Brian Moore (1921-99)


Life
b. 25 Aug., Belfast; fourth child of Dr. James Moore, a Catholic GP and self-mde made who became FRCS and the first Catholic to join the Senate of QUB, and Eileen McFadden, a nurse from Cresslough, Co. Donegal - 20 yrs younger than his father; nephew of Eoin MacNeill through his paternal aunt Agnes Moore, who had married [“Uncle John”; their dg. Máire MacNeill m. John L. Sweeney of Harvard Lib.]; brothers and six sisters; ed. St. Malachy’s College to 1938 [Ardath College in Feast of Lupercal]; read Auden and Isherwood in Faber Book of Modern Verse, and met Bernard Barnett and Harold Goldblatt at Belfast Theatre Guild, becoming mildly involved in their left-wing politics as a teenager; failed at Maths and could not proceed to QUB (‘I began to think of myself as a failure at an early age’); joined Air Raid Precautions Unit, 1940; family home at Clifton St., Belfast, damaged in Blitz, 1941; father d., 1942; travelled abroad with British Ministry of War Transport as civilian employee, 1943-46 (drawing the line at joining in the British Army), and served in North Africa (Algers) and, later, as a port official with the Allied occupation forces in Naples and Marseilles; returned to Ireland in 1945 for the funeral of his uncle; served in UNRRA (United Nations Relief and Rehabilitation Administration) Warsaw mission (Poland), distributing agricultural aid, 1946-47; freelance reporter in Western Europe, 1947-48, visited Anzio beachhead; witnessing the trial of Hoess, Auschwitz Commandant (‘I was a German officer. I obeyed my orders’); briefly in London in 1948 before departing for Canada;
 
BM had a brief love affair with one Margaret Swanson in Warsaw and travelled in pursuit of her to her home Toronto, 1948; found himself penniless when they separated; worked in construction, and then through Irish connections in journalism on Montreal Gazette (somewhat as narrated in Ginger Coffey, 1906); covered visit of Princess Elizabeth and other celebrities, including Mae West and Harold Wilson; m. Jacqueline [“Jackie”] Sirois, a Canadian and fellow-journalist, 1951 - with whom a son Michael in 1953; wrote pseudonymous pulp fiction (Murder in Majorca, This Gun for Gloria, A Bullet for My Lady, French for Murder); took out Canadian citizenship, 1953; suffered multiple skull-fractures when struck by motor-boat while swimming near Montreal; enjoyed his earliest literary success with The Lonely Passion of Judith Hearne (1955), a portrait of a Catholic spinster in Belfast who undergoes a loss of faith and a nervous breakdown; purportedly based on a Miss Keogh of childhood memory, though Judith’s self-deluding fantasy and her alcoholic deterioration are invented in keeping with his interest in marginalised figures (called by Moore ‘a dirge for a spinster and a city’); the manuscript warmly keenly welcomed by Diana Athill of André Deutsch, afterwards a close friend; named winner of Authors’ Club First Novel Award, but banned in the Republic of Ireland; later filmed in Dublin by Jack Clayton (dir.) with Maggie Smith in title role, 1987; formed friendship with Mordecai Richler;
 
issued The Feast of Lupercal (1957), in which Diarmuid Devine, a school-teacher at St. Michan’s, fails to take up the proffered opportunity of adult love by withdrawing into fantasy (‘sinful thoughts’); other prizes include James Tait Black Award and Canadian Governor General’s Award; moved to America on a Guggenheim scholarship, 1959; divided time between Greenwich Village (Manhatten) and Long Island; friendly with Jackson Pollack, Philip Roth, Neil Simon and others; issued The Luck of Ginger Coffey (1960), based on experiences as immigrant to Canada working as reporter on the Montreal Gazette; issued Answer From Limbo (1962), centered on Brendan Tierney, a young writer married to an American, engaging on his first novel amidst family life; formed relationship with Jean Denney, the wife of Frank Russell - who similarly attached himself to Jacqueline and Michael, 1964; issued The Emperor of Ice Cream (1965), the nigh-autobiographical story of Gavin Burke’s escape from religion, family, and nationality in wartime Belfast - ded. to Jean; wrote screenplay of Torn Curtain for Hitchcock, but turned down lucrative four-script offer, 1966; settled in Malibu and m. Denney, 1967; repudiated friends who sided with Jacqueline - incl. Athill; appt. adjunct professor at UCLA, Los Angeles;
 
lived in virtual isolation with Jean in Malibu; issued I Am Mary Dunne (1968), a character analysis in which the thrice-married title-character faces a day of ‘the dooms’ brought on by memory in New York; issued Fergus (1970), effectively a sequel to Answer from Limbo; issued The Revolution Script (1971), ‘faction’ about Cross and Laporte kidnappings of Quebec Liberation Front, 1970; issued Catholics (1972), novella about the loss of faith of the ageing abbot of an island-community in the West of Ireland, challenged by an American ecumenical priest-journalist for whom the Mass has become a symbol (quotes Wallace Stevens in Adagia on the supreme fiction ‘which you know to be a fiction’); winner of W. H. Smith award, filmed by Jack Gold, the film winning the Peabody Award; friends include Joan Didion, Julia O’Faolain, and Michael Paul Gallagher, SJ; renewed bonds with estranged son Michael; The Great Victorian Collection (1975), in which Tony Maloney, a Canadian academic, discovers a hallucinatory-real market of Victoriana;
 
