Nicholas Mosley – författare

'On a dark night a person searches on the brightly-lit ground under a lamp-post. A passer-by asks - For what are you searching? The person says - For the keys to my house. The passer-by says - Is this where you lost them? The person says - No I lost them in the dark, but this is where the light is.'A retired academic and writer lies in a New York hospital bed. He has come there from his home in London to appear as a pundit on television, only to be knocked down by a car. Formerly an anthropologist, he is now tired of looking for order and reason where he can see none. His views on human nature and war are provocative and he has begun to find himself in demand. The forced inactivity allows him to reflect on the course of his life - the work he has done, the women he has known - and the characters from it begin to gather him: his first wife Valerie, his new wife Veronica, his son Adam. He considers his first marriage and the curious version of fidelity they evolved, his days of teaching at Oxford, and the trip to Iran that saw him return with Nadia, a young girl whom he assists in escaping to a different life in England. Witty, philosophical, and wise, Nicholas Mosