelsea, distracting himself with a love of German poetry and his work as a member of the Circus, the headquarters of the SIS named after its location on Cambridge Circus.\nSmiley is abruptly summoned in the early hours of the morning by the Circus' advisor, Maston. Unsure about the meeting’s purpose, he travels in via taxi to learn that Foreign Office civil servant Samuel Fennan has killed himself following a routine security check. Smiley, the interviewer, had cleared Fennan, despite only a few days earlier receiving an anonymous letter regarding Fennan's past membership of the Communist Party of Great Britain. Because Fennan did not have a private office, Smiley had suggested the interview take place in an informal manner on a lunchtime walk through London. Maston informs him that an inquiry will be convened, and begins to set Smiley up for the blame for the suicide.\nSmiley travels to Fennan's home, where he meets Fennan's wife Elsa. Elsa, like her husband, was a Jewish immigrant from Europe following the end of the Second World War, and had been interned in a concentration camp by the Nazis during the course of the war. While at the Fennans' home, Smiley answers a telephone call, believing it to be for him from the Circus. Instead, he finds it is a requested 8:30 am call from the telephone exchange, which Smiley feels is suspicious.\nSmiley meets Inspector Mendel during the course of the interview and investigation. Mendel is on the verge of retirement, and is set to retire once the Fennan case is closed. He obtains information from telephone exchange staff that confirm it was Fennan who had requested the call the night before, furthering Smiley's suspicion around Elsa. Despite this, Maston orders Smiley to refrain from investigating the death any further. Working late at his office the same day, Smiley receives a letter from Fennan from the previous night requesting they meet urgently the next day. Smiley, now believing that Fennan was murdered to prevent a meeting from occurring, writes an abrupt letter of resignation and attaches it to Fennan's letter, leaving it in his out-tray to be forwarded to Maston.\nAfter running some errands, such as going to the dry cleaners, Smiley returns home, but notices movement in the drawing room of his house. He rings his own doorbell, and is met by a tall, fair, handsome stranger. Pretending to be part of a laundrette delivery service, he avoids entering his house, and notes the number plates of the seven cars parked in the road. Now staying with Mendel, who agrees to help him work the case independently, the pair track one car to a dealer called Adam Scarr. Scarr, a semi-professional criminal, tells Mendel that he rents the car out on anonymous agreement to a stranger known as \"Blondie\", who matches the description of Smiley's intruder. However, whilst Mendel and Scarr are conversing, Smiley is attacked whilst tracking \"Blondie's\" car and hospitalised, whilst Scarr is murdered after Mendel's departure.\nNow hospitalised, Smiley directs the case direction from bed rest. Mendel discovers that Elsa attended a local theatre twice a month, in which she liaises with someone the theatre staff believe is her husband. Upon further investigation, this turns out to be \"Blondie\", and Mendel learns that the two always carry music cases to each performance, which they trade. With assistance from fellow Circus agent and Smiley's protégé Peter Guillam, the men learn that \"Blondie\" is actually called Hans-Dieter Mundt, and is an East German agent working undercover as a diplomatic member of the East German Steel Mission for one Dieter Frey. Smiley becomes concerned at this revelation, as Frey was one his operatives during the war. Fanatically opposed to the Nazis, Frey was repeatedly antagonistic about them at great risk to himself. Not only was he a dissident, but he was physically disabled in one leg and needed a cane for most of his life, at a time where the Nazis executed many physically and mentally disabled people. Smiley recommended Frey to the Circus. Frey was later captured by the Nazis and sentenced to a stretch in a political prison camp doing hard labour. Later during the war, Smiley worked directly with Frey as an agent for the Circus. After the war, however, Frey rose through the ranks of East German government service and became one of its most important agents. Smiley also concludes that Frey is likely using a courier service to access only one highly placed domestic agent. Shortly after this revelation, Guillam reports that Mundt has fled to East Germany. He was subsequently identified by cabin crew.\nAfter abruptly discharging himself from hospital, Smiley returns to confront Elsa Fennan. When pushed, she breaks, and confesses that her husband was actually a spy for East Germany, and that she was unwillingly involved in passing secret documents to the East Germans in the music case she took to the theatre. She reveals that Fennan was killed by Mundt after Frey saw him talking to Smiley during their walk through the park, believing that Fennan had cracked under the pressure of passing information to them. When she returned home, she had found Mundt and her husband's corpse, and had typed a suicide note out of fear for her own life.\nGuillam, however, adds another turn to the investigation shortly after this. In an attempt to verify Elsa's claims, he examines the files that Fennan had been taking home from the Foreign Office. On closer inspection, in the period before his death he had been taking home only declassified files of little significance to British security. Smiley then realises that Elsa, not Samuel, is the East German spy, and that the accusation about Fennan had been self-composed in order to allow him to meet someone with whom he could discuss his concerns about his wife. Using his knowledge of Frey's tradecraft, Smiley, Guillam, and Mendel stage a trap to inspire a theatre rendezvous between Frey and Elsa, where Frey stealthily kills her. After being trailed by Mendel, Smiley pursues Frey. In the ensuing struggle, Frey falls into the river Thames where he drowns.\nBack on bed rest in Mendel's house, Smiley turns down Maston's offer to reinstate him to the Circus with a promotion, and flies to Zürich in the hope that he can repair his relationship with Ann.\n\nCharacters in Call for the Dead\nGeorge Smiley – an officer of the Circus\nSamuel Fennan – a British civil servant, who committed an apparent suicide\nElsa Fennan – his wife, formerly a refugee from Nazi Germany\nInspector Mendel – Smiley's contact with the Metropolitan Police\nPeter Guillam – an officer of the Circus subordinate to Smiley\nMaston (\"The Ministers' Adviser on Intelligence\") – head of service for the Circus\nAdam Scarr – a semi-criminal \"businessman\"\nHans-Dieter Mundt, aka \"Blondie\" – an agent of East German intelligence\nDieter Frey – an agent of East German intelligence, and a former wartime agent of Smiley's\n\nFilm, television, radio and theatrical adaptations\nCall for the Dead was filmed as The Deadly Affair (1966). It was directed by Sidney Lumet from a script by Paul Dehn, and starred James Mason as Charles Dobbs, (not George Smiley, as le Carré had sold the rights to use the name \"George Smiley\" to The Spy Who Came in from the Cold), Harry Andrews as Mendel, Simone Signoret as Elsa Fennan and Maximilian Schell as Dieter Frey. The major change in the script from the book is the addition of an affair between George's wife Ann and Dieter Frey, which presages the events of Tinker Tailor Soldier Spy.\nCall for the Dead was first adapted as a BBC Radio 4 drama in 1978. Subsequently, it was the first story to be broadcast in BBC Radio 4's major series to feature all the Smiley novels (\"The Complete Smiley\"), with Simon Russell Beale in the main role. Other characters and actors are as follows; Inspector Mendel—Kenneth Cranham, Elsa Fennan—Eleanor Bron, Ann Smiley—Anna Chancellor, Peter Guillam—Richard Dillane, Maston—James Laurenson, Dieter Frey—Henry Goodman, Adam Scarr/Mundt—Sam Dale, Ludo Oriel—Janice Acquah, Nursing Sister—Caroline Guthrie with Benjamin Askew and Jonathan Tafler. The novel was adapted as a 90-minute drama by Robert Forrest, produced by Patrick Raynor, and was transmitted, also on BBC Radio 4, on 23 May 2009.