BM underwent an operation for duodenal ulcer followed by episode of intensive care, Dublin 1976; issued The Doctor’s Wife (1976), in which Sheila Redden takes an American lover eleven years her junior in Paris and then separates from both her Belfast medical husband and her new lover; shortlisted for the Booker but passed over due to objections of Mrs. Harold Wilson, chairing, ‘too much PD [physical detail]’; issued The Mangan Inheritance (1979); exchanged letters with Graham Greene, whom he much admired; issued The Temptation of Eileen Hughes (1981), the story of a naïve Irish shop-girl who arouses an incongruous passion; briefly taught at University of Toronto, to 1982; issued Cold Heaven (1983), in which Marie Davenport fights against believing in an apparition of the Blessed Virgin; issued Black Robe (1985), set in seventeenth-century Canada, and dealing with the clash between the native Indian rites of the Algonkin [Algonquin] and the missionary zeal of Jesuit missionaries, narrating the tale of Fr. Paul Laforgue’s journey up the Ottawa River with Indian companions, based on Francis Parkman’s The Jesuits of North America but probably inspired in its colonial theme by Frian Friel’s Translations (1980);
 
BM issued The Colour of Blood (1987), set in a Soviet bloc country; visited Carnacon, Co. Mayo, 1990; issued Lies of Silence (1990), a thriller of the Ulster Troubles dealing with the ordinary effects of terrorism, critically scorned by Seamus Deane as improbable and propagandist - i.e., anti-nationalist; issued No Other Life (1993), in which a white mission priest examines his role in education of Haiti dictator; issued The Statement (1995), a novel about the investigation of French war-criminal 40 years after the events, supposedly based on the life of the French collaborator Paul Touvier - his eighteenth book; BM built a second house in Nova Scotia, completed in 1995; issued The Magician’s Wife (1997), a novel set in the court of Napoleon III on the eve of Algerian invasion and roughly based on Rimbaud’s life in N. Africa; BM d. 10 Jan. 1999, of cancer; obituary notices include Thomas Kilroy (Sunday Times, 17 Jan 1999); a BBC Ulster documentary with Patricia Craig and others was broadcast in Dec. 2007, incorporating clips from an earlier programme in whic Moore revisits Belfast - after the demolition of the family home; his working notes and other papers up to c.1985 are held in the Brian Moore Collection, Calgary University, Canada. IF2 DIW DIL OCEL

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Works
  • The Executioners (Toronto: Harlequin 1951), 157pp.;
  • Wreath for a Redhead (Toronto: Harlequin 1951), reiss. as Sailor's Leave (NY: Pyramid 1953), 158pp. [note another work entitled Wreath ...&c., 1962, by Peter Chambers, [pseud. of Dennis John Andrew Phillips];
  • [as Bernard Mara,] French for Murder (NY: Fawcett 1954);
  • [as Bernard Mara,] A Bullet for My Lady (NY: Fawcett 1955);
  • Judith Hearne (London: André Deutsch; Toronto: Collins 1955), Do., re-issued as The Lonely Passion of Judith Hearne (Boston & Toronto: Atlantic Brown, Little & Co. 1956; Harmondsworth: Penguin 1959; Panther 1965, 1979; Bloomsbury Classic Edn. 1993), also French trans Judith Hearne (Paris: Plon 1959);
  • [as Bernard Mara,] This Gun for Gloria (NY: Fawcett 1956);
  • [as Michael Bryan,] Intent to Kill (London: Eyre & Spottiswoode 1956);
  • The Feast of Lupercal (Boston & Toronto: Atlantic Brown, Little & Co. 1957; London: André Deutsch 1958), and Do., reissued as A Moment of Love (London: Panther 1965) [var. 1966];
  • [as Michael Bryan,] Murder in Majorca (NY: Dell 1957);
  • The Luck of Ginger Coffey (London: André Deutsch; Boston & Toronto: Atlantic Brown, Little, & Co. 1960; Harmondsworth Penguin 1965; London: Quartet 1973);
  • Answer From Limbo (Boston & Toronto: Atlantic Brown, Little & Co. 1962; London: André Deutsch 1963);
  • The Emperor of Ice Cream (NY: Viking; London: André Deutsch 1965; Mayflower 1967);
  • I Am Mary Dunne (Toronto: McClelland & Stewart; NY: Viking; London: Jonathan Cape 1968; Harmondsworth: Penguin 1973; London: Flamingo 1995), 176pp.;
  • Fergus (Toronto: McClelland & Stewart; NY: Holt, Rinehart & Winston 1970; London: Jonathan Cape 1971; Triad/Grafton Bks. 1983; Flamingo 1995), 176pp.;
  • The Revolution Script (Toronto: McClelland & Stewart; NY: Holt, Rinehart & Winston 1971; London: Jonathan Cape 1972; Harmondsworth: Penguin 1973);
  • Catholics [first printed] in New American Review, 15 (NY: Simon & Schuster 1972), pp.11-72;
  • Do. (Toronto: McClelland & Stewart; NY: Holt, Rinehart & Winston; London: Jonathan Cape 1972; Vintage 1992), and Do., Frenc trans. as Chrétiens demain (Publ. de Université de Lille 1976);
  • The Great Victorian Collection (London: Jonathan Cape/NY: Farrar, Strauss & Giroux 1975);
  • The Doctor’s Wife (Toronto: McClelland & Stewart; NY: Farrar, Strauss & Giroux; London: Jonathan Cape 1976);
  • Two Stories (Northridge California: Santa Susana Press 1978) [“Preliminary Pags for a Work of Revenge” and “Uncle T”);
  • The Mangan Inheritance (Toronto: McClelland & Stewart; NY: Farrar, Strauss & Giroux; London: Jonathan Cape 1979) [see under J. C. Mangan, infra];
  • The Temptation of Eileen Hughes (London: Jonathan Cape 1981; Vintage 1992);
  • Cold Heaven (Toronto: McClelland & Stewart; NY: Holt, Rinehart & Winston; London: Jonathan Cape 1983; Flamingo 1995);
  • Black Robe (Toronto: McClelland & Stewart; NY: Dutton; London: Jonathan Cape 1985);
  • The Color of Blood (Toronto: McClelland & Stewart; NY: Dutton 1987), and Do., as The Colour of Blood (London: Jonathan Cape 1987);
  • Lies of Silence (London: Bloomsbury; NY: Doubleday 1990), [ded. ‘for Jean’, with epigraph, ‘my conscious method is to find the moment of crisis’], 194pp., and Do. [another edn.; Longman Literature., gen. ed. Roy Blatchford] (London: Longmans n.d.), 211pp., with ‘Study Programme’, p.184ff.;
  • No Other Life (London: Bloomsbury; NY: Doubleday 1993), 216 pp.;
  • The Statement (London: Bloomsbury; NY: Doubleday 1995), 217[224]pp.;
  • The Magician’s Wife (London: Bloomsbury 1997), 223pp.
 
