New Releases by Nicholas Mosley

Thirty-five years after its original publication, Hopeful Monsters reemerges as one of the “grand intellectual dramas” of the 20th century (—The New York Times). A sweeping, comprehensive epic, Hopeful Monsters tells the story of the love affair between Max, an English student studying physics and biology, and Eleanor, a German Jew and political radical. Together, Max and Eleanor participate in the great political and intellectual movements which shape the twentieth-century, taking them from Cambridge and Berlin to the Spanish Civil War, Russia, the Sahara, and finally to Los Alamos to witness the first nuclear test. Originally published as the culminating volume of a series of five works of fiction entitled “Catastrophe Practice” that The Chicago Tribune called “one of the most important extended literary projects of [the 20th] century,” Hopeful Monsters is the first reissue in a new Dalkey Archive initiative to bring Mosley’s epistolary genius back into circulation for modern readers.

Catastrophe Practice, in the form of three plays with prefaces and a novella, follows six characters trying to find their way through some catastrophe that is less in the world outside than in their minds. Drawing upon catastrophe theory to examine the discontinuities in human personality and our tendency to progress suddenly rather than smoothly, the six characters struggle to disrupt traditional ways of being. These characters feel that conventional ways of interpreting the world have become destructive –conventional language, conventional feelings, conventional situations – and try to find a way to realise genuine experience.

As a novelist, biographer, editor, and screenwriter, Nicholas Mosley has always been concerned with the central paradox of writing: if by definition fiction is untrue, and biography never complete, is there a form that will enable a writer to get at the truth of a life? In Efforts at Truth Mosley scrutinizes his own life and work, but examines them as a curious observer, fascinated by the constant interaction of reality and the written word. As a life, it has been colorful, in settings ranging from the West Indies to a remote Welsh hill farm, from war action in Italy to battles with Hollywood moguls, from the Colony Room to the House of Lords. In print, the range has been as wide: editor of a controversial religious magazine, author of the acclaimed novel series Catastrophe Practice, screenwriter of his own work with Joe Losey and John Frankenheimer, biographer of his notorious father Oswald Mosley, and in 1990, winner of the Whitbread Award for his novel Hopeful Monsters.

This vivid and strikingly witty novel examines the contradictions between the public face and the private experience. Nephew to the prime minister of England, eighteen-year-old Bert tries to make sense of the grown-up world around him, a colourful crowd of television personalities, politicians, young, Trokatires, pop stars, and eccentric relatives. With the help of his laconic psychoanalyst, Bert questions the relation between exterior and interior reality, while Mosley himself questions art''s ability to convey these different realities. Both Bert and Mosley triumph over these challenges by the end of this engaging and innovative novel.

Returning to London from a trip to the West Indies, an aspiring writer encounters a bewitching trio of friends whose magic lies in their ability to turn any situation into fantasy. Previously out of place in the world, the narrator falls in love with the young brother-sister pair of Peter and Annabelle, as well as the older, more political Marius. Reality soon encroaches upon the foursome, however, in the form of Marius''s ailing wife, forcing the narrator to confront the dark emptiness and fear at the heart of his friends'' joie de vivre. In this, his second novel—written in the ''50s and never before published—Nicholas Mosley weighs questions of responsibility and sacrifice against those of love and earthly desire, the spirit versus the flesh.

Aged twenty, and with no war experience, Nicholas Mosley found himself in charge of a platoon of men positioned along the Italian front during the Second World War. With his father in prison on charges of treason, he had enlisted primarily in an effort to improve his family image. But the war left Mosley a radically changed man: he had gone in out of personal convenience, and left with a sense of greater purpose. Saved from death by one of his men, holed up in barns and trenches and tents, and marching across Europe, Mosley found in war a certainty that eluded him in peacetime. "War is both senseless and necessary, squalid and fulfilling, terrifying and sometimes jolly," he writes. "This is like life. Humans are at home in war (though they seldom admit this). They feel they know what they have to do." In an interview conducted between 1977 and 1978, Nicholas Mosley said, "When I was young William Faulkner was my great love, not just because of the density of style, but because he seemed to be dealing with the question not of what will happen next but what is happening now. The first Faulkner novel I read was The Sound and the Fury, which I got hold of when we liberated a POW camp in Italy in 1944 and I liberated the Red Cross Library. I was about twenty.... What in god''s name, after all, was I doing aged twenty in Italy in a war?"

"Religion," this book begins, "is a mistrusted word now," and Nicholas Mosley, in this engaging meditation, seeks to repair that trust. Rather than trying to convince or compel the reader to accept his beliefs, he describes how religion functions in the modern world. Elsewhere, Mosley has written, "There is a subject nowadays which is taboo in the way that sexuality was once taboo, which is to talk about life as if it had any meaning." In this book, he describes religion as the source of that meaning. Despair is the fashionable attitude, but it is one Mosley, here and in his many novels, rejects in favor of a cautious optimism. He writes not to persuade, but to explain a worldview that is refreshing for the hope and intelligence it contains.

Including pieces on Gregory Bateson, William Faulkner, Philip Pullman, Sir Oswald Mosley''s politics, religion and stammering, this diverse collection gathers essays written by Nicholas Mosley over the past forty years. Resembling the behaviour of slime mould - a strange organism made up of separate amoebae that temporarily form a single pillar which then bursts in order to scatter its seeds across the forest floor - the ideas found in these essays converge and disperse, crossing over into other disciplines, and creating a unique way of looking at the world, one echoed in Mosley''s fictional writings.

"The story ends in September 2001. It is by the capacity to understand the interweaving actions and aspirations of many different characters - in Lebanon, Israel, Turkey, England - that there might be a chance, it seems, for humans to be nudged out of their self-destructive genetic and environmental conditioning."--BOOK JACKET.

Reminiscent in theme and style to his Whitbread Award-winning?"Hopeful Monsters," Nicholas Mosley''s?"The Hesperides Tree"?tells of a young man frustrated by the inability of his two chosen courses of study--biology and literature--to adequately define the world. Baffled by several life-shaping coincidences that seem to be part of life itself, he embarks on a physical and intellectual journey in search of a girl he fell in love with years earlier. This journey leads him to a deserted island off the coast of Ireland and, perhaps, to the mythical Garden of the Hesperides, home of the Tree of Life.

Jason is a scriptwriter working on a film about Masada--the fortress where a thousand Jews killed themselves rather than be taken prisoner by the Romans in A. D. 73. He doubts that a film both honest and popular on such a subject can be made, and, while en route to the production site (Jason, producers and stars in first class--his wife and child in tourist), a dispute about the film and a crisis aboard the plane forces Jason to look at his life, his art, and the world around him in several different ways at once.

As one of the characters in "Assassins" says, "Tolstoy was right, you can''t beat the Gods. It''s the small things - the warp and woof - that make up the pattern. And how much influence do we have over the small? Now that''s a theme for a modern writer." And Nicholas Mosley is this writer. Part political thriller and part love story, "Assassins" explores the "small things" that give shape and meaning to the "big events."

A journalist investigates the appearance of the Virgin Mary to a group of children in England. The site is near a nuclear power station which had an accident. He remembers children having a similar vision during a nuclear accident in Yugoslavia. Is there a connection?

"Published with the assistance of the Illinois Arts Council."