\nPassage 2:\nSpy film\nThe spy film, also known as the spy thriller, is a genre of film that deals with the subject of fictional espionage, either in a realistic way (such as the adaptations of John le Carré) or as a basis for fantasy (such as many James Bond films). Many novels in the spy fiction genre have been adapted as films, including works by John Buchan, le Carré, Ian Fleming (Bond) and Len Deighton. It is a significant aspect of British cinema, with leading British directors such as Alfred Hitchcock and Carol Reed making notable contributions and many films set in the British Secret Service.Spy films show the espionage activities of government agents and their risk of being discovered by their enemies. From the Nazi espionage thrillers of the 1940s to the James Bond films of the 1960s and to the high-tech blockbusters of today, the spy film has always been popular with audiences worldwide. Offering a combination of exciting escapism, technological thrills, and exotic locales, many spy films combine the action and science fiction genres, presenting clearly delineated heroes for audiences to root for and villains for them to hate. They may also involve elements of political thrillers. However, there are many that are comedic (mostly action comedy films if they fall under that genre).\nJames Bond is the most famous of film spies, but there were also more serious, probing works like le Carré's The Spy Who Came in from the Cold that also emerged from the Cold War. As the Cold War ended, the newest villain became terrorism and more often involved the Middle East.\n\nHistory\nThe spy film genre began in the silent era, with the paranoia of invasion literature and the onset of the Great War. These fears produced the British 1914 The German Spy Peril, centered on a plot to blow up the Houses of Parliament, and 1913's O.H.M.S., standing for \"Our Helpless Millions Saved\" as well as On His Majesty's Service (and introducing for the first time a strong female character who helps the hero).\nIn 1928, Fritz Lang made the film Spies which contained many tropes that became popular in later spy dramas, including secret headquarters, an agent known by a number, and the beautiful foreign agent who comes to love the hero. Lang's Dr. Mabuse films from the period also contain elements of spy thrillers, though the central character is a criminal mastermind only interested in espionage for profit. Additionally, several of Lang's American films, such as Hangmen Also Die, deal with spies during World War II.\nAlfred Hitchcock did much to popularise the spy film in the 1930s with his influential thrillers The Man Who Knew Too Much (1934), The 39 Steps (1935), Sabotage (1937) and The Lady Vanishes (1938). These often involved innocent civilians being caught up in international conspiracies or webs of saboteurs on the home front, as in Saboteur (1942). Some, however, dealt with professional spies as in Hitchcock's Secret Agent (1936), based on W. Somerset Maugham's Ashenden stories, or the Mr. Moto series, based on the books of John P. Marquand.\nIn the 1940s and early 1950s there were several films made about the exploits of Allied agents in occupied Europe, which could probably be considered as a subgenre. 13 Rue Madeleine and O.S.S. were fictional stories about American agents in German-occupied France, and there were a number of films based on the stories of real-life British S.O.E. agents, including Odette and Carve Her Name With Pride. A more recent fictional example is Charlotte Gray, based on the novel by Sebastian Faulks.\nAlso during the period, there were many detective films (The Thin Man Goes Home and Charlie Chan in the Secret Service for example) in which the mystery involved who stole the secret blue-prints, or who kidnapped the famous scientist.\nThe peak of popularity of the spy film is often considered to be the 1960s when Cold War fears meshed with a desire by audiences to see exciting and suspenseful films. The espionage film developed in two directions at this time. On the one hand, the realistic spy novels of Len Deighton and John le Carré were adapted into relatively serious Cold War thrillers which dealt with some of the realities of the espionage world. Some of these films included The Spy Who Came in from the Cold (1965), The Deadly Affair (1966), Torn Curtain (1966), and the Harry Palmer series, based on the novels of Len Deighton.\nIn another direction, the James Bond novels by Ian Fleming were adapted into an increasingly fantastical series of tongue-in-cheek adventure films by producers Harry Saltzman and Albert R. Broccoli, with Sean Connery as the star. They featured secretive and flamboyant super-villains, an archetype which would later become a staple of the explosion of spy movies in the mid-to-late 1960s.\nThe phenomenal success of the Bond series lead to a deluge of imitators, such as the eurospy genre and several from America. Notable examples include the two Derek Flint films starring James Coburn, The Quiller Memorandum (1966) with George Segal, and the Matt Helm series with Dean Martin. Television also got into the act with series like The Man from U.N.C.L.E and I Spy in the U.S., and Danger Man and The Avengers in Britain. Spies have remained popular on TV to the present day with series such as Callan, Alias and Spooks.\nSpy films also enjoyed something of a revival in the late 1990s, although these were often action films with espionage elements, or comedies like Austin Powers. Some critics identify a trend away from fantasy in favor of realism, as observed in Syriana, the Bourne film series and the James Bond films starring Daniel Craig since Casino Royale (2006).\n\nFilms\nSome of the most popular films include:\nMovie series (franchises)\n\nOne-shots, sequels and remakes\n\nTelevision series\nSome of the most popular television series include:\n\nSee also\nEurospy film\nList of films based on spy books\nList of films featuring surveillance\nList of James Bond parodies and spin-offs\nList of spy films\nPassage 3:\nThe Incongruous Spy\nThe Incongruous Spy: Two Novels of Suspense (1964), by John le Carré, is an omnibus edition of le Carré's first two novels Call for the Dead (1961) and A Murder of Quality (1962). The omnibus, about George Smiley, was released after his third novel, The Spy Who Came in from the Cold (1963).\n\nSee also\nSmiley Versus Karla\nPassage 4:\nConnie Sachs\nConnie Sachs is a fictional character created by John le Carré. Sachs plays a key supporting role in the Karla Trilogy, Tinker Tailor Soldier Spy, The Honourable Schoolboy, and Smiley's People.\n\nBiography\nSachs is an eccentric alcoholic with an incredible memory and intellect who works in the research department of the Circus. \"A don's daughter\", her brothers were also dons, and she herself \"some sort of academic\". Her family lived at Millponds, a \"beautiful Palladian house\" with \"lovely grounds, near Newbury\", later owned by one of her brothers. According to legend, Control met her while she was at university and was so impressed that he invented a job so as to hire her. Her personal and professional life is devoted to the study of Soviet intelligence and most notably the Soviet spymaster known as Karla.\nShe is close to spymaster George Smiley and forced into early retirement at the same time he is. From her vast memory, she provides him with important clues in Tinker Tailor; when he must rebuild the Circus after its betrayal, Sachs returns happily to her work despite her failing health. She is crucial to the unravelling of the paper trail at the centre of The Honourable Schoolboy and retires after their success against Karla, this time permanently. When Smiley visits her for the last time in Smiley's People, she is dying from old age and alcoholism. She is taken care of by her female lover, a former Circus agent named Hilary; despite her objections, Connie agrees to speak with Smiley, and provides a key that leads to the eventual victory over Karla.