[ See extract from The Magician’s Wife (1997) under Quotations, infra. ]
 
Miscellaneous [sel.]
  • ‘Old Father, Old Artificer’, in Irish University Review, 12 (Spring 1982), cp.12 [on Joyce].

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Criticism


Derek Mahon’s Life on Earth (Oldcastle: Gallery Press 2008), includes a poem, “Brian Moore’s Belfast”.

Monographs & Essays
    1960-1975
  • Jack Ludwig, ‘Brian Moore, Ireland’s Loss, Canada’s Novelist’, in Critique: Studies in Modern Fiction 5 (Spring-Summer 1962), pp.5-13.
  • Hallvard Dahlie, ‘Brian Moore’s Darker Vision: The Emperor of Ice-Cream’, in Critique: Studies in Modern Fiction, 9 (1966-67), pp.43-55.
  • Hallvard Dahlie, Brian Moore [Studies in Canadian Literature, 2] (Toronto: Copp Clark Pub. Co, [1969]; NY: Twayne Publ. 1981), vi, 130pp.
  • John Wilson Foster, ‘Crisis and Ritual in Brian Moore’s Belfast Novels’, Eire-Ireland 3 (Autumn 1968), pp.66-74.
  • Charles A. Brady, ‘I Am Mary Dunne’, Eire-Ireland, 3, 4 (Winter 1968), pp.136-40.
  • John Cronin, ‘Ulster’s Alarming Novels’, Eire-Ireland, 4, 4 (Winter 1969), pp.27-34.
  • James Simmons, ‘Brian Moore and the Failure of Realism’, The Honest Ulsterman (March/April 1970), pp.8-14.
  • John Wilson Foster, Separation and Return in the Fiction of Brian Moore, Michael McLaverty and Benedict Kiely (PhD Thesis: Univ. of Oregon 1970).
  • Murray Prosky, ‘The Crisis of Identity in the Novels of Brian Moore’, Éire-Ireland, 6, 3 (Autumn 1971), pp.106-18. [extract]
  • J. W. Foster, ‘Passage through Limbo: Brian Moore’s North American Novels’, Critique, 13, 1 (1971), pp.5-18. [rep. in Foster, Themes and Forces, 1974].
  • John Cronin, ‘Prose’, in Michael Longley, ed., Causeway: The Arts in Ulster (1971), pp.72-94, espec. pp.74.
  • Patrick Francis Walsh, Technique as Discovery: A Study of Form in the Novels of Brian Moore (PhD Thesis: UCD 1973).
  • Jeanne Flood, Brian Moore (Lewisburg: Bucknell UP 1974).
  • Henry De Witt, ‘The Novels of Brian Moore, A Retrospective’, Ploughshares 2, 2 (1974), pp.7-27.
  • John Wilson Foster, Themes and Forces in Ulster Fiction (Dublin: Gill and Macmillan 1974), pp.122-30, 151-85.
  • Raymond J. Porter, ‘Mystery, Miracle, and Faith in Brian Moore’s Catholics’, Eire-Ireland 10, 3 (Autumn 1975), pp.79-88.
  • Richard Studing, ‘A Brian Moore Bibliography’, Éire-Ireland, 10, 3 (Autumn 1975), pp.89-105.
  • Patrick Rafroidi, ‘The Great Brian Moore Collection’, in The Irish Novel in Our Time, ed. Rafroidi & Maurice Harmon (l’Université de Lille, 1975-76), pp.221-34 [see bibliography, infra].
  • Tom Paulin, ‘A Necessary Provincialism: Brian Moore, Maurice Leitch, Florence Mary McDowell’, in Douglas Dunn, ed., Two Decades of Irish Writing: A Critical Survey (Chester Springs: Dufour 1975), pp.244-56. [extract]

