When you're my age, you have the feeling sometimes that you're seeing the show come round again.

The world of spying is my genre. My struggle is to demystify, to de-romanticise the spook world, but at the same time harness it as a good story.

The Secret Intelligence Service I knew occupied dusky suites of little rooms opposite St James's Park Tube station in London.

A dead man is the worst enemy alive, I thought. You can't alter his power over you. You can't alter what you love or owe. And it's too late to ask him for his absolution. He has beaten you all ways.

Remember Graham Green's dictum that childhood is the bank balance of the writer? I think that all writers feel alienated. Most of us go back to an alienated childhood in some way or another. I know that I do.

Gerald Westerby, he told himself. You were present at your birth. You were present at your several marriages and at some of your divorces, and you will certainly be present at your funeral. High time, in our considered view, that you were present at certain other crucial moments in your history.

I think that most of my books are part of some process of self-education, often about the places I go to. Most of all, they are about the peculiar tension between institutional loyalty and loyalty to oneself; the mystery of patriotism, for a Brit of my age and generation, where it runs, how it should be defined, what it's worth and what a corrupting force it can be when misapplied. All that stuff is just in me and it comes out in the characters. I don't mean to preach, but I know I do, and I'm a very flawed person. It's quite ridiculous.