\n\nBackground\nSachs was widely reputed (in outline at least) to be based on the legendary real-life MI5 Soviet watcher Milicent Bagot. Although she worked in domestic intelligence (unlike the fictional Connie), she was reportedly the first to alert British authorities that double agent Kim Philby had past associations as a Communist. Bagot died, aged 99, in 2006.\n\nPortrayals\nIn the BBC's 1979 television adaptation of Tinker Tailor and the 1982 adaptation of Smiley's People which followed it, Sachs was played by Beryl Reid. In BBC Radio 4's 2009-10 adaptation of the Karla trilogy, Sachs was played by Maggie Steed. In the 2011 film adaptation Tinker Tailor Soldier Spy, Sachs was played by Kathy Burke.\nPassage 5:\nJohn le Carré: The Biography\nJohn le Carré: The Biography is a 2015 biography of John le Carré written by Adam Sisman It was published by Bloomsbury (UK), Harper (US) and Knopf (Canada).\nPassage 6:\nJohn le Carré\nDavid John Moore Cornwell (19 October 1931 – 12 December 2020), better known by his pen name John le Carré ( lə-KARR-ay), was a British and Irish author, best known for his espionage novels, many of which were successfully adapted for film or television. \"A sophisticated, morally ambiguous writer\", he is considered one of the greatest novelists of the postwar era. During the 1950s and 1960s he worked for both the Security Service (MI5) and the Secret Intelligence Service (MI6).Le Carré's third novel, The Spy Who Came in from the Cold (1963), became an international best-seller, was adapted as an award-winning film and remains one of his best-known works. This success allowed him to leave MI6 to become a full-time author. His novels which have been adapted for film or television include The Looking Glass War (1965), Tinker Tailor Soldier Spy (1974), Smiley's People (1979), The Little Drummer Girl (1983), The Night Manager (1993), The Tailor of Panama (1996), The Constant Gardener (2001), A Most Wanted Man (2008), and Our Kind of Traitor (2010). Philip Roth said that A Perfect Spy (1986) was \"the best English novel since the war\".\n\nEarly life\nChildhood\nDavid John Moore Cornwell was born on 19 October 1931 in Poole, Dorset, England. His father was Ronald Thomas Archibald (Ronnie) Cornwell (1905–75), and his mother was Olive Moore Cornwell (née Glassey, b. 1906–1989). His older brother, Tony (1929–2017), was an advertising executive and county cricketer (for Dorset), who later lived in the United States. His younger half-sister was the actress Charlotte Cornwell (1949–2021), and his younger half-brother, Rupert Cornwell (1946-2017), was a former Washington bureau chief for The Independent. Cornwell had little early memory of his mother, who had left their family home when he was five years old. His maternal uncle was Liberal MP Alec Glassey. When Cornwell was 21 years old, Glassey gave him the address in Ipswich where his mother was living. Some sixteen years later, mother and son reacquainted at Ipswich railway station, at her written invitation, following Cornwell's initial letter of reconciliation.Cornwell's father had been jailed for insurance fraud and was a known associate of the Kray twins. The family was continually in debt. The father–son relationship has been described as \"difficult\". The Guardian reported that Le Carré recalled that he had been \"beaten up by his father and grew up mostly starved of affection after his mother abandoned him at the age of five\". Rick Pym, a scheming con man and the father of A Perfect Spy protagonist Magnus Pym, was based on Ronnie. When his father died in 1975, Cornwell paid for a memorial funeral service but did not attend, a plot point repeated in A Perfect Spy.\n\nEducation\nCornwell's schooling began at St Andrew's Preparatory School, near Pangbourne, Berkshire, and continued at Sherborne School. He grew unhappy with the typically harsh English public school regime of the time and disliked his disciplinarian housemaster. He left Sherborne early to study foreign languages at the University of Bern from 1948 to 1949. In 1950, he was called up for National Service and served in the Intelligence Corps of the British Army garrisoned in Allied-occupied Austria, working as a German language interrogator of people who had crossed the Iron Curtain to the West. In 1952, he returned to England to study at Lincoln College, Oxford, where he worked covertly for the British Security Service, MI5, spying on far-left groups for information about possible Soviet agents. During his studies, he was a member of a college dining society known as The Goblin Club.When his father was declared bankrupt in 1954, Cornwell left Oxford to teach at Millfield Preparatory School; however, a year later he returned to Oxford, and graduated in 1956 with a first class degree in modern languages. He then taught French and German at Eton College for two years, becoming an MI5 officer in 1958.\n\nWork in security services\nHe ran agents, conducted interrogations, tapped telephone lines, and effected break-ins. Encouraged by Lord Clanmorris (who wrote crime novels as \"John Bingham\"), and while being an active MI5 officer, Cornwell began writing his first novel, Call for the Dead (1961). Cornwell identified Lord Clanmorris as one of two models for George Smiley, the spymaster of the Circus, the other being Vivian H. H. Green. As a schoolboy, Cornwell first met the latter when Green was the Chaplain and Assistant Master at Sherborne School (1942–51). The friendship continued after Green's move to Lincoln College, where he tutored Cornwell.In 1960, Cornwell transferred to MI6, the foreign-intelligence service, and worked under the cover of Second Secretary at the British Embassy in Bonn. He was later transferred to Hamburg as a political consul. There, he wrote the detective story A Murder of Quality (1962) and The Spy Who Came in from the Cold (1963), as \"John le Carré\" (le Carré is French for \"the square\")—a pseudonym required because Foreign Office staff were forbidden to publish in their own names.In 1964, le Carré's career as an intelligence officer came to an end as the result of the betrayal of British agents' covers to the KGB by Kim Philby, the infamous British double agent, one of the Cambridge Five. Le Carré depicted and analysed Philby as the upper-class traitor, codenamed \"Gerald\" by the KGB, the mole hunted by George Smiley in Tinker Tailor Soldier Spy (1974).\n\nWriting\nLe Carré's first two novels, Call for the Dead (1961) and A Murder of Quality (1962), are mystery fiction. Each features a retired spy, George Smiley, investigating a death; in the first book, the apparent suicide of a suspected communist, and in the second volume, a murder at a boys' public school. Although Call for the Dead evolves into an espionage story, Smiley's motives are more personal than political. Le Carré's third novel, The Spy Who Came in from the Cold (1963), became an international best-seller and remains one of his best-known works; following its publication, he left MI6 to become a full-time writer. Although le Carré had intended The Spy Who Came in from the Cold as an indictment of espionage as morally compromised, audiences widely viewed its protagonist, Alec Leamas, as a tragic hero. In response, le Carré's next book, The Looking Glass War, was a satire about an increasingly deadly espionage mission which ultimately proves pointless.Tinker Tailor Soldier Spy, The Honourable Schoolboy, and Smiley's People (the Karla trilogy) brought Smiley back as the central figure in a sprawling espionage saga depicting his efforts first to root out a mole in the Circus and then to entrap his Soviet rival and counterpart, code-named 'Karla'. The trilogy was originally meant to be a long-running series that would find Smiley dispatching agents after Karla all around the world. Smiley's People marked the last time Smiley featured as the central character in a le Carré story, although he brought the character back in The Secret Pilgrim and A Legacy of Spies.A Perfect Spy (1986), which chronicles the boyhood moral education of Magnus Pym and how it leads to his becoming a spy, is the author's most autobiographical espionage novel, reflecting the boy's very close relationship with his con man father. Biographer LynnDianne Beene describes the novelist's own father, Ronnie Cornwell, as \"an epic con man of little education, immense charm, extravagant tastes, but no social values\". Le Carré reflected that \"writing A Perfect Spy is probably what a very wise shrink would have advised\". He also wrote a semi-autobiographical work, The Naïve and Sentimental Lover (1971), as the story of a man's midlife existential crisis.