INTRODUCTION

      ‘Even now, after so many years, I can still remember Wilfred Thesiger as he was when I first saw him,’ was how Thesiger suggested I might begin his biography. To this he had added: ‘The rest is up to you.’¹

      I met Thesiger for the first time in June 1964 at his mother’s top-storey flat in Chelsea. He was then aged fifty-four. He was sunburnt, tall, with broad shoulders and deep-set grey eyes. As we shook hands I noticed the exceptional length of his fingers. He wore an obviously well-cut, rather loose-fitting dark suit. I remember clearly that he smelt of brilliantine and mothballs. He spoke quietly, with an air of understated authority. His voice was high-pitched and nasal; even by the standards of that time, his rarefied pronunciation seemed oddly affected. He had a distinctive habit of emphasising prepositions in phrases such as ‘All this was utterly meaningless to me’. He moved slowly and deliberately, with long, ponderous strides; yet he gave somehow the impression that he was also capable of lightning-fast reactions. Later, I heard that he had been a source of inspiration for Ian Fleming’s fictional hero James Bond. Whether or not this was true, Thesiger, like Bond, was larger than life; and like Bond, he appeared to have led a charmed existence.

      He introduced me to his mother, Kathleen, who had retired early to bed. Cocooned in a woollen shawl and an old-fashioned lace-trimmed mobcap, she lay propped up on pillows, with writing paper and books spread out on the bedcover within easy reach. Thesiger left us alone for a few minutes while he carried a tray with a decanter of sherry and glasses to the sitting room. It was then that his mother offered me the unforgettable advice: ‘You must stand up to Wilfred.’²

      Thesiger preferred to sit with his back to the window, in the dark shadow of a high-backed chair. At intervals