Moore, Brian 1921–1999

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Moore, Brian 1921–1999

(Michael Bryan, Bernard Mara)

PERSONAL: Born August 25, 1921, in Belfast, Northern Ireland; died of pulmonary fibrosis, January 10, 1999, in Malibu, CA; immigrated to Canada, 1948; became Canadian citizen; son of James Brian (a surgeon) and Eileen (McFadden) Moore; married Jacqueline Scully (some sources say Sirois), 1951 (marriage ended); married Jean Denney, October, 1967; children: (first marriage) Michael. Education: Graduated from St. Malachy's College, 1939.

CAREER: Served with United Nations Relief and Rehabilitation Administration (UNRRA) mission to Poland, 1946–47; Montreal Gazette, Montreal, Quebec, Canada, proofreader, reporter, and rewriter, 1948–52; writer, 1952–; University of California, Los Angeles, regents' professor, 1974–75, professor, 1976–89. Military service: Served in Belfast Fire Service, 1942–43, and with British Ministry of War Transport in North Africa, Italy, and France, 1943–45.

AWARDS, HONORS: Author's Club first novel award, 1956; Beta Sigma Phi award, 1956; Quebec Literary Prize, 1958; Guggenheim fellowship, 1959; Governor General's Award for Fiction, 1960, for The Luck of Ginger Coffey, and 1975, for The Great Victorian Collection; U.S. National Institute of Arts and Letters fiction grant, 1961; Canada Council fellowship for travel in Europe, 1962 and 1976; W.H. Smith Prize, 1972, for Catholics; James Tait Black Memorial Award, 1975, for The Great Victorian Collection; Booker shortlist, 1976, for The Doctor's Wife; Scottish Arts Council senior fellowship, and Neill Gunn international fellowship, both 1983; ten best books of 1983 designation, Newsweek, 1983, for Cold Heaven; Heinemann Award, Royal Society of Literature, 1986, for Black Robe; Booker Prize shortlist, 1987, and London Sunday Express Book of the Year Prize, 1988, both for The Color of Blood; Hughes Irish Fiction award, 1988; Royal Society of Literature fellow; Lifetime Achievement Award, Los Angeles Times, 1994. Honorary degrees include D.H.L., Queens University, Belfast, 1989, and National University of Ireland, 1991.

WRITINGS:

NOVELS

Judith Hearne, A. Deutsch (London, England), 1955, published as The Lonely Passion of Judith Hearne, Little, Brown (Boston, MA), 1956.

The Feast of Lupercal, Little, Brown (Boston, MA), 1957.

The Luck of Ginger Coffey, Little, Brown (Boston, MA), 1960.

An Answer from Limbo, Little, Brown (Boston, MA), 1962.

The Emperor of Ice-Cream, Viking (New York, NY), 1965.

I Am Mary Dunne, Viking (New York, NY), 1968, with an introduction by Alan Kennedy, McClelland and Stewart (Toronto, Ontario, Canada), 1976.

Fergus, Holt (New York, NY), 1970.

The Revolution Script, Holt (New York, NY), 1971.

Catholics, McClelland and Stewart (Toronto, Ontario, Canada), 1972, Holt (New York, NY), 1973.

The Great Victorian Collection, Farrar, Straus (New York, NY), 1975.

The Doctor's Wife, Farrar, Straus (New York, NY), 1976.

Two Stories, Santa Susana Press (Northridge, CA), 1978.

The Mangan Inheritance, Farrar, Straus (New York, NY), 1979.

The Temptation of Eileen Hughes, Farrar, Straus (New York, NY), 1981.

Cold Heaven, Holt (New York, NY), 1983.

Black Robe, Dutton (New York, NY), 1985.

The Color of Blood, Dutton (New York, NY), 1987.

Lies of Silence, Doubleday (New York, NY), 1990.

No Other Life, Doubleday (New York, NY), 1993.

The Statement, Dutton (New York, NY), 1996.

The Magician's Wife, Bloomsbury (London, England), 1997, Dutton (New York, NY), 1998.

Also author of Wreath for a Redhead, 1951, and The Executioners, 1951; author, under pseudonym Bernard Mara, of French for Murder, 1954, and A Bullet for My Lady, 1954.

NOVELS; UNDER PSEUDONYM MICHAEL BRYAN

Intent to Kill, Dell (New York, NY), 1956.

Murder in Majorca, Dell (New York, NY), 1957.

OTHER

(With others) Canada (travel book), Time-Life (New York, NY), 1963, third edition, 1968.