\nWith the fall of the Iron Curtain in 1989, le Carré's writing shifted to portrayal of the new multilateral world. His first completely post-Cold War novel, The Night Manager (1993), deals with drug and arms smuggling in the murky world of Latin American drug lords, shady Caribbean banking entities, and western officials who look the other way.His final novel, Silverview, was published posthumously in 2021.\n\nThemes\nMost of le Carré's books are spy stories set during the Cold War (1945–91) and portray British Intelligence agents as unheroic political functionaries, aware of the moral ambiguity of their work and engaged more in psychological than physical drama. While \"[espionage] was the genre that earned him fame...he used it as a platform to explore larger ethical problems and the human condition\". The insight he demonstrated led \"many fellow authors and critics [to regard] him as one of the finest English-language novelists of the twentieth century.\" His writing explores \"human frailty—moral ambiguity, intrigue, nuance, doubt, and cowardice\".The fallibility of Western democracy - and of its secret services - is a recurring theme, as are suggestions of a possible east–west moral equivalence. Characters experience little of the violence typically encountered in action thrillers and have very little recourse to gadgets. Much of the conflict is internal, rather than external and visible. The recurring character George Smiley, who plays a central role in five novels and appears as a supporting character in four more, was written as an \"antidote\" to James Bond, a character le Carré called \"an international gangster\" rather than a spy and who he felt should be excluded from the canon of espionage literature. In contrast, he intended Smiley, who is an overweight, bespectacled bureaucrat who uses cunning and manipulation to achieve his ends, as an accurate depiction of a spy.Le Carré's \"writing entered intelligence services themselves. He popularized the term 'mole'...and other language that has become intelligence vernacular on both sides of the Atlantic — 'honeytrap', 'scalphunter', 'lamplighter' to name a few.\" However, in his first tweet as MI6's chief, Richard Moore revealed the agency's \"complicated relationship with the author: He urged would-be Smileys not to apply to the service.\"\n\nOther writing, film cameo\nLe Carré records a number of incidents from his period as a diplomat in his autobiographical work, The Pigeon Tunnel: Stories from My Life (2016), which include escorting six visiting German parliamentarians to a London brothel and translating at a meeting between a senior German politician and Harold Macmillan.As a journalist, le Carré wrote The Unbearable Peace (1991), a nonfiction account of Brigadier Jean-Louis Jeanmaire (1911–1992), the Swiss Army officer who spied for the Soviet Union from 1962 until 1975.Credited under his pen name, le Carré appears as an extra in the 2011 film version of Tinker Tailor Soldier Spy, among the guests at the Christmas party in several flashback scenes.\n\nPolitics\nThreats to democracy\nIn 2017, le Carré expressed concerns over the future of liberal democracy, saying \"I think of all things that were happening across Europe in the 1930s, in Spain, in Japan, obviously in Germany. To me, these are absolutely comparable signs of the rise of fascism and it's contagious, it's infectious. Fascism is up and running in Poland and Hungary. There's an encouragement about\". He later wrote that the end of the Cold War had left the West without a coherent ideology, in contrast to the \"notion of individual freedom, of inclusiveness, of tolerance – all of that we called anti-communism\" prevailing during that time.Le Carré opposed both U.S. President Donald Trump and Russian President Vladimir Putin, arguing that their desire to seek or maintain their countries' superpower status caused an impulse \"for oligarchy, the dismissal of the truth, the contempt, actually, for the electorate and for the democratic system\". Le Carré compared Trump's tendency to dismiss the media as \"fake news\" to the Nazi book burnings, and wrote that the United States is \"heading straight down the road to institutional racism and neo-fascism\".In Le Carré's 2019 novel Agent Running in the Field, one of the novel's characters refers to Trump as \"Putin's shithouse cleaner\" who \"does everything for little Vladi that little Vladi can't do for himself\". The novel's narrator describes Boris Johnson as \"a pig-ignorant foreign secretary\". He says Russia is moving \"backwards into her dark, delusional past\", with Britain following a short way behind. Le Carré later said that he believed the novel's plotline, involving the U.S. and British intelligence services colluding to subvert the European Union, to be \"horribly possible\".\n\nBrexit\nLe Carré was an outspoken advocate of European integration and sharply criticised Brexit. Le Carré criticised Brexit advocates such as Boris Johnson (whom he referred to as a \"mob orator\"), Dominic Cummings, and Nigel Farage in interviews, claiming that their \"task is to fire up the people with nostalgia [and] with anger\". He further opined in interviews that \"What really scares me about nostalgia is that it's become a political weapon. Politicians are creating a nostalgia for an England that never existed, and selling it, really, as something we could return to\", adding that with \"the demise of the working class we saw also the demise of an established social order, based on the stability of ancient class structures\". On the other hand, he said that in the Labour Party \"they have this Leninist element and they have this huge appetite to level society.\"On Brexit, le Carré did not mince his words, comparing it to the 1956 Suez crisis which confirmed post-imperial Britain's loss of global power. \"This is without doubt the greatest catastrophe and the greatest idiocy that Britain has perpetrated since the invasion of Suez\", le Carré said of Brexit. \"Nobody is to blame but the Brits themselves – not the Irish, not the Europeans.\" \"The idea, to me, that at the moment we should imagine we can substitute access to the biggest trade union in the world with access to the American market is terrifying\", he said.Speaking to The Guardian in 2019, he commented \"I've always believed, though ironically it's not the way I've voted, that it's compassionate conservatism that in the end could, for example, integrate the private schooling system. If you do it from the left you will seem to be acting out of resentment; do it from the right and it looks like good social organisation.\" Le Carré also said that \"I think my own ties to England were hugely loosened over the last few years. And it's a kind of liberation, if a sad kind.