    1976-1980
  • Maurice Harmon, ‘Generations Apart: 1925-1975’, in Rafroidi and Maurice Harmon, eds., The Irish Novel in Our Time (l’Université de Lille 1975-76), espec. pp.56-57.
  • Patrick Rafroidi, ‘The Great Brian Moore Collection’, in Rafroidi and Harmon, eds., The Irish Novel in Our Time (l’Université de Lille, 1975-76), pp.221-34.
  • Kerry McSweeney, ‘Brian Moore, Past and Present’, Critical Quarterly, 18, 2 (1976), pp.53-66.
  • Derek Mahon, ‘Webs of Artifice’ [critical article in The New Review, 1976], rep. in Journalism: Selected Prose 1970-1995 (Gallery Press 1996), pp.64-65, pp.66-76.
  • Phyllis Grosskurth, ‘A Woman is A Woman is A Woman’, Canadian Literature, 72 (1977), pp.77-80.
  • J. H. Dorenkamp, ‘Finishing the Day, Nature and Grace in Two Novels by Brian Moore’, Eire-Ireland, 13, 1 (Spring 1978), pp.103-12.
  • Allen Shepherd, ‘Place and Meaning in Moore’s Catholics’, Eire-Ireland, 15, 3 (Autumn 1980), pp.134-40.
  • Patricia Bourden, ‘No Answer From Limbo: An Aspect of Female Portraiture’, The Crane Bag, 4, 1 (1980), pp.95-100 [rep. in The Crane Bag Book of Irish Studies, 1982, pp.608-13].
  • Robert Green, ‘Brian Moore’s Judith Hearne, Celebrating the Commonplace’, International Fiction Review, 7 (1980), pp.29-33.
  • Michael J. Toolan, ‘Psyche and Belief, Brian Moore’s Contending Angels’, Eire-Ireland, 15, 3 (Autumn 1980), pp.97-111.
  • Alan Warner, ‘Brian Moore’, in A Guide to Anglo-Irish Literature (Dublin: Gill & Macmillan 1981), pp.236-44.

    1981-1989
  • Kerry McSweeney, Four Contemporary Novelists: Angus Wilson, Brian Moore, John Fowles, V.S. Naipaul (Ontario: Magill-Queen’s UP 1983).
  • Jeanne A. Flood, ‘The Doctor’s Wife: Brian Moore and the Failure of Realism’, Éire-Ireland, 18, 2 (Summer 1983), pp.80-102.
  • Seamus Hosey, Crisis and Identity in the Novels of Brian Moore (MLitt Thesis: UCD 1983).
  • Maureen Connelly, ‘Miracles in Cold Heaven’, Irish Literary Supplement, 3 (Fall 1984), p.8ff.
  • David Leon Higdon, ‘Brian Moore, I Am Mary Dunne’: “memento ergo sum”, in Higdon, ed., Shadows of the Part in Contemporary British Fiction (Georgia UP 1984) [q.p.].
  • Seamus Deane, A Short History of Irish Literature (London: Hutchinson 1986), pp.220-21.
  • Ronnie Baile, ‘The Quiet Subversiveness of Brian Moore’, in Across the Roaring Hill: The Protestant Imagination in Modern Ireland [Essays in Honour of John Hewitt], ed. Gerald Dawe & Edna Longley (Belfast: Blackstaff Press 1985), pp.13-27 [extract];
  • Anne-Marie Conway, ‘Brian Moore: The Colour of Blood’, Irish Literary Supplement ( 2-8 Oct. 1987), p.1073.
  • Gay Byrne [interview], “The Gay Byrne Show”, RTÉ (24 Sept. 1987).
  • Christopher Murray, ed., ‘Brian Moore Special Issue’, Irish University Review, 18, 1 (Spring 1988) [infra].

