GRAHAM GREENE divided his fiction into two categories, namely serious literary novels and what he described as ‘entertainments’. The latter were so named, he maintained, because they did not carry a message. In fact, the line between the two sometimes blurred. It’s easy enough to see why The Man Within, Stamboul Train and Our Man In Havana were classed as entertainments, in comparison with the weightier The Power and the Glory and A Burnt-Out Case.
However, the entertainment, which Greene explained in the second volume of his autobiography (1980), ‘began as
