{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/69380c0d4a9751f83d7c325d/69fcab98385e8d5e307599a1?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"William Boyd on spy fiction and the British psyche","thumbnail_width":200,"thumbnail_height":200,"thumbnail_url":"https://open-images.acast.com/shows/69380c0d4a9751f83d7c325d/1778166581763-0a3fb1b8-a5ca-4f56-a088-436fd736b486.jpeg?height=200","description":"<p>What makes someone a good spy? And does the fiction writer, in many senses a professional liar, share the traits of a double agent?</p><p><br></p><p>Novelist and screenwriter William Boyd first explored the theme of espionage in his 2002 novel Any Human Heart and went on to pen a James Bond continuation novel called Solo.</p><p><br></p><p>His latest trilogy (Gabriel's Moon, The Predicament and Cold Sunset) explores what happens when a travel writer becomes entangled in Cold War Espionage.</p>","author_name":"The New Statesman"}