The Luck of Ginger Coffey (screenplay; based on Moore's novel), Continental, 1964.

Torn Curtain (screenplay), Universal, 1966.

Catholics (television script; based on Moore's novel), Columbia Broadcasting System, 1973.

Black Robe (screenplay; based on Moore's novel), Alliance Communications, 1987.

Also author of screenplays The Slave (based on his novel An Answer from Limbo), 1967, The Blood of Others, 1984, Brainwash, 1985, and Gabrielle Chanel, 1988. Contributor of articles and short stories to Spectator, Holiday, Atlantic, and other periodicals. The Lonely Passion of Judith Hearne, Lies of Silence, The Color of Blood, and Cold Heaven have been recorded on audiocassette.

ADAPTATIONS: Catholics was adapted as a play and produced in Edmonton, Alberta, Canada, 1981; The Lonely Passion of Judith Hearne was adapted as a feature film, Island Pictures, 1988; The Temptation of Eileen Hughes was adapted for television, British Broadcasting Corporation, 1988; Cold Heaven was adapted as a feature film, 1991; The Statement was adapted for a film directed by Norman Jewison, Sony Pictures Classics, 2003.

SIDELIGHTS: Brian Moore was a Canadian citizen of Northern Irish origin who spent much of his adult life in California. He was also a novelist who "gradually won the recognition his stubborn artistry deserves," to quote Walter Clemons in Newsweek. For more than forty years Moore published fiction that reflected his multinational wanderings, his fascination with Catholicism's influence on modern life, and his insight into strained interpersonal relationships. "Book by book," Bruce Cook wrote in New Republic, "Brian Moore has been building a body of work that is, in its quietly impressive way, about as good as that of any novelist writing today in English." Cook added: "If Moore lacks the fame he deserves, he nevertheless has an excellent reputation. He is a writer's writer. His special virtues—his deft presentation of his characters, whether they be Irish, Canadian, or American, and the limpid simplicity of his style—are those that other writers most admire."

Moore was one of nine children born to Catholic parents, surgeon James Bernard Moore and Eileen McFadden Moore, her husband's former nurse. He attended St. Malachy's College, Belfast, with the goal of a career in medicine, but abandoned college in 1938. After the outbreak of World War II Moore joined the Belfast Air Raid Precautions Unit and National Fire Service, and later served in the British Ministry of War Transport in North Africa, Italy, and France, and, after the war, in the United Nations Relief and Rehabilitation Administration in Eastern Europe. Moore returned to Britain only briefly after that, immigrating to Canada in 1948, where he worked for Montreal Gazette and attained Canadian citizenship.

According to Christopher Hawtree in Spectator, this transatlantic stance "has yielded some sharp views both of his native [Northern] Ireland and of Canada and America." Time contributor Patricia Blake felt that Moore's expatriate status produced "a special talent for pungent portraiture of those Irish men and women who are, as James Joyce put it, 'outcast from life's feast:' desperate spinsters, failed priests, drunken poets." Other critics have noted that the very process of moving from place to place fuels Moore's fiction. In Critique: Studies in Modern Fiction, John Wilson Foster contended that Moore's novels as a group "trace the growing fortunes in a new continent of one hypothetical immigrant who has escaped Belfast's lower middle-class tedium." London Times correspondent Chris Petit also concluded that absence is important to Moore's writing: "The stories have an air of cosmopolitan restlessness, often cross borders, and can be summarized as a series of departures."

Eventually Moore moved to the United States—first to New York and then to Malibu, California. As Kerry McSweeney noted in Critical Quarterly, while the author retained Canadian citizenship, and Canada "was the halfway house which mediated his passage from the old world to the new, it has not stimulated his imagination in the way that America has done." Paul Binding elaborated in Books and Bookmen: "It is America, with its vigorous non-realistic, especially Gothic literary tradition, which would seem to have supplied Brian Moore with the fictional forms that he needed, that can express—with their violent epiphanies and their distortions and eruptions of the irrational—the anguishes of the uprooted and spiritually homeless, and the baffling diversities of Western society which can contain both puritan, taboo-ridden, pleasure-fearing Belfast and hedonistic, lost, restless California."

