Le Carré’s‘Call For The Dead’ is a first novel remarkable not simply for its tight plotand acute characterisation, but its presentation of a profoundly realisedcentral character and a universe-sized backstory delivered whole and seamlessat the first sight – Smiley & the Circus.

Even looking back across 8 books and 60 years, they are bornperfectly formed and consistent, without need for surreptitious nip and tuck asthe stories develop.  (NB – those withdeeper re-readings and finer attention to detail are more than welcome tocorrect me on this).

Early on, Le Carrémakes it clear that Smiley (& his readers) inhabit a diminished world – thenephilim of the Circus, giants who were on the earth of old, have alldeparted. Jebedee and Steed-Asprey have vanished, and George is left the leesto brag of.  The choice of names ismasterful – one sounds like an Old Testament prophet, the other a bowler-hattedtoff run amuck in a high-class jeweller’s. Smiley is their relict, and the novels chronicle the long, unstemmabletide of national decline.  One ofLawrence Durrell’s characters remarked – ‘It is the duty of a patriot to hatehis country creatively’.  Le Carré raises that creativityto a pinnacle that is unsurpassed.