    1990-1999
  • Jo O’Donoghue, Brian Moore: A Critical Study (Dublin: Gill & Macmillan 1990), 286pp. [see extract]
  • Ruth Niel, ‘Brian Moore’, in Rüdiger Imhof, ed., Contemporary Irish Novelists (Tübingen: Gunter Narr Verlag 1990), pp.59-77.
  • Linda Leith, ‘Subverting the Sectarian Heritage: Recent Novels of Northern Ireland’, Canadian Journal of Irish Studies, 18, 1 (Dec. 1992), pp.88-106.
  • Terry Eagleton, review of No Other Life, in London Review of Books (8 April 1993), p.15.
  • Robert Sullivan, A Matter of Faith: The Fiction of Brian Moore (Connecticut: Greenwood 1996).
  • Siobhán Holland, ‘The Question of Gendered Voice in some Contemporary Irish Novels by Brian Moore and John McGahern’ [Ph.D. Thesis] (University of Leeds / Sept. 1997).
  • Denis Sampson, Brian Moore: The Chameleon Novelist (Canada: Doubleday; Dublin: Marino 1998), 352pp., ill.
  • Ronnie Bailie, ‘The Quiet Subversiveness of Brian Moore’, in Writing Ulster [‘Northern Narratives’, special issue, ed. Bill Lazenblatt], 6 (1999), pp.14-27 [extract].
  • James M. Cahalan, Double Visions: Women and Men in Modern and Contemporary Irish Fiction (Syracuse: Syracuse UP 1999), 234pp.
  • Thomas Kilroy, ‘Belfast and Moore’s Moscow of the Mind’, [obituary article], Sunday Times, The Culture, ‘Books’ (17 Jan. 1999), pp.8-9.
  • Eamonn Hughes, ‘Belfast’s Literary Exile’, obituary notice, Fortnight (Jan 1999), p.27

    2000-
  • Siobhan Holland, ‘Re-Citing the Rosary: Women, Catholicism and Agency in Brian Moore’s Cold Heaven and John McGahern’s Amongst Women’, in Contemporary Irish Fiction: Themes, Tropes, Theories, ed. Liam Harte & Michael Parker (Basingstoke: Macmillan 2001), pp.56-78.
  • Patricia Craig, Brian Moore: A Biography (London: Bloomsbury 2002), 306pp. [reviews by Gerald Dawe, The Irish Times, 30 Nov. 2002;
  • Hermione Lee, Times Literary Supplement, 8 Nov. 2002, p.8.]
  • Kathleen Devine, ‘Form, Theme and Genre: The Importance of Catholics in Brian Moore’s Work’, in Irish Fiction since the 1960s: A Collection of Critical Essays, ed. Elmer Kennedy-Andrews (Dublin: Four Courts Press 2002) [Chap. 10]
  • Linden Peach, ‘Mimicry, Authority and Subversion: Brian Moore’s The Magician’s Wife (1997), Emma Donoghue’s Slammerkin (2000) and John McGahern’s Amongst Women (1990)’, in The Contemporary Irish Novel: Critical Readings (Basingstoke: Palgrave Macmillan, 2004), pp.68-96.
  • Patrick Hicks, ‘Sleight of Hand: Writing, History and Magic in Brian Moore’s The Magician’s Wife’, in Commonwealth Essays and Studies [“Postcolonial Narratives” Issue] 27, 2 (Spring 2005), pp.87-95.
  • [...]
  • Peter Guy, ‘As Mirrors are Lonely’: A Lacanian Reading of Three Irish Novelists [PhD Thesis] (Nat. Centre for Franco-Irish Studies / ITT Dublin 2009) [Broderick, McGahern, Moore - available online at Wiziq online - accessed 25.04.2011].

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Reviews
    1955-1974
  • Simon Raven, ‘Gods and Little Fishes’, review of The Feast of Lupercal, in The Spectator (21 Feb., 1958), p.238.
  • Walter Allen, review of An Answer From Limbo, in New Statesman (29 March 1963), pp.465-66.
  • Julian Moynahan, review, in New York Times Book Review (5 December 1965), p.4.
  • William Trevor, ‘Memento Ergo Sum’, in The Times (26 Oct. 1968), p.24.
  • John Cronin, review of Fergus, in Éire-Ireland, 6, 2 (Summer 1971), pp.179-80.
  • Derek Mahon, review, in The Listener (1 April 1971), p.422.
  • Murray Prosky, ‘The Crisis of Identity in the Novels of Brian Moore&1#146;, in Éire-Ireland, 6, 3 (Autumn 1971), pp.106-118 [see extract].
  • Derek Mahon, ‘Back of Beyond’, review of Catholics, in The Listener, 88 (2 Nov. 1972), p.610 [rep. in Journalism, Gallery 1996, pp.64-65]. [see extract]
  • Auberon Shepherd, ‘Keeping the Faith’, in The Spectator, 4 ([?] Nov. 1972), pp.714.
  • Paul Theroux, ‘A Dream of a Novel by Brian Moore’, in New York Times Book Review (29 June 1972), [q.p.].
  • David Lodge, review, in New Statesman (3 Nov. 1972), p.647.
  • Theroux, review, in New York Times Book Review (18 March 1973), p.39.
  • Terence Brown, ‘Brian Moore: Parables of Change and Pain’, in Hibernia (1 March 1974), p.14.
  • Wilfrid Sheed, ‘America’s Catholics’, in New York Review of Books (7 March 1974), pp.18-21.