Moore published four pulp thrillers between 1951 and 1954, but he first received serious critical attention in 1955 with the publication of The Lonely Passion of Judith Hearne. This tale of a lonely, desperate, middle-aged Belfast woman remained in print for the rest of Moore's life. The title character fantasizes about a romance with an unattainable man, questions her faith, and seeks solace in alcohol, all the while being silently stared at by a photograph of her aunt that sits on her nightstand. The story is a "painful, deeply empathetic portrait" that marked "Moore as one of those rare male authors who can write convincingly from a female perspective," John Bemrose commented in Maclean's. Saturday Review essayist Granville Hicks was also among the critics who praised The Lonely Passion of Judith Hearne. "As a book by a young man about a middle-aged woman," Hicks wrote, "it [is] a remarkable tour de force, but it [is] more than that, for in it one [feels] the terrible pathos of life as it is often led."

Like The Terrible Passion of Judith Hearne, Moore's other early novels, including The Feast of Lupercal, The Luck of Ginger Coffey, and The Emperor of IceCream, are character studies in which the protagonists rebel—sometimes unsuccessfully—against the essentially closed society of Northern Ireland. In Critical Quarterly, Kerry McSweeney suggested that the works "are studies of losers, whose fates are determined by the claustrophobic gentility of Belfast and the suffocating weight of Irish Catholicism. [They] illustrate one of the quintessential donnees of Moore's fiction: that (in his own words) 'failure is a more interesting condition than success. Success changes people: it makes them something they were not and dehumanizes them in a way, whereas failure leaves you with a more intense distillation of that self you are.'" Chicago Tribune Book World reviewer Eugene Kennedy found these novels "a look beneath the aspects of Irish culture that, with a terrible mixture of repression and misuse of its religious heritage, can create pitiable monsters fated to groan eternally beneath the facades of their hypocritical adjustments."

A fascination with Catholicism is central to much of Moore's work. He once told a Los Angeles Times interviewer: "I am not a religious person, but I come from a very religious background. Always in the back of my mind, I've wondered what if all this stuff was true and you didn't want it to be true and it was happening in the worst possible way?" According to Paul Gray in Time, a refrain common to all of Moore's novels is this: "When beliefs can no longer comfort, they turn destructive." Such is the case in a variety of Moore's works, from Judith Hearne to the more recent Cold Heaven, Black Robe, Catholics, and The Color of Blood. Craig wrote: "Someone who is heading for the moment of apostasy … is almost statutory in a Moore novel…. A frightening emptiness takes the place of whatever ideology had kept the character going." The opposite may also apply in some of Moore's tales; occasionally non-believing characters are forced to pay heed to the deity through extreme means. "Moore's later novels show the vestigial religious conscience straining to give depth to North American life," observed a Times Literary Supplement reviewer. "Faith itself is unacceptable, making unreasonable demands on the behaviour of anyone who is sporadically forced to be honest with himself. Yet bourbon, bedrooms and success do not content the soul: in this, at least, the priests were always right."

Several of Moore's novels—Fergus, The Great Victorian Collection, and Cold Heaven—make use of miracles and the supernatural to advance the stories. In The Great Victorian Collection, for instance, a college professor finds his vivid dream about an exhibit of Victorian memorabilia transformed into reality in a hotel parking lot. Binding suggested that in these works Moore "has tried to explore the complexities of American/Californian life while coming to further terms with the ghosts of his Irish past." These miracles and ghostly visitations do not comfort or sustain; Moore's vision of the supernatural "is terrifying: a brutal energy that mocks our pretensions and transcends our ideas of good and evil," to quote Mark Abley in Books in Canada. Peter S. Prescott likewise noted in Newsweek that Moore is "concerned with a secular sensibility confronting the more alien aspects of Roman Catholic tradition…. He warns us of the ambiguities of miracles in a world that is darker, more dangerous and above all more portentous than we think." Such plot devices can strain verisimilitude, but according to David MacFarlane in Maclean's, the author's strength "is his ability to make tangible the unbelievable and the miraculous."

Many of Moore's plots are conventional in their inception, but typically the author brings additional depth of characterization to his stories so that they transcend genre classifications. As Joyce Carol Oates observed in New York Times Book Review, Moore has written "a number of novels prized for their storytelling qualities and for a wonderfully graceful synthesis of the funny, the sardonic, and the near tragic; his reputation as a supremely entertaining 'serious' writer is secure." In Saturday Night, Christina Newman noted that Moore has a growing readership which has come to expect "what he unfailingly delivers: lucidity, great craftsmanship, and perceptions that evoke our fears, dreams, and shameful absurdities."