\"\n\nUS invasion of Iraq\nIn January 2003, two months prior to the invasion, The Times published le Carré's essay \"The United States Has Gone Mad\" criticising the buildup to the Iraq War and President George W. Bush's response to the 11 September 2001 terrorist attacks, calling it \"worse than McCarthyism, worse than the Bay of Pigs and in the long term potentially more disastrous than the Vietnam War\" and \"beyond anything Osama bin Laden could have hoped for in his nastiest dreams\". Le Carré participated in the London protests against the Iraq War. He said the war resulted from the \"politicisation of intelligence to fit the political intentions\" of governments and \"How Bush and his junta succeeded in deflecting America's anger from bin Laden to Saddam Hussein is one of the great public relations conjuring tricks of history\".He was critical of Tony Blair's role in taking Britain into the Iraq War, saying \"I can't understand that Blair has an afterlife at all. It seems to me that any politician who takes his country to war under false pretences has committed the ultimate sin. I think that a war in which we refuse to accept the body count of those that we kill is also a war of which we should be ashamed\".\n\nIran\nLe Carré was critical of Western governments' policies towards Iran. He said that Iran's actions are a response to being \"encircled by nuclear powers\" and by the way in which \"we ousted Mosaddeq through the CIA and the Secret Service here across the way and installed the Shah and trained his ghastly secret police force in all the black arts, the SAVAK\".Le Carré feuded with Salman Rushdie over The Satanic Verses, stating that \"nobody has a God-given right to insult a great religion and be published with impunity\".\n\nIsrael\nIn a 1998 interview with Douglas Davis, Le Carré described Israel as \"the most extraordinary carnival of human variety that I have ever set eyes on, a nation in the process of re-assembling itself from the shards of its past, now Oriental, now Western, now secular, now religious, but always anxiously moralizing about itself, criticizing itself with Maoist ferocity, a nation crackling with debate, rediscovering its past while it fought for its future.\" He declared: \"No nation on earth was more deserving of peace—or more condemned to fight for it.\"\n\nPersonal life\nIn 1954, Cornwell married Alison Ann Veronica Sharp. They had three sons: Simon, Stephen, and Timothy—and divorced in 1971. In 1972, Cornwell married Valérie Jane Eustace, a book editor with Hodder & Stoughton who collaborated with him behind the scenes. They had a son, Nicholas, who writes as Nick Harkaway. Le Carré lived in St Buryan, Cornwall, for more than 40 years; he owned a mile of cliff near Land's End. Le Carré also owned a house in Gainsborough Gardens in Hampstead in north London.Le Carré was so disillusioned by the 2016 Brexit vote to leave the European Union that he secured Irish citizenship. In a BBC documentary broadcast in 2021, le Carré's son Nicholas revealed that his father's disillusionment with modern Britain, and Brexit in particular, had driven him to embrace his Irish heritage and become an Irish citizen. At the time of his death, le Carré's friend, the novelist John Banville, confirmed that the writer had researched his family roots in Inchinattin, near Rosscarbery, County Cork, and that he had applied for an Irish passport, to which he was entitled having completed the process of becoming an Irish citizen and having Irish ancestry through his maternal grandmother, Olive Wolfe. His neighbour and friend Philippe Sands recalled: \n\nHe became an Irishman through his maternal grandmother. And it was very, very moving, I have to say, to arrive at the place of the memorial to find an Irish flag and only an Irish flag. He had really in the last years, grown very disillusioned with what had happened to Britain and the United Kingdom.\nLe Carré died at Royal Cornwall Hospital, Truro, on 12 December 2020, aged 89. An inquest completed in June 2021 concluded that le Carré died after sustaining a fall at his home. His wife Valérie died on 27 February 2021, two months after her husband, at age 82.Le Carré's son Timothy died on 31 May 2022 at the age of 59, shortly after he finished editing A Private Spy, a collection of his father's letters.\n\nSelected bibliography\nNovels\nCall for the Dead (1961), OCLC 751303381\nA Murder of Quality (1962), OCLC 777015390\nThe Spy Who Came in from the Cold (1963), OCLC 561198531\nThe Looking Glass War (1965), OCLC 752987890\nA Small Town in Germany (1968), ISBN 0-143-12260-6\nThe Naïve and Sentimental Lover (1971), ISBN 0-143-11975-3\nSmiley Versus Karla trilogy\nTinker Tailor Soldier Spy (1974), ISBN 0-143-12093-X\nThe Honourable Schoolboy (1977), ISBN 0-143-11973-7\nSmiley's People (1979), ISBN 0-340-99439-8\nThe Little Drummer Girl (1983), ISBN 0-143-11974-5\nA Perfect Spy (1986), ISBN 0-143-11976-1\nThe Russia House (1989), ISBN 0-743-46466-4\nThe Secret Pilgrim (1990), ISBN 0-345-50442-9\nThe Night Manager (1993), ISBN 0-345-38576-4\nOur Game (1995), ISBN 0-345-40000-3\nThe Tailor of Panama (1996), ISBN 0-345-42043-8\nSingle & Single (1999), ISBN 0-743-45806-0\nThe Constant Gardener (2001), ISBN 0-743-28720-7\nAbsolute Friends (2003), ISBN 0-670-04489-X\nThe Mission Song (2006), ISBN 0-340-92199-4\nA Most Wanted Man (2008), ISBN 1-416-59609-7\nOur Kind of Traitor (2010), ISBN 0-143-11972-9\nA Delicate Truth (2013), ISBN 0-143-12531-1\nA Legacy of Spies (2017), ISBN 978-0-735-22511-4\nAgent Running in the Field (2019), ISBN 1984878875\nSilverview (2021), ISBN 9780241550069\nTim Cornwell, ed. (2022). A Private Spy: The Letters of John le Carré 1945–2020. Penguin. ISBN 9780241994566.\n\nArchive\nIn 2010, le Carré donated his literary archive to the Bodleian Library, Oxford. The initial 85 boxes of material deposited included handwritten drafts of Tinker Tailor Soldier Spy and The Constant Gardener. The library hosted a public display of these and other items to mark World Book Day in March 2011.\n\nAwards and honours\n1963, British Crime Writers' Association Gold Dagger for The Spy Who Came in from the Cold\n1964, Somerset Maugham Award for The Spy Who Came in from the Cold\n1965, Mystery Writers of America Edgar Award for The Spy Who Came in from the Cold\n1977, British Crime Writers' Association Gold Dagger for The Honourable Schoolboy\n1977, James Tait Black Memorial Prize Fiction Award for The Honourable Schoolboy\n1983, Japan Adventure Fiction Association Prize for The Little Drummer Girl\n1984, Honorary Fellow Lincoln College, Oxford\n1984, Mystery Writers of America Edgar Grand Master\n1988, Crime Writers' Association Diamond Dagger Lifetime Achievement Award\n1988, The Malaparte Prize, Italy\n1990, Honorary degree, University of Exeter\n1990, Helmerich Award of the Tulsa Library Trust.\n1996, Honorary degree, University of St. Andrews\n1997, Honorary degree, University of Southampton\n1998, Honorary degree, University of Bath\n2005, Crime Writers' Association Dagger of Daggers for The Spy Who Came in from the Cold\n2005, Commander of the Order of Arts and Letters, France\n2008, honorary doctorate, University of Bern\n2011, Goethe Medal, awarded by the Goethe Institute\n2012, Honorary degree of Doctor of Letters, University of Oxford\n2020, Olof Palme Prize – le Carré donated the US$100,000 prize money to Médecins Sans Frontières.In addition in 2008, The Times ranked le Carré 22nd on its list of the \"50 greatest British writers since 1945\".\n\nCitations\nSources\nBeene, Lynn Dianne (1992). John le Carré. New York: Twayne Publishers. ISBN 9780805770131.\nCobbs, John L. (1998). Understanding John Le Carré. University of South Carolina Press. ISBN 978-1-57003-168-7.\nManning, Toby (25 January 2018). John le Carré and the Cold War. Bloomsbury Publishing. ISBN 978-1-350-03640-6.\n\nFurther reading\nAronoff, Myron J. (1998). The Spy Novels of John le Carré: Balancing Ethics and Politics. Palgrave Macmillan. doi:10.1057/9780312299453. ISBN 9780312214821.\nBruccoli, Matthew J.; Baughman, Judith S., eds. (2004). Conversations with John le Carré. University Press of Mississippi. ISBN 978-1-57806-669-8.\nDawson, Suleika (2022). The Secret Heart – John Le Carré: An Intimate Memoir. HarperCollins. ISBN 9780008533038.\nSisman, Adam (2015). John le Carré: The Biography. Bloomsbury Publishing. ISBN 9781408827932.