    1975-1986
  • Tom Paulin, ‘A Necessary Provincialism: Brian Moore, Maurice Leitch, Florence Mary McDowell’ in Two Decades of Irish Writing: A Critical Survey, ed. Douglas Dunn (Chester Springs: Dufour 1975), pp.244-56 [see extract].
  • Derek Mahon, ‘Magic Casements’, in New Statesman (17 Oct. 1975), p.479.
  • Michael Paul Gallagher, review, in Irish University Review (Spring 1976), pp.119-121.
  • Anita Brookner, ‘The Pleasure Principle’, in Times Literary Supplement (19 Nov. 1976), [q.p.].
  • Terence de Vere White, ‘Every Trick of the Trade’, in Irish Times (13 Nov. 1976), [q.p.].
  • Sean McMahon, ‘Smoke Signals’, in The Irish Press (25 Nov. 1976), p.6.
  • Denis Donoghue, ‘The Quest of Jamie Mangan’, in New York Times Book Review (9 Sept. 1979), p.12.
  • Roy Foster, ‘More Maudit Than Most’, in Times Literary Supplement (23 Nov. 1979), [q.p.].
  • Bernard Share, ‘Moore’s Maladies’, in The Irish Press (29 Nov. 29 1979), [q.p.].
  • Allen Shepherd, ‘Place and Meaning in Catholics’, in Éire-Ireland, 18, 3 (Fall 1980), pp.134-40.
  • Janet Egelson Dunleavy, ‘Brian Moore’s New Woman’, in Irish Literary Supplement (Spring 1982), p.10.
  • Michael Paul Gallagher, review of The Temptation of Eileen Hughes and Hallvard Dahlie, Brian Moore, in Irish University Review (Autumn 1982), pp.242-43.
  • Patricia Craig, ‘The Sinner Pursued’, in Times Literary Supplement (28 Oct. 1983), p.1185.
  • Sebastian Barry, ‘The Jesuit Father and the Savages’, in Irish Times (1 June 1985), [q.p.].
  • Ronnie Bailie, ‘The Quiet Subversiveness of Brian Moore’, in Across the Roaring Hill: The Protestant Imagination in Modern Ireland, ed. Gerald Dawe & Edna Longley (Belfast: Blackstaff Press 1985), pp.13-27 [extract].
  • Christopher Ricks, ‘Brian Moore Keeps His Promise’, in Sunday Times (2 June 1985), p.44.
  • Anne Haverty, ‘The Outsider on the Edge’, in Sunday Tribune (3 Nov. 1985), p.17.
  • William Kelly, ‘Imaginative Initiation’, in Irish Literary Supplement (Fall 1985), p.45.

    1986-1999
  • Terence de Vere White, ‘Cardinal Red’, in Irish Times (26 September 1987).
  • Thomas Flanagan, review, The Nation (3 Oct. 1987), p.345.
  • Seamus Deane, review of Lies of Silence, in Times Literary Supplement (20-26 April 1990), p.430 [see extract].
  • Robert Greacen, ‘Awkward Questions’, review of The Lonely Passion of Judith Hearne [Bloomsbury Classic 1993], in Irish Independent, Weekend (7 Aug. 1993), p.10.
  • John Banville, review of No Other Life, in Times Literary Supplement (19 Feb. 1993), p.22. [see extract].
  • Dermot Bolger, ‘The Moral Passion of Brian Moore’, in Sunday Tribune (21 Feb. 1993), B8.
  • Tony Connelly, ‘After 17 Novels, There’s No Other Life For Brian’, in Irish Independent, Weekend (6 March 1993), p.4.
  • Terry Eagleton, review, in London Review of Books (8 April 1993), p.15.
  • William Trevor, review, in New York Review of Books (21 Oct. 1993), p.3.
  • Rüdiger Imhof, review of No Other Life, in Linen Hall Review, 10, 3 (Winter 1993), p.21f.
  • Joseph O’Connor, review of No Other Life, in Causeway, 1 (Autumn 1994), pp.57-58. [infra]
  • Sean O’Brien, ‘Vichy’s Foot-Soldier’, review, in Times Literary Supplement (22 September 1995), [q.p.] [see extract].
  • H. M . Buckley, review of The Statement, in Books Ireland (Dec. 1995), pp.326-27.
  • H. M. Buckley, ‘The Old Artificier’, review of The Magician’s Wife, in Books Ireland (1997), [q.p.] [see extract].
  • Eileen Battersby, ‘The French Girl in Algiers’, review of The Magician’s Wife, in Irish Times (13 Sept. 1997), [q.p.] [see extract].
  • Tom Adair, review of Denis Sampson, The Chamelion Poet (1998), in Irish Times (5 Dec. 1998), [see extract]
  • Gerald Dawe, ‘Bring it all back home’, review of Denis Sampson, The Chamelion Poet, in Fortnight (Jan. 1999), p.29 [see extract].
  • Thomas Kilroy, ‘Belfast and Moore’s Moscow of the Mind’, [obituary article], Sunday Times, The Culture, ‘Books’ (17 Jan. 1999), pp.8-9 [see extract].
  • Eamonn Hughes, ‘Belfast’s Literary Exile’, obituary notice on Brian Moore, Fortnight (Jan 1999), p.27 [see extract].
  • Laura Pelaschiar, (‘Transforming Belfast: The Evolving Role of the City in Northern Irish Fiction', in Irish University Review, 30, 1 (Spring/Summer 2000) [see extract].
  • [...]
  • Colm Tóibín, ‘Brian Moore: Out of Ireland Have I come, Great Hatred, Little Room’, in New Ways to Kill Your Mother: Writers and Their Families (London: Viking [Penguin] 2012), pp.134-55 [see extract].