"Moore is not only the laureate of Irish drabness but also a psychological writer with some interest in the quirkier aspects of profane love," wrote Taliaferro. "Throughout his career, one has been able to rely on Mr. Moore for narrative competence and psychological interest." Through novels such as I Am Mary Dunne, The Doctor's Wife, and The Temptation of Eileen Hughes, Moore attained a reputation for uncovering the pitfalls in modern emotional entanglements, especially from the female point of view. In Nation, Richard B. Sale commented that the author "has never avoided the silliness, selfishness and sexuality that constitute most people's waking and dreaming thoughts…. He can extend the embarrassing scene beyond the point where the ordinary naturalistic novelist would lower the curtain." Times Literary Supplement reviewer Paul Bailey noted that it is "typical of Brian Moore's honesty that he should acknowledge that, superficially at least, there are certain liaisons which bear a shocking resemblance to those described in the pages of women's magazines: life, unfortunately, has a nasty habit of imitating pulp fiction." However, Spectator correspondent Paul Ableman pointed out that Moore's characters "are not formula figures, whose responses to any situation are predictable, but rather fictional beings that behave like people in the world, generally consistent or revealing a thread of continuity, but always quirky, volatile and sometimes irrational."

Prescott characterized Moore as a novelist who "enjoys playing with his readers' expectations. Aha, he seems to say, you thought I was writing about this; now don't you feel a little foolish to discover that I was really up to something else—something more innocent and yet more terrible—all along?" Moore himself echoed this sentiment in Los Angeles Times: "I find it interesting to lull the reader into a sense that he's reading a certain kind of book and then jolt the reader about halfway through to make him realize that it's a different kind of book. That is not a recipe for best sellerdom; it's the opposite." Even the thriller format in such works as Black Robe and The Color of Blood becomes "a vehicle to explore serious political and theological issues," to quote Anne-Marie Conway in Times Literary Supplement. It is this willingness to explore and experiment that contributes to Moore's novelistic originality, according to critics. McSweeney wrote: "One of the most impressive features of Moore's canon has been his ability to keep from repeating himself. Over and over again he has found fresh inventions which have developed his novelistic skills and enabled him to explore his obsessive themes and preoccupations in ways that have made for an increasingly complex continuity between old and new."

Moore's novel No Other Life portrays the relationship between Jeannot, a young, black messianic priest who espouses a politically active brand of religious vocation, and Father Paul Michel, the elderly white priest who mentors him. Narrated by Father Michel, the novel is set in a country reminiscent of Haiti, with Jeannot often being compared to the Haitian President Father Jean-Bertrand Aristide, known for his quest to end racism and class conflict in Haiti. Henry Louis Gates Jr. of New York Times Book Review saw the novel as "the first fictionalized account of this messianic 40-year-old Catholic priest's rise and fall from power." In a subsequent novel, The Statement, Moore again employs a fictional treatment of a historical event, loosely basing his novel (some reviewers argue) on the case of Paul Touvier, a former Nazi who was given a sentence of life imprisonment as punishment for murder in 1994 after decades of successfully evading authorities. Christopher Lehmann-Haupt, writing in New York Times, called Moore's novel "an absorbing intellectual thriller that keeps you guessing about its outcome and implications until the final page." Set in France in 1989, The Statement focuses on an ex-Nazi named Pierre Brossard who, unlike Touvier, is a devout Roman Catholic who is being hunted by hired assassins. The novel opens with an attempt on Brossard's life and then chronicles his increasingly desperate attempts to escape his own murder or arrest. "Meanwhile," noted Mark Noel Cosgrove of Quill & Quire, "issues of culpability, betrayal, and sin and forgiveness are quietly explored."

While Moore enjoyed a substantial critical reputation, he is not extremely well-known to American readers—a state of affairs he welcomed. "I have never had to deal with the problem of a public persona becoming more important than the fiction," he said in Los Angeles Times. "I've had a life where I've been able to write without having had some enormous success that I have to live up to." Cook claimed that the author's retiring personality affected the tenor of his work for the better. "In a way," Cook concluded in Commonweal, "the sort of writer [Moore] is—private, devoted to writing as an end in itself—is the only sort who could write the intensely felt, personal, and close novels he has. The style, once again, is the man." Bailey wrote: "It isn't fashionable to praise novelists for their tact, but it is that very quality in Brian Moore's writing that deserves to be saluted. It is a measure of his intelligence and his humanity that he refuses to sit in judgment on his characters. It is, as far as I am concerned, an honourable and a considerable measure." Perhaps the best summation of Moore's authorial talents came from Washington Post Book World reviewer Jack Beatty, who said of the writer: "Pick him up expecting high talent in the service of a small design, go to him anticipating economy of style, characterization and description, as well as the pleasure of a plot that keeps you reading until the last page, and I can assure that your expectations will get along splendidly with his abilities."