\n\nExternal links\n\nJohn le Carré at IMDb \nTwo interviews at NPR's Fresh Air\nJohn le Carré discography at Discogs \nTwo letters at Leeds University Library\nPortraits of John le Carré at the National Portrait Gallery, London\nPassage 7:\nControl (fictional character)\nControl is a fictional character created by John le Carré. Control is an intelligence officer who acts as the head of the British overseas intelligence agency (nicknamed \"The Circus\" after its location in Cambridge Circus, London). He is a character in the novels The Spy Who Came in from the Cold, The Looking Glass War and Tinker Tailor Soldier Spy, and is referred to in several others, usually by association with le Carré's recurring protagonist George Smiley, who has served as Control's right-hand man.\n\"Control\" is a nom de guerre; the character's real name is never given, and it is suggested that he successfully kept his true identity secret even from his inner circle of advisors. His wife believes him to be a minor civil servant in the Ministry of Agriculture and Fisheries. In the original screenplay for the film adaptation of Tinker Tailor Soldier Spy, Smiley muses that Control had once told him that Howard Staunton was the greatest chess master Britain had ever produced. \"Staunton\" later turns out to be the name that Control used for the rental of a flat he uses.\nThe real chief of the Secret Intelligence Service (the equivalent of Le Carre's Circus) is known by a similar name: \"C\". This originates from the initial used by Captain Sir Mansfield Smith-Cumming, RN, an early chief of the service, who signed his letters \"C\" in green ink. This custom has been upheld throughout the history of the service.\n\nIn the novels\nControl does not appear in the first two George Smiley novels. In The Spy Who Came in from the Cold, le Carré's third novel, Control is already chief of the Circus, a position which was occupied by a civil servant named Maston, with whom Smiley clashed, in the first novel. Although he makes only comparatively fleeting appearances in The Spy Who Came in from the Cold and The Looking Glass War, in both novels Control is depicted as a master strategist who orchestrates a successful intelligence operation for the Circus. The Spy Who Came in from the Cold also shows him as quite ruthless, concealing from his own agent Alec Leamas the true aim of the operation on which Leamas was sent to East Germany, and having – against Leamas' express wish – got Leamas' beloved, Liz Gold, deeply involved in his plot, eventually leading to her death.\nIn Tinker Tailor Soldier Spy, Control has died of natural causes as the story begins; several characters reminisce on the inglorious end of his career, which was due to the infiltration of the Circus by a high-level mole run by the Soviet spymaster Karla. Control spent his final few months in office, already ill, losing power to his underling Percy Alleline and desperately trying to identify this mole, before falling into a trap set up by Karla to accelerate his departure.\nHowever, in that same book, another character, Roddy Martindale, claims Control is still alive; that he faked his death after being \"driven out\" by Alleline and has been seen in South Africa. Martindale has heard this second-hand, and tells Smiley, who rejects it as \"the most idiotic story [he] has ever heard.\" Though he does not share this, George recalls personally attending Control's cremation.\nIn A Legacy of Spies, during Peter Guillam's initial interview, it is revealed that there have been at least four \"Controls\" over the years.\n\nIn other media\nFilm\nCyril Cusack portrayed Control in the 1965 film adaptation of The Spy Who Came In from the Cold.\nIn the 2011 adaptation of Tinker Tailor Soldier Spy, Control was played by John Hurt. He is shown signing himself as \"C\", and a photograph is briefly shown of a younger Control in uniform as a brigadier during the Second World War.\n\nTelevision\nAlexander Knox portrayed Control in the 1979 television drama adaptation of Tinker Tailor Soldier Spy.\nPassage 8:\nThe Deadly Affair\nThe Deadly Affair is a 1967 British spy film based on John le Carré's first novel, Call for the Dead (1961). The film stars James Mason and was directed by Sidney Lumet from a script by Paul Dehn.\nAs it is a Columbia Pictures production and Paramount owned the film rights to the name George Smiley, the central character is renamed Charles Dobbs. Paramount acquired the film rights to the character name when filming The Spy Who Came In from the Cold (1965).The soundtrack was composed by Quincy Jones, and the bossa nova theme song, \"Who Needs Forever\", was performed by Astrud Gilberto.\n\nPlot\nIn 1960s London, Charles Dobbs (James Mason) is a staid MI5 operative investigating Foreign Office official Samuel Fennan (Robert Flemyng), a former Communist who apparently commits suicide. Dobbs becomes suspicious about the cause of Fennan's death while visiting Fennan's widow the morning after his death. When a wake-up call is received at Fennan's home, his widow Elsa (Simone Signoret) says the call was for her. Dobbs discovers this to be a lie, and as a result Dobbs suspects that Elsa, a survivor of a Nazi extermination camp, might have some clues regarding Fennan's death.\nOther government officials want Dobbs to drop the case. However, Dobbs privately links up with retired police inspector Mendel (Harry Andrews) to continue enquiries and they uncover a network of Communist agents. Dobbs also discovers that his wife Ann (Harriet Andersson) is leaving him to go to Switzerland to join a former World War II colleague, Dieter Frey (Maximilian Schell).\nDobbs ultimately decides to set a trap to prove that Elsa is a spy and to uncover her control by arranging a rendezvous which takes place in the Aldwych theatre during a performance of \"Edward II\". Dobbs, his colleague Bill Appleby (Kenneth Haigh) and Mendel observe Elsa and wait to see who will sit in the empty seat next to her. Dobbs is shocked to see that it is Dieter who sits down next to Elsa and is her control. When Dieter and Elsa realise they have been set up, Dieter secretly kills Elsa and slips out of the theatre. Mendel follows Dieter to his hideout and summons Dobbs. In the final confrontation, Dieter shoots Mendel but is himself killed bare-handed by the enraged Dobbs.\nDobbs flies to Zurich where he is met at the airport by Ann.\n\nCast\nJames Mason as Charles Dobbs\nSimone Signoret as Elsa Fennan\nMaximilian Schell as Dieter Frey\nHarriet Andersson as Ann Dobbs\nHarry Andrews as Mendel\nKenneth Haigh as Bill Appleby\nRoy Kinnear as Adam Scarr\nMax Adrian as Advisor\nLynn Redgrave as Virgin\nRobert Flemyng as Samuel Fennan\nLeslie Sands as Inspector\nCorin Redgrave as David\nSheraton Blount as Eunice Scarr (uncredited)\nDenis Shaw as Wilf the Barman (uncredited)\nDavid Warner as the actor playing Edward II in the Aldwych Theatre\n\nProduction\nLocation shooting for The Deadly Affair took place in London, in St. James's Park, at The Balloon Tavern and Chelsea Embankment in Chelsea, in Battersea and Barnes, in Twickenham, and at the Serpentine Restaurant in Hyde Park (demolished in 1990). The exterior of Dobbs's house is in St. George's Square, Pimlico. For the theatre scene a performance of the Royal Shakespeare Company's Edward II was recreated at its real location of the Aldwych Theatre, London.Director of photography Freddie Young's technique of pre-exposing the colour film negative to a small, controlled amount of light (known as \"flashing\" or \"pre-fogging\") in order to create a muted colour palette was first used in this film. Lumet called the result \"colourless colour\" and it proved influential, being used by other cinematographers such as Vilmos Zsigmond on McCabe & Mrs. Miller.\n\nAwards and honours\nThe Deadly Affair received five BAFTA Awards nominations: Best British Film for Sidney Lumet, Best British Screenplay for Paul Dehn, Best British Cinematography (Colour) for Freddie Young, Best Foreign Actress for Simone Signoret, and Best British Actor for James Mason. However, it did not win any of the awards.