George Smiley, champion of all secret agents, best analyst and operative of British intelligence, told in his human nature in a biography that is intertwined with that of its creator, in a game of mirrors that is the very essence of art and the writing of John Le Carré. Marco Ventura, journalist, television author, communication expert and head of institutional press offices, outlines the literary figure of Smiley, the most successful creature of Le Carré, the “cantor of the Wall, the Cold War novelist, the inventor of spy thrillers that have become bestsellers because they interpret the spirit of an era “. He is “an ‘antihero’ because, writes Ventura in the book ‘George Smiley – the perfect spy by John Le Carré’, published by Nuova Argos,” he is not as brilliant or upper class as Philby. He is not as athletic as James Bond. He is not equipped with technological gadgets nor does he move around spectacular sets with the prowess and bravado of a Hollywood star “. A character who, observes Giampiero Massolo in the preface of the volume, moves in a” world that once was and which today seems to us light years away. A world based on certainties, on blocks, Manichaeistically divided between the good ones by definition and the bad ones by definition, in which it was easy to choose which side to be on and somehow feel right. A solid world, the polar opposite of the extreme liquidity of our times, where everything tends to appear changeable and without reference points, where we sail on sight in mostly unknown seas “. Those of George Smiley” still remain the qualities today. essentials of the intelligence officer, the only one who can still summarize in himself the warmth of impressions with the coldness of data. The only one – observes Massolo – who can remain himself even if he has to wear someone else’s clothes. The only one who can make a decisive contribution to governments by helping them to see in the dark “.
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