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Contemporary Literary Criticism, Thomson Gale (Detroit, MI), Volume 1, 1973, Volume 3, 1975, Volume 5, 1976, Volume 7, 1977, Volume 8, 1978, Volume 19, 1981, Volume 32, 1985.

Contemporary Novelists, sixth edition, St. James Press (Detroit, MI), 1996.

Dahlie, Hallvard, Brian Moore, Copp, 1969.

Dictionary of Literary Biography, Volume 251: Canadian Fantasy and Science-Fiction Writers, Thomson Gale (Detroit, MI), 2001.

Flood, Jeanne, Brian Moore, Bucknell University Press, 1974.

McSweeny, Kerry, Four Contemporary Novelists: Angus Wilson, Brian Moore, John Fowles, V.S. Naipaul, University of Toronto Press (Toronto, Ontario, Canada), 1983.

O'Donoghue, Jo, Brian Moore: A Critical Study, McGill/Queens University Press (Montreal, Quebec, Canada), 1991.

Raban, Jonathan, The Techniques of Modern Fiction, Edward Arnold, 1968.

St. James Guide to Fantasy Writers, St. James Press (Detroit, MI), 1996.

Sampson, Denis, Brian Moore: The Chameleon Novelist, Doubleday Canada (Toronto, Ontario, Canada), 1998.

PERIODICALS

America, February 27, 1982, Edward J. Curtin, Jr., review of The Temptation of Eileen Hughes, pp. 159-160; March 3, 1984, John B. Breslin, review of Cold Heaven, pp. 155-157; May 4, 1985, John C. Hawley, review of Black Robe, pp. 376-377; December 12, 1987, Kit Reed, review of The Color of Blood, p. 460; January 18, 1992, Richard A. Blake, review of Black Robe, pp. 38; May 6, 1995, Barbara Roche Rico, review of No Other Life, pp. 28-29; February 22, 1997, John C. Hawley, review of The Statement, pp. 27-28; May 2, 1998, Sharon Locy, review of The Magician's Wife, p. 23.

Atlantic, September, 1981, Phoebe-Lou Adams, review of The Temptation of Eileen Hughes, p. 92; October, 1983, Phoebe-Lou Adams, review of Cold Heaven, pp. 120-121.

Booklist, October 1, 1993, Mary Carroll, review of No Other Life, pp. 251-252; October 15, 1995, Karen Harris, review of The Doctor's Wife, p. 421; June 1, 1996, Jim O'Laughlin, review of The Statement, p. 1676; November 15, 1997, GraceAnne A. DeCandido, review of The Magician's Wife, p. 546; April 15, 1998, Karen Harris, review of Lies of Silence, p. 1460; April 1, 2001, Karen Harris, review of The Magician's Wife (audiobook), p. 1490.

Books & Bookmen, December, 1968; February, 1980.

Books in Canada, October, 1979; November, 1983.

Canadian Literature, fall, 1986, pp. 150-152; spring, 1989, E. Mozejko, review of The Color of Blood, pp. 147-150; spring, 1992, Hallvard Dahlie, review of Lies of Silence, pp. 184-186; summer, 2000, Kerry McSweeney, review of The Magician's Wife, pp. 155-157.

Chicago Tribune, November 2, 1987.

Chicago Tribune Book World, July 12, 1981; October 30, 1983; May 19, 1985.

Christian Science Monitor, September 24, 1990, Thomas D'Evelyn, review of Lies of Silence, p. 15; December 13, 1993, Merle Rubin, review of No Other Life, p. 15; July 25, 1996, Michelle Ross, review of The Statement, p. B3.

Commentary, October, 1996, Roger Kaplan, review of The Statement, pp. 66-67.

Commonweal, August 3, 1956; July 12, 1957; September 27, 1968; August 23, 1974; December 4, 1981, Saul Maloff, review of The Temptation of Eileen Hughes, pp. 695-696; May 17, 1985, John R. Breslin, review of Black Robe, pp. 313-314; November 6, 1987, J.V. Long, review of The Color of Blood, pp. 634-636; October 20, 1989, J.V. Long, "Walking the Tightrope of Mystery: The Lonely Seekers of Brian Moore," pp. 555-558; January 11, 1991, Crystal Gromer, review of Lies of Silence, pp. 24-25; November 5, 1993, Paul Elie, review of No Other Life, pp. 25-26; October 26, 1996, J.V. Long, review of The Statement, pp. 24-25.