\n\nMusical score and soundtrack\nThe film score was composed, arranged and conducted by Quincy Jones, and the soundtrack album was released on the Verve label in 1967.Allmusic's Stephen Cook noted, \"Deadly Affair's dreamy mix of bossa nova moods and unobtrusive symphonics still makes for some pleasant, if not always provocative, listening. Plus, one gets to hear Astrud Gilberto in fine fettle on the opening cut\". The Vinyl Factory said \"This soundtrack to the Sidney Lumet thriller starts off with Astrud Gilberto drizzling her best desultory vocal over ‘Who Needs Forever’, which creates a moody atmosphere that is sustained throughout the entire album. With its languid orchestrations, breezy strings, and airy samba rhythms, this is a perfect Sunday morning record\".\n\nTrack listing\nAll compositions by Quincy Jones\n\n\"Who Needs Forever\" (lyrics by Howard Greenfield) − 3:00\n\"Dieter's First Mistake\" − 4:50\n\"Instrumental Main Theme (1)\" − 2:05\n\"Postcard Signed \"S\" / Mendel Tails Elsa / Tickets to \"S\"\" − 5:31\n\"Instrumental Main Theme (2)\" − 3:00\n\"Don't Fly If It's Foggy\" − 1:11\n\"Blondie-Tails\" − 1:13\n\"Instrumental Main Theme (3)\" − 2:05\n\"Ridiculous Scene\" − 1:48\n\"Body on Elevator\" − 0:55\n\"Bobb's at Gunpoint\" − 0:45\n\"End Title\" − 1:42\n\nPersonnel\nUnidentified orchestra arranged and conducted by Quincy Jones featuring:\nHank Jones − piano\nAstrud Gilberto − vocals (track 1)\nPassage 9:\nJuan Rulfo\nJuan Nepomuceno Carlos Pérez Rulfo Vizcaíno, best known as Juan Rulfo (Spanish: [ˈxwan ˈrulfo] audio ; 16 May 1917 – 7 January 1986), was a Mexican writer, screenwriter, and photographer. He is best known for two literary works, the 1955 novel Pedro Páramo, and the collection of short stories El Llano en llamas (1953). This collection includes the popular tale \"¡Diles que no me maten!\" (\"Tell Them Not to Kill Me!\").\n\nEarly life\nRulfo was born in 1917 in Apulco, Jalisco (although he was registered at Sayula), in the home of his paternal grandfather. Rulfo's birth year was often listed as 1918, because he had provided an inaccurate date to get into the military academy that his uncle, David Pérez Rulfo — a colonel working for the government — directed.After his father was killed in 1923 and his mother died in 1927, Rulfo's grandmother raised him in Guadalajara, Jalisco. Their extended family consisted of landowners whose fortunes were ruined by the Mexican Revolution and the Cristero War of 1926–1928, a Roman Catholic revolt against the persecutions of Christians by the Mexican government, following the Mexican Revolution.Rulfo was sent to study in the Luis Silva School, where he lived from 1928 to 1932. He completed six years of elementary school and a special seventh year from which he graduated as a bookkeeper, though he never practiced that profession. Rulfo attended a seminary (analogous to a secondary school) from 1932 to 1934, but did not attend a university afterwards, as the University of Guadalajara was closed due to a strike and because Rulfo had not taken preparatory school courses.Rulfo moved to Mexico City, where he entered the National Military Academy, which he left after three months. He then hoped to study law at the Universidad Nacional Autónoma de México. In 1936, Rulfo was able to audit courses in literature at the University, because he obtained a job as an immigration file clerk through his uncle.\n\nCareer\nIt was at the University that Rulfo first began writing under the tutelage of a coworker, Efrén Hernández. In 1944, Rulfo had co-founded the literary journal Pan. Later, he was able to advance in his career and travel throughout Mexico as an immigration agent. In 1946, he started as a foreman for Goodrich-Euzkadi, but his mild temperament led him to prefer working as a wholesale traveling sales agent. This obligated him to travel throughout all of southern Mexico, until he was fired in 1952 for asking for a radio for his company car.Rulfo obtained a fellowship at the Centro Mexicano de Escritores, supported by the Rockefeller Foundation. There, between 1952 and 1954, he was able to write two books.The first book was a collection of harshly realistic short stories, El Llano en llamas (1953). The stories centered on life in rural Mexico around the time of the Mexican Revolution and the Cristero War. Among the best-known stories are \"¡Diles que no me maten!\" (\"Tell Them Not To Kill Me!\"), a story about an old man, set to be executed, who is captured by order of a colonel, who happens to be the son of a man whom the condemned man had killed about forty years ago, the story contains echoes of the biblical Cain and Abel theme as well as themes critical to the Mexican Revolution such as land rights and land use; and \"No oyes ladrar los perros\" (\"Don't You Hear the Dogs Barking(?)\"), about a man carrying his estranged, adult, wounded son on his back to find a doctor.\nThe second book was Pedro Páramo (1955), a short novel about a man named Juan Preciado who travels to his recently deceased mother's hometown, Comala, to find his father, only to come across a literal ghost town ─ populated, that is, by spectral figures. Initially, the novel met with cool critical reception and sold only two thousand copies during the first four years; later, however, the book became highly acclaimed. Páramo was a key influence for Latin American writers such as Gabriel García Márquez. Pedro Páramo has been translated into more than 30 languages, and the English version has sold more than a million copies in the United States.The book went through several changes in name. In two letters written in 1947 to his fiancée Clara Aparicio, he refers to the novel he was writing as Una estrella junto a la luna (A Star Next to the Moon), saying that it was causing him some trouble. During the last stages of writing, he wrote in journals that the title would be Los murmullos (The Murmurs). With the assistance of a grant from the Centro Mexicano de Escritores, Rulfo was able to finish the book between 1953 and 1954; it was published in 1955.\nIn passages of the novel Pedro Páramo, the influence of American novelist William Faulkner is notorious, according to Rulfo's former friend, philologist Antonio Alatorre, in an interview with the latter made by journalists of Mexican newspaper El Universal in November 1998, which was published on 31 October 2010.Between 1956 and 1958, Rulfo worked on a novella entitled El gallo de oro (The Golden Cockerel), which was not published until 1980. A revised and corrected edition was issued posthumously in 2010. The Fundación Rulfo possesses fragments of two unfinished novels, La cordillera and Ozumacín. Rulfo told interviewer Luis Harss that he had written and destroyed an earlier novel set in Mexico City.From 1954 to 1957, Rulfo collaborated with \"La comisión del rio Papaloapan\", a government institution working on socioeconomic development of the settlements along the Papaloapan River. From 1962 until his death in 1986, he worked as editor for the National Institute for Indigenous People.\n\nPersonal life\nRulfo married Clara Angelina Aparicio Reyes (Mexico City, 12 August 1928) in Guadalajara, Jalisco, on 24 April 1948; they had four children, Claudia Berenice (Mexico City, 29 January 1949), Juan Francisco (Guadalajara, Jalisco, 13 December 1950), Juan Pablo (México City, 18 April 1955) and Juan Carlos Rulfo (México City, 24 January 1964).\n\nLegacy\nGabriel García Márquez has said that he felt blocked as a novelist after writing his first four books and that it was only his life-changing discovery of Pedro Páramo in 1961 that opened the way to the composition of his masterpiece, One Hundred Years of Solitude. He noted that all of Rulfo's published writing, put together, \"add up to no more than 300 pages; but that is almost as many and I believe they are as durable, as the pages that have come down to us from Sophocles\".Jorge Luis Borges considered Pedro Páramo to be one of the greatest texts written in any language.The Juan Rulfo Foundation, which was established by Rulfo's family after his death, holds more than 6,000 negatives of his photographs. A selection of Rulfo's photographs, accompanied by essays by Carlos Fuentes and others, has been published under the title of Juan Rulfo's Mexico.