Nicholas Mosley

Judith is an aspiring young actress and the mistress of a writer on a popular satirical magazine. We learn of her involvement with drugs and increasing self-delusion. After a crack-up, she seeks healing in an Indian ashram run by an eccentric and possibly mad guru. But what is at the back of appearances; how calculated is the self-destructiveness from which a new order might emerge?

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.

"The object of life is impossible; one cuts out fabrication and creates reality. A mirror is held to the back of the head and one's hand has to move the opposite way from what was intended." In these closing lines from Impossible Object, one has embodied both Nicholas Mosley's subject of love and imagination, as well as his unmatched lyric style. In eight carefully connected stories that are joined by introspective interludes on related subjects, the author pursues the notion, through the lives of a couple seen by different narrators, that "those who like unhappy ends can have them, and those who don't will have to look for them."

In his final novel, Rainbow People, Nicholas Mosley offers us the distinctly twenty-firstcentury story of a holy family. A man, a woman, and a child walk together along the coast of the Mediterranean Sea, near the border between Greece and Macedonia. They watch as a film is made about the refugee crisis on the beach. While the mother and father, joined by the filmmaker, contemplate the meaning of the crisis, the limited powers of art, the greater powers of fear and faith, the child explores, plays, and constantly transforms before their eyes. Months later, the family travels from their home in England to Calais, France, where an enormous refugee camp called “the Jungle” has sprung up. Here, in this unlikely place, the child shows the adults a graceful way to face the future. Mosley’s Rainbow People is a masterful, powerful book about borders, politics, and hope.

In this sequel to his recent novel God’s Hazard and the theological meditations of his classic Experience and Religion, Nicholas Mosley shifts between essay and fiction in his examination of the place of faith in contemporary culture. Mosley embraces with cautious optimism the evidence of a growing “thaw” (in fiction, film, and public discourse) regarding the acceptance of religion in the modern world, and presents his own daring contribution to this trend: a story of a modern-day Holy Family formed by a male writer, a woman, and her son of dubious parentage. Taking a stand against both the militant atheism of Richard Dawkins and sectar- ian fundamentalism, Mosley argues for a clear-sighted form of deistic faith based not on unquestioning certainty but on an ongoing reappraisal of truth and ethics.

Nicholas Mosley's Whitbread Award-winning novel Hopeful Monsters dealt with the suggestion that if human nature could not be improved by scientific manipulation, perhaps a suitable environment or soil might nonetheless be prepared into which an appropriate seed for change might fall, and not be smothered by weeds. In Metamorphosis, a humanitarian worker and a journalist in a vast refugee camp in East Africa come across a newborn child who for some inexplicable reason gives them the impression that it might be just such a seed. But why? And what to do about it?

"When you have put your trust in shadows there is nothing that is real. Have you found this?" 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.

A work of both cultural criticism and religious philosophy, The Tunnel of Babel examines the place of faith in contemporary media, and embraces evidence of a seeming thaw regarding the acceptance of religion in the modern world.

Through a dialogue between two lovers, a young physicist in England and an anthropologist in Germany, Nicholas Mosely retells the history of Europe of the twenties and thirties. The destructive power and attraction of fascism and communism is unveiled and set against the changing relationship between man and science in the time of atomic power. Their story weaves together disparate strands of landscape to take the reader on a journey through Spain, London, Soviet Russia, North Africa and middle Europe. Simultaneously taking us through a new intellectual landscape from the new scenes of physics, biology, anthropology and psychology. 'A novel of enormous ambition, a book that takes on just about every social movement, every significant political event of our time - a virtual intellectual anthology of the 20th century, in fictional form' - Daniel Stern, "New York Times" Book Review.

Paradoxes of Peace continues the meditation of Mosley's Time at War, at the end of which he wrote that humans find themselves at home in war because they feel they know what they have to do, whereas in peace they have to discover this. But what should inform them--custom? need? duty? ambition? desire? Forces pull in different directions--fidelity versus adventurousness, probity versus fun. During the war, Mosley found himself having to combine fondness for his father, Oswald Mosley, with the need to speak out against his post-war politics. In times of peace, his love for his wife and children, too, seemed riddled with paradoxes. He sought answers in Christianity, but came to see organized religion as primarily a social institution. How does caring not become a trap?

Paradoxes of Peace continues the meditation of Mosley's Time at War, at the end of which he wrote that humans find themselves at home in war because they feel they know what they have to do, whereas in peace they have to discover this. But what should inform them--custom? need? duty? ambition? desire? Forces pull in different directions--fidelity versus adventurousness, probity versus fun. During the war, Mosley found himself having to combine fondness for his father, Oswald Mosley, with the need to speak out against his post-war politics. In times of peace, his love for his wife and children, too, seemed riddled with paradoxes. He sought answers in Christianity, but came to see organized religion as primarily a social institution. How does caring not become a trap?

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.

A retired academic and writer is becoming a media celebrity of sorts, appearing on various talk shows to voice his controversial views on human nature and war. While in New York to make such an appearance, he becomes the victim of a hit-and-run--set up by the CIA? the FBI? terrorists?--and ends up confined to a hospital bed. This forced inactivity allows him to reflect on his life--the work he has done, the women he has known--as various people from his life gather around him, including both his first and second wives. Reminiscing about his past while dealing with his present, the man begins to see his provocative ideas about fidelity, sin, and grace play themselves out in a virtuosic way that could only be conceived by Nicholas Mosley.

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.

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.

Set amid the current tension and violence of the Middle East, Whitbread Award-winning Nicholas Mosley's new novel features over a half-dozen characters searching for a way to quell the selfdestructive impulses of society. As the novel develops, the actions and aspirations of these characters--which include a Muslim student working on the most deadly of biological weapons, a young Israeli girl trapped in a temple's ruins, and an eccentric ex-guru who has mysteriously disappeared--create a textual and philosophical pattern illustrating the role chance and coincidence play in our world. In the vein of Hopeful Monsters and The Hesperides Tree, Mosley mixes science, philosophy and contemporary politics around the question of how individual actions can influence the world.

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.

In his recent novels--including his award-winning Hopeful Monsters--Nicholas Mosley has investigated the patterns that govern our mental and emotional lives and the possibilities that we have for change, and nowhere has he explored such themes with greater concentration than in Catastrophe Practice. A unique book whose characters and concerns are the basis for the other four novels of the Catastrophe Practice Series - Hopeful Monsters, Imago Bird, Judith, and Serpent-- Catastrophe Practice is remarkable both in its form (three plays with prefaces and a novella) and in its ability to convey the complexities of thought. Drawing upon catastrophe theory to examine the discontinuities in human personality and our tendency to progress suddenly rather than smoothly, the six characters of Catastrophe Practice struggle to disrupt traditional ways of being. These characters (and the author) feel that conventional ways of interpreting the world have become destructive--conventional language, conventional feelings, conventional situations--and try to find a way to realize genuine experience.

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 colorful crowd of television personalities, politicians, young Trotskyites, 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.