Contemporary Review, April, 2001, Liam Heaney, "Brian Moore: Novelist in Search of an Irish Identity," p. 230.

Critical Quarterly, summer, 1976, Kerry McSweeney.

Critique: Studies in Modern Fiction, Volume 9, number 1, 1966; Volume 13, number 1, 1971; winter, 1989, Brian McIlroy, "Naming the Unnamable in Brian Moore's I Am Mary Dunne," pp. 85-94.

Detroit News, October 14, 1979; May 19, 1985.

Economist, March 13, 1993, review of No Other Life, p. 102; October 28, 1995, review of The Statement, p. 102.

Entertainment Weekly, August 2, 1996, Megan Harlan, review of The Statement, pp. 54-55; January 30, 1998, Daneet Steffens, review of The Magician's Wife, p. 61.

First Things, January, 1997, John Wilson, review of The Statement, pp. 51-52.

Forbes, March 9, 1998, Steve Forbes, review of The Magician's Wife, p. 28.

Globe & Mail (Toronto, Ontario, Canada), March 30, 1985; September 5, 1987.

Harper's, October, 1965.

Independent (London, England), September 24, 1997, Jasper Rees, interview with Moore, pp. S2-S3.

Library Journal, May 15, 1981, review of The Temptation of Eileen Hughes, p. 1099; April 1, 1985, W. Keith McCoy, review of Black Robe, p. 159; September 1, 1990, Lynn Thompson, review of Lies of Silence, p. 258; August, 1991, Lisa Blankenship, review of Lies of Silence, p. 162; October 1, 1992, Nancy Schaffer, review of The Lonely Passion of Judith Hearne, p. 133; August, 1993, Janet Wilson Reit, review of No Other Life, p. 154; May 1, 1996, Katherine Holmes, review of The Statement, p. 132; November 1, 1997, Judith Kicinski, review of The Magician's Wife, p. 117; January, 1999, Joyce Kessel, review of The Magician's Wife (audiobook), p. 186.

Life, June 18, 1968; December 3, 1972.

London Review of Books, April 8, 1993, p. 15.

Los Angeles Times, September 11, 1983, Carolyn See, review of Cold Heaven, p. 1; September 14, 1983, Garry Abrams, interview with Moore, p. 10; April 7, 1985, Richard Eder, review of Black Robe, p. 1; May 26, 1985, Elizabeth Venant, "A Mischevious Leprechaun with Words," p. 3; July 2, 1987; September 15, 1987; December 23, 1987; January 1, 1988; April 10, 1988; March 1, 1992, Tom Christie, "An Irishman in Malibu," p. MAG20; August 7, 1996, Dexter Filkins, interview with Moore, p. E4.

Los Angeles Times Book Review, September 11, 1983; April 7, 1985; September 3, 1990, pp. 3, 9.

Maclean's, September 17, 1979; September 5, 1983, David Macfarlane, review of Cold Heaven, p. 49; April 1, 1985, Mark Abley, review of Black Robe, p. 54; June 18, 1990, Diane Turbide, review of Lies of Silence, p. 66; September 25, 1995, Diane Turbide, review of The Statement, pp. 53-54.

Nation, March 15, 1965; June 24, 1968; October 12, 1970; October 3, 1987, Thomas Flanagan, review of The Color of Blood, pp. 345-346; November 15, 1993, Amy Wilentz, review of No Other Life, pp. 570-573.

National Catholic Reporter, August 27, 1993, J.P. Slavin, review of No Other Life, p. 18.

New Leader, September 7, 1981, Mary Gaitskill, review of The Temptation of Eileen Hughes, pp. 16-17; August 12, 1996, Tova Reich, review of The Statement, pp. 30-31.

New Republic, August 17, 1968; June 9, 1973; October 24, 1983, Bruce Cook, review of Cold Heaven, pp. 45-46; November 2, 1987, p. 47; November 2, 1987, Stefan Kanfer, review of The Color of Blood, pp. 47-48.

New Statesman, February 18, 1966; October 17, 1975; November 13, 1981, Mary Holland, review of The Temptation of Eileen Hughes, p. 26; November 25, 1983, Richard Deveson, review of Cold Heaven, p. 28; June 14, 1985, Grace Ingoldby, review of Black Robe, pp. 33-34; September 25, 1987, Gillian Wilce, review of The Color of Blood, pp. 34-35; February 19, 1993, Boyd Tonkin, review of No Other Life, p. 41; September 22, 1995, Boyd Tonkin, review of The Statement, p. 34.