\n\nBooks\nEl llano en llamas (1953). Translated by George D. Schade as The Burning Plain (University of Texas, 1967); Ilan Stavans and Harold Augenbraum as The Plain in Flames (University of Texas, 2012); Stephen Beechinor as El Llano in Flames (Structo, 2019).\nPedro Páramo (1955). Translated by Lysander Kemp (Grove Press, 1959) and Margaret Sayers Peden (Grove Press, 1994).\nEl gallo de oro (1980; revised 2010). Translated by Douglas J. Weatherford as The Golden Cockerel & Other Writings (Deep Vellum, 2017).\n\nFurther reading\nSpanish\nLecturas rulfianas / Milagros Ezquerro, 2006\nTríptico para Juan Rulfo: poesía, fotografía, crítica / Víctor Jiménez, 2006\nLa recepción inicial de Pedro Páramo / Jorge Zepeda (Editorial RM-Fundación Juan Rulfo, México, 2005. ISBN 84-933036-7-4)\nEntre la cruz y la sospecha: los cristeros de Revueltas, Yáñez y Rulfo / Angel Arias Urrutia, 2005\nEstructura y discurso de género en Pedro Páramo de Juan Rulfo / Alba Sovietina Estrada Cárdenas, 2005\nVoces de la tierra: la lección de Rulfo / Felipe Garrido, 2004\nMito y poesía en la obra de Juan Rulfo / María Luisa Ortega, 2004\nLa ficción de la memoria: Juan Rulfo ante la crítica / Federico Campbell, 2003\nJuan Rulfo / Nuria Amat, 2003\nAnálisis de Pedro Páramo, Juan Rulfo / César Pérez P, 2003\nHomenaje a Juan Rulfo / Dante Medina, 2002\nPerfil de Juan Rulfo / Sergio López Mena, 2001\nRevisión crítica de la obra de Juan Rulfo / Sergio López Mena, 1998\nJuan Rulfo / Alberto Vital Díaz, 1998\nLa sociedad en la obra de Juan Rulfo / Magdalena González Casillas, 1998\nRulfo en su lumbre: y otros temas latinoamericanos / Jaime Mejía Duque, 1998\nJuan Rulfo, el eterno: caminos para una interpretación / Anita Arenas Saavedra, 1997\nJuan Rulfo: la naturaleza hostil / Antonio Aliberti, 1996\nRecopilación de textos sobre Juan Rulfo / La Habana, Cuba: Centro de Investigaciones Literarias, 1995\nLos caminos de la creación en Juan Rulfo / Sergio López Mena, 1994\nJuan Rulfo: la lengua, el tiempo y el espacio / Gustavo C Fares, 1994\nJuan Rulfo, del Páramo a la esperanza: una lectura crítica de su obra / Yvette Jiménez de Báez, 1994\nJuan Rulfo y el sur de Jalisco: aspectos de su vida y obra / Wolfgang Vogt, 1994\nEl laberinto y la pena: ensayo sobre la cuentística rulfiana / Rafael José Alfonzo, 1992\nImaginar Comala: el espacio en la obra de Juan Rulfo / Gustavo C Fares, 1991\nRulfo y el dios de la memoria / Abel Ibarra, 1991\nRulfo, dinámica de la violencia / Marta Portal, 1990\n\nPhotography\nMexico: Juan Rulfo Fotógrafo, 2001: The Spanish language edition of his photographs with essays by the same authors as the volume above, but written in Spanish.\nInframundo: El México de Juan Rulfo / 1st ed. 1980, 2nd ed. 1983 / Versions in Spanish and English with essays. Published in 1980/83 by Ediciones del Norte in Hanover, New Hampshire\nJuan Rulfo: Letras e imágenes, RM, 2002. The book is outlined in: https://web.archive.org/web/20110613163940/http://www.clubcultura.com/clubliteratura/clubescritores/juanrulfo/letrasimagenes01.htm\nhttp://www.guiarte.com/noticias/juan-rulfo-fotografo.html\nhttp://www.elpais.com/articulo/cultura/ojos/Pedro/Paramo/elpepuint/20070903elpepicul_2/Tes\nhttps://web.archive.org/web/20110519065034/http://elangelcaido.org/2005/11/200511jrulfo/200511jrulfoe.html\n\nNotes\nPassage 10:\nJoseph Hone\nJoseph Marlow Hone (25 February 1937 – 15 August 2016) was a British writer of the spy novel. His most famous novels featured a British spy called Peter Marlow. The first of the series was The Private Sector (1971), set in the Six-Day War. Marlow's story continues in The Sixth Directorate (1975), The Flowers of the Forest (a.k.a. The Oxford Gambit) (1980), and The Valley of the Fox (1982). During his heyday, in the 1970s, Hone was favourably compared with writers such as Len Deighton, Eric Ambler and John le Carré.\n\nEarly life and education\nHone was born in London in 1937, son of Nathaniel Marlow Hone (1917-1959), of South Hill, Killiney, County Dublin, Ireland, and Morley House, Chippenham, Wiltshire, and Bridget, daughter of Michael Anthony, of Diltown, County Kilkenny. The Hone family were Irish landed gentry; his grandfather, Joseph Hone, was biographer to George Moore and W. B. Yeats. Hone recounts having been \"given away\" by his parents and taken to Dublin in his autobiography Wicked Little Joe (2009). He was educated at Kilkenny College and St. Columba's College, Dublin.\n\nCareer\nHone had a varied career, including working as an assistant in a second-hand bookshop in London, as a teacher at Drogheda Grammar School in Ireland, and with the Egyptian Ministry of Education in Cairo, Heliopolis and Suez. He also worked for a publishing firm, and in radio and television. In 1960 he became co-founder of Envoy Productions, Dublin, and co-produced a number of plays and musicals at the Theatre Royal, Stratford, East London. He was appointed Radio and Television Officer with the United Nations Secretariat in New York in 1968 and for the next two years he travelled to Ethiopia, Kenya, Uganda, Tanzania, Malawi, India, Pakistan and the Far East, producing documentary programmes based on these travels. The Dancing Waiters (1975) was also based on these experiences. He produced a number of radio programmes for U.N. radio, later broadcast by the BBC.\nHone held various positions in radio and television, including radio and then television critic for The Listener (1971–1980), and an overseas posting with the British Broadcasting Corporation (BBC). He died on 15 August 2016.\n\nNovels\nIn his first novel, The Private Sector (1971), Marlow, a teacher in Cairo, finds himself becoming a spy for the British. This was based in part on Hone's experiences in 1957–58 as a teacher in Europe. He stated that he had not been associated with Intelligence work but that he had 'worked with and met such people, especially while I was a teacher in Egypt and in New York with the UN.' Hone's second book, The Sixth Directorate (1975), continues Marlow's story after his release from Durham jail, where he has been sent on a frame-up by his own Department; it deals with his impersonation of an Englishman, a captured KGB agent living in London, his subsequent adventures as a fall-guy agent in the UN in New York, and his eventual encounter with the KGB in Cheltenham. Hone's last novel was Goodbye Again. Hone's books, including his last novel, have been translated into various languages, including French.\nHone reviewed books for the New York Times Book Review, The Spectator, The New Statesman, and the Daily Telegraph.Since 2000, Hone had been teaching creative writing and a course which looked at the history and culture of various countries, including India and China. He taught at Wroxton College in Oxfordshire, part of Fairleigh Dickinson University based in New Jersey, USA.\n\nPersonal life\nIn 1964, Hone married Jacqueline, daughter of J. M. Yeend, of Cheltenham, Gloucestershire. The Hones had two children. Hone's brother, Camillus, was adopted by the writer Pamela Travers, the creator of Mary Poppins.\n\nBibliography\nNovels\nThe Private Sector [1971]\nThe Sixth Directorate [1975]\nThe Paris Trap [1977]\nThe Flowers of the Forest [1980], ISBN 978-0436200878, published in the U.S. as The Oxford Gambit\nThe Valley of the Fox [1982]\nSummer Hill [1990]\nReturn to Summer Hill [1990]\nFiresong [1997]\nGoodbye Again [2011]\n\nNon-fiction\nThe Dancing Waiters [1975]\nGone Tomorrow [1981]\nChildren of the Country: Coast to Coast Across Africa [1986]\nDuck Soup in the Black Sea [1988]\nWicked Little Joe [2009] ISBN 978-1843511472",6 "char_len": 64848,7 "document_hash": "861b1fac1ef90c7ebaafff6eef84ced7af4a8616380ac45147cb4d1156198aa0",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "hotpotqa",12 "question": "Who was born first, Juan Rulfo or John le Carré?"13 }14 ]15}