“Ian FlemingThe CBC Interview, 1953He doesn’t use Anglo-Saxon four-letter words, “I don’t like seeing them on the page.”When asked why his novels are so popular in light of the dirtiness of the trade (of espionage), Fleming said, “The books have pace and plenty of action. And espionage is not regarded by the majority of the public as a dirty trade. They regard it as a rather sort of ah, ah very romantic affair… Spying has always been regarded as (a) very romantic one-man job, so-to-speak. A one man against a whole police force or an army.”Regarding heroes of his time, Fleming said, “I think that although they may have feet of clay, ah, we probably all have, and all human beings have, there’s no point in dwelling entirely on the feet. There are many other parts of the animal to be examined. And I think people like to read about heroes.”BBC Interview on Desert Island DiscsQuestion: Had the character of James Bond been growing in your mind for a long time?Ian Fleming’s response: “No, I can’t say I had, really. He sort of, ah, developed when I was just on the edge of getting married, after having been a bachelor for so long, and I really wanted to take my mind off the agony. And so I decided to sit down and write a book.”Question: How much long do you think you can keep Bond going?Ian Fleming’s response: “Well, I don’t know. It depends on how much I, how much more I can go on following his adventures.”Question: You don’t feel he’s keeping you from more serious writing?Ian Fleming’s response: “No. I’m not in the Shakespeare stakes. I’ve got no ambitions.”

“I want to be more like James Bond, and less like Ian Fleming.”

“My first question is- do you have a name?"A name? Yes.""Ah!" said the wolf. It wrote several extensive notes. "And what is that name?" "George.""I see," said the wolf. "And how long have you been George?""How long? As in, how long have I been alive?" "oh, were you here in some way before you were alive?" asked the wolf, interested."I...don't really know," said George. " I don't think so." "So you don't know if you were here? Or if you were here before your George-time? Is it possible for you to be here, bu not know it?""My what time? no, I mean, I was born, and then they just named me George." "So you are not George," said the wolf. George is just a name. A word. A propulsion of air modified by the flexing of throat parts." "Well, I am George, but...yes. Yes, and...no." "Is it possible that you became George at a later time, having been originally named that thing?" asked the wolf. " What if the naming had been different, would you still be George?" "I...yes?" "Really?" breathed the wolf in awe. "This is all so confusing." Yet he seemed very pleased with George's answers. " I don't know how you all do it. It seems so marvelously complex to simply...be.”

“...I think one shouldn't pussyfoot, and just say that you write the stuff that you would like to read. So you write for yourself, no doubt about that. But I do have a sort of romantic idea of someone in their twenties, of a certain bent, and when they pick up a book by me, they think--as I have done on several occasions--'Ah, here is one for me. Here is a writer who I'll have to read all of, because they're speaking directly to me, and they're writing what I want to read.' And sometimes you're doing the signing queue and a reader comes past and you sign the book, and there's a little exchange of the eyes, where you think, 'Ah, that's one of them.' So there is that ideal reader. And it's someone who's discovering literature and homes in on you. I'm aware of such readers.”

“How little we know of what there is to know. I wish that I were going to live a long time instead of going to die today because I have learned much about life in these four days; more, I think than in all other time. I'd like to be an old man to really know. I wonder if you keep on learning or if there is only a certain amount each man can understand. I thought I knew so many things that I know nothing of. I wish there was more time.”

“My books have all been very deeply felt. You don’t spend eight years of your life working on a trendy knockoff. In that sense I’ve been serious. But I don’t do lots of things that other serious writers do. I don’t write book reviews. I don’t sit on panels about the state of the novel. I don’t go to writer conferences. I don’t teach writing seminars. I don’t hang out at Yaddo or MacDowell. I’m not concerned with my reputation as a writer and where I stand relative to other writers. I’m not competitive or professionally ambitious. I don’t think about my work and my career in an overarching or systematic way. I don’t think about myself, as I think most writers do, as progressing toward some ideal of greatness. There’s no grand plan. All I know is that I write the books I want to write. All that other stuff is meaningless to me.”