New Statesman & Society, April 20, 1990, Boyd Tonkin, review of Lies of Silence, p. 36.

Newsweek, June 2, 1975; September 20, 1976; October 15, 1979; July 20, 1981, Peter S. Prescott, review of The Temptation of Eileen Hughes, pp. 63-64; September 5, 1983, Peter S. Prescott, review of Cold Heaven, pp. 67-68; March 18, 1985, Walter Clemons, review of Black Robe, p. 75; September 17, 1990, Peter S. Prescott, review of Lies of Silence, p. 59.

New York, August 3, 1981, Abigail McCarthy, review of The Temptation of Eileen Hughes, pp. 58-59; February 24, 1992, David Denby, review of Black Robe (movie), p. 119.

New Yorker, May 11, 1957; August 4, 1975; August 24, 1981, review of The Temptation of Eileen Hughes, p. 100; October 3, 1983, review of Cold Heaven, pp. 126-127; July 8, 1985, review of Black Robe, pp. 72-73; October 19, 1987, review of The Color of Blood, p. 120; September 27, 1993, review of No Other Life, p. 105; July 15, 1996, Mary Hawthorne, review of The Statement, pp. 78-79.

New York Review of Books, Patricia Craig, review of The Temptation of Eileen Hughes, pp. 47-48; December 17, 1987, Neal Acherson, review of The Color of Blood, pp. 44-46; December 6, 1990, John Banville, review of Lies of Silence, pp. 22-25; October 21, 1993, William Trevor, review of No Other Life, pp. 3-4; October 3, 1996, John Gross, review of The Statement, pp. 36-37.

New York Times, October 1, 1976; September 12, 1979; July 3, 1981, Christopher Lehmann-Haupt, review of The Temptation of Eileen Hughes, pp. 19, C8; September 14, 1983, Christopher Lehmann-Haupt, review of Cold Heaven, p. 19, C21; January 15, 1984; February 26, 1984, John J. O'Connor, review of Catholics (video), p. H32; March 25, 1985, Christopher Lehmann-Haupt, review of Black Robe, pp. 17, C17; September 1, 1987, John Gross, review of The Color of Blood, pp. 19, C15; December 23, 1987; December 25, 1987; December 6, 1993, Christopher Lehmann-Haupt, review of No Other Life, pp. B2, C18; June 3, 1996, Christopher Lehmann-Haupt, review of The Statement, p. B2; August 13, 1996, Mel Gussow, interview with Moore, pp. B1, C11; August 18, 1996, Mel Gussow, review of The Statement, p. E2; January 28, 1998, Christopher Lehmann-Haupt, review of The Magician's Wife, pp. B10, E10.

New York Times Book Review, October 24, 1965; December 5, 1965; June 23, 1968; September 27, 1970; November 28, 1971; March 18, 1973; June 29, 1975; September 26, 1976; September 9, 1979; November 23, 1980, review of The Mangan Inheritance, p. 51; August 2, 1981, Joyce Carol Oates, review of The Temptation of Eileen Hughes, p. 3; September 5, 1982, review of The Temptation of Eileen Hughes, p. 19; September 18, 1983, Frances Taliaferro, review of Cold Heaven, pp. 11-12; September 16, 1984, James Stern, review of The Lonely Passion of Judith Hearne, p. 42; March 31, 1985, James Carroll, review of Black Robe, p. 7; September 27, 1987, Clancy Sigal, review of The Color of Blood, p. 11, Sarah Ferrell, interview with Moore, p. 11; November 6, 1988, p. 34; September 2, 1990, Francine Prose, review of Lies of Silence, p. 1, Sharon Shervington, interview with Moore, p. 23; September 12, 1993, Henry Louis Gates Jr., review of No Other Life, p. 1, Laurel Graeber, interview with Moore, p. 34; June 30, 1996, Eugen Weber, review of The Statement, p. 12; February 1, 1998, Thomas Mallon, review of The Magician's Wife, p. 14.

People, August 17, 1981, review of The Temptation of Eileen Hughes, p. 12; September 26, 1983, review of Cold Heaven, p. 14; April 29, 1985, Campbell Geeslin, review of Black Robe, pp. 22-23; October 12, 1987, Campbell Geeslin, review of The Color of Blood, pp. 16-17; November 12, 1990, Michael Neill, review of Lies of Silence, pp. 32-33; February 9, 1998, Francine Prose, review of The Magician's Wife, p. 31.