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Interviews
    1969-2000
  • Richard B. Sale, ‘An Interview in London with Brian Moore’, Studies in the Novel 1, 1 (Spring 1969), pp.67-80.
  • Michael Paul Gallagher, ‘Brian Moore Talks to Michael Paul Gallagher’, Hibernia (10 Oct. 1969), p.18.
  • John Graham, ‘Brian Moore’, in George Garrett, ed., The Writer’s Voice: Conversations With Contemporary Writers (NY: William Morrow 1973), pp.51-74.
  • Stephen Aris, ‘Moore’s Fistful of Dollars’, Sunday Times ([?]October 1977), pp.37.
  • Marie Crowe, ‘Marie Crowe Talks to Belfast Writer Brian Moore’, in Irish Press (21 June 1983), p.9.
  • Bruce Meyer and Brian O’Riordan, ‘Brian Moore: In Celebration of the Commonplace’, in Their Words: Interviews With Fourteen Canadian Novelists (Toronto: House of Anansi 1984), pp.169-83.
  • Brian Moore, Tom Adair, ‘The Writer as Exile’, in Linen Hall Review, 2:4 (1985), pp.4-6.
  • Ciaran Carty, ‘Ciaran Carty Talks to Brian Moore’, Sunday Independent (2 June 1985), p.14.
  • John Wilson Foster, ‘Q & A with Brian Moore’, in Irish Literary Supplement: A Review of Irish Books (Fall 1985), pp.44-45.
  • Anne Haverty, ‘The Outsider on the Edge’, in Sunday Tribune (3 Nov. 1985), [q.p.].
  • Andy O’Donoghue, ‘Dialogue’, interview with Brian Moore on RTÉ Radio 1 (20 February 1986).
  • Eileen Battersby, ‘No Faith, No Hope, But Clarity: Eileen Battersby in Belfast With the Novelist Brian Moore’, Sunday Tribune (27 April, 1990), B1.
  • ‘Brian Moore’, in Julia Carlson, ed., Banned in Ireland (Georgia UP/London: Routledge 1990), [q.p.].
  • Nigel Ford, ‘An Interview With Brian Moore’, on Bookshelf, BBC Radio 4 (5 March, 1993).
  • Jo O’Donoghue, ‘From the Abstract Sands: Interview with Brian Moore’, in Books Ireland (November 1995), pp.269-71.
  • Eileen Battersby, [full-page interview], in The Irish Times (12 Oct. 1995), [q.p.]. [chiefly supplied by Michael Crowley.]
  • Jasper Rees, ‘Novel way to Miss the Booker Prize’, in Independent [UK] (24 Sept. 1997), ‘Eye’ pp.3-4 [photo port.]. [see extract]

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Bibliographical details
Christopher Murray, ed., ‘A Brian Moore Special Number’, Irish University Review, Vol. 18, No. 1 (Spring 1988), incl. Patricia Craig, ‘Moore’s Maladies: Belfast in the Mid-Twentieth Century’, pp.12-23; John Cronin, ‘The Resilient Realism of Brian Moore’, pp.24-36; Terence Brown, ‘“Show Me a Sign: The Religious Imagination of Brian Moore’, pp.37-49; Michael Paul Gallagher, ‘Religion as Favourite Metaphor: Moore’s Recent Fiction’, pp.50-58; Brian Cosgrove, ‘Brian Moore and the Price of Freedom in a Secular World’, pp.59-73; Seamus Deane, ‘The Real Thing: Brian Moore in Disneyland’, pp.74-82; Patrick Rafroidi, ‘The Temptation of Brian Moore’, pp.83-88; Hallvard Dahlie, ‘Black Robe: Moore’s “Conradian” Tale and the Quest for the Self’, pp.88-95; Barbara Hayley, ‘Outward and Visible Signs: Dressing and Stripping in the Novels of Brian Moore’, pp.96-105; Brian McIlroy, ‘A Brian Moore Bibliography’, pp.106-33’; also, Derek Mahon, ‘A World of Signs’ [q.pp.], rep. in Journalism 1970-1995 (Gallery Press 1996), pp.77-79.

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Patrick Rafroidi, ‘The Great Brian Moore Collection’, in The Irish Novel in Our Time, ed. Rafroidi & Maurice Harmon (l’Université de Lille, 1975-76), pp.221-34, lists the following authors of articles and reviews on Moore: Paul Gallagher (Studies, Summer 1971); Terence Brown (Hibernia, 1 March 1974); Bruce Cook (Commonweal, 23 Aug. 1974); John Frayne (Modern Irish Literature, Iona College Press; NY: Twayne 1972); Philip French (London Magazine, Feb. 1966); Murray Prosky ( Éire-Ireland, VI, Fall 1971); George Woodcock (Odysseus Ever returning 1977); also Francis Walsh, ‘The Novels of Brian Moore’ (Unpub. thesis, UCD 1973).