Publishers Weekly, May 8, 1981, Barbara A. Bannon, review of The Temptation of Eileen Hughes, p. 248; February 8, 1985, review of Black Robe, p. 67; July 24, 1987, Sybil Steinberg, review of The Color of Blood, p. 171; June 22, 1990, Sybil Steinberg, review of Lies of Silence, p. 47; June 21, 1993, review of No Other Life, p. 82; April 11, 1996, review of The Statement, pp. 57-58; October 20, 1997, review of The Magician's Wife, p. 53; January 5, 1998, John Blades, interview with Moore, pp. 44-45.

Quill & Quire, April, 1990, review of Lies of Silence, p. 28; April, 1993, review of No Other Life, p. 22; September, 1995, p. 66; September, 1997, review of The Magician's Wife, p. 68; November, 1998, "Brian Moore: The Chameleon Novelist," p. 34.

Renascence, spring, 1990, J.C. Whitehouse, "Grammars of Assent and Dissent in Graham Greene and Brian Moore," pp. 157-171.

Resource Links, October, 1999, review of The Magician's Wife, p. 21.

Review of Contemporary Fiction, spring, 1991, Eamonn Wall, review of Lies of Silence, pp. 330-331.

Rolling Stone, November 28, 1991, Peter Travers, review of Black Robe, p. 104.

Saturday Night, September, 1968; November, 1970; July-August, 1975; October, 1976; October, 1983, Urjo Kareda, review of Cold Heaven, pp. 74-76; August, 1985, Alberto Manguel, review of Black Robe, pp. 43-44; May, 1990, Douglas Fetherling, review of Lies of Silence, p. 75.

Saturday Review, October 13, 1962; September 18, 1965; June 15, 1968; February 12, 1972; July 26, 1975; September 18, 1976; June, 1981, David Finkle, review of The Temptation of Eileen Hughes, p. 56.

Spectator, November 1, 1975; November 10, 1979; October 10, 1981; November 12, 1983; July 13, 1985; February 20, 1993, Dermot Clinch, review of No Other Life, p. 37; September 30, 1995, James Simmons, review of The Statement, pp. 43-44; September 20, 1997, P.J. Kavanagh, review of The Magician's Wife, p. 40.

Time, June 18, 1956; June 21, 1968; October 12, 1970; July 14, 1975; September 6, 1976; September 19, 1983, Patricia Blake, review of Cold Heaven, p. 98; March 18, 1985, R.Z. Sheppard, review of Black Robe, pp. 82-83; October 5, 1987, Pico Iyer, review of The Color of Blood, p. 84; July 1, 1996, Paul Gray, review of The Statement, p. 63.

Times (London, England), October 1, 1981; November 3, 1983; June 13, 1985; September 24, 1987; September 25, 1995, Julia Llewellyn Smith, interview with Moore, p. 17.

Times Educational Supplement, April 2, 1993, Liz Heron, review of No Other Life, p. S11.

Times Literary Supplement, February 3, 1966; October 24, 1966; April 9, 1971; January 21, 1972; November 10, 1972; October 17, 1975; November 23, 1979; October 9, 1981; October 28, 1983; June 7, 1985; October 2, 1987; April 20, 1990, Seamus Deane, review of Lies of Silence, p. 430; February 19, 1993, John Banville, review of No Other Life, p. 22; September 22, 1995, Sean O'Brien, review of The Statement, p. 22; September 12, 1997, Joyce Carol Oates, review of The Magician's Wife, p. 7.

Tribune Books (Chicago, IL), July 24, 1994.

Village Voice, June 30, 1957; October 22, 1979.

Wall Street Journal, July 9, 1981, Raymond Sokolov, review of The Temptation of Eileen Hughes, pp. 22, 24; September 19, 1983, Edmund Fuller, review of Cold Heaven, pp. 26, 31; November 24, 1987, Lee Lescaze, review of The Color of Blood, p. 26; August 31, 1990, Merle Rubin, review of Lies of Silence, p. A9; June 4, 1996, Merle Rubin, review of The Statement, pp. A15-A16; p. A15; January 13, 1998, Stuart Ferguson, review of The Magician's Wife, p. A20.

Washington Post, January 22, 1988.

Washington Post Book World, April 8, 1973; June 1, 1975; October 17, 1976; September 23, 1979; December 9, 1979; June 21, 1981; September 11, 1983; September 2, 1984, review of Cold Heaven, p. 12; March 31, 1985, Evan S. Connell, review of Black Robe, p. 3; September 6, 1987; February 14, 1988.