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References
John Montague & Thomas Kinsella, eds., ‘Preliminary Pages for a Work of Revenge’ [story], in Dolmen Miscellany of Irish Writing (Dublin 1962), pp.1-8.

Patricia Craig, ed., The Rattle of the North (1992), includes extract from The Emperor of Ice-Cream. [Not in Ormsby, ed., Northern Windows.]

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Books in 1994: Judith Hearne (London: André Deutsch 1955; reiss. as The Lonely Passion of Judith Hearne 1956; Grafton 1988; Paladin/Flamingo 1994) [0 0586 08758 3]; The Feast of Lupercal (London: André Deutsch 1957), reprinted as A Moment of Love (London: Panther 1965; Paladin/Flamingo 1990, 1994) [0 5860 9044 4]; The Luck of Ginger Coffey (London: André Deutsch 1960; Grafton 1987; Paladin/Flamingo 1993) [0 5860 8 702 8]; Answer From Limbo (London: André Deutsch 1962; Paladin/Flamingo 1993) [0 586 09145 9]; The Emperor of Ice Cream (NY: Viking 1965; Grafton 1987; Paladin/Flamingo 1993) [0 5860 8703 6]; I Am Mary Dunne (NY: Viking 1968; Grafton 1992 1994) [0 09910 221 8]; Fergus (NY: Viking 1971), rep. (London: Grafton Bks. 1983; Vintage 1992, 1994) [0 586 05696 3; 0 00985 750 2 ]; The Revolution Script (Toronto: McClelland & Stewart; London: J. Cape 1972) [0 224 00639 8]; Catholics (London: J. Cape 1972; Vintage Press 1992, 1994) [0 09985 760 X]; The Great Victorian Collection (London: J. Cape 1975; Grafton 1988; Paladin/Flamingo 1993) [0 5860 8739 7]; The Doctor’s Wife (London: J. Cape 1976; [Grafton]Corgi 1988, 217pp.; Paladin/Flamingo 1993) [0 5860 8738 9]; The Mangan Inheritance (London: J. Cape 1979; Vintage 1992, 1994) [0 09910 231 5]; The Temptation of Eileen Hughes (London: J. Cape 1981; Granada 1983, 1990; Vintage 1990, 1994) [0 09996 110 5]; Cold Heaven (London: Cape NY: Holt, Rinehart & Winston 1983; Granada 1985; Panther 1987) [0 224 02099 4]; Black Robe (NY: Dutton; London: J. Cape 1985; Paladin/Flamingo 1987) [0 224 02329 2; 0 586 08615 3]; The Colour of Blood (London: J. Cape; Toronto: McClelland & Stewart 1987; Grafton 1987; Paladin 1993; Cape 1994) [0 586 08615 3; 0 224 02513 9], also in ISIS [Large Print Ed.]; Lies of Silence (London: Bloomsbury 1990, 1993; Chivers St. [Large Print]; [0 74759 610 8; 0 7450 610 8]; New Longmans Literature [0 5820 870 X]; No Other Life (London: Bloomsbury 1993) [0-7475 14747].

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Joe McCann (Cat. 1999) also lists Canada (Time Life International 1965).

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Notes
Lies of Silence (1990), concerns Michael Dillon, the manager of a hotel where the IRA have planted a bomb. He is trying to decide whether to expose a member of the IRA who has unwittingly identified himself. He knows that going to the police will jeopardise the safety of his wife whom he is about to tell that he is going to leave her for another woman and is urged to remain silent by a priest. Moving to London, he is ultimately tracked down by through the priest, and killed by the IRA.

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Black Robe (1985), set in seventeenth-century Canada, and dealing with the clash between the native Indian rites of the Algonkin [Algonquin] and the missionary zeal of Jesuit missionaries, narrating the tale of Fr. Paul Laforgue - ‘a slight, pale man, thin-bearded, intellectual, but with a strange determination in the eyes and narrow mouth.’ (p.26.) The novel tells the story of the historical figure Fr. Paul Laforgue’s journey up the Ottawa River with Indian companions, and their struggles to survive harsh winter conditions. It is based on Francis Parkman’s The Jesuits of North America and part-inspired as to its colonial theme by Frian Friel’s Translations (1980). It was filmed Bruce Beresford in 1991, with a screen-play by Moore and actors Lothaire Bluteau, Aden Young and Sandrine Holt.

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The Statement (1995; Penguin rep. 1996), is called a morally-complex novel of a fugitive Nazi collaborator who knows no guilt; based on real-life case of Paul Touvier, the French war-criminal long protected by Church and government officials and incorporating Moore's own wartime experience of condtions in formerly German-occupied countries. (See Penguin Notice, Irish Literary Supplement, Spring 1996).

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Clifton St.: The Moore family home on Clifton St. - facing the Orange Hall and the famous pediment statue of William of Orange - was damaged in the Blitz, 1941, and later rehabilated as a Home for Fallen Women in the care of the Legion of Mary; afterwards it fell into disuse and became a refuge for glue-sniffers in its final incarnation before being cleared to make way for a motorway. (See Gerald Dawe, review of Patricia Craig, Brian Moore, in The Irish Times, 30 Nov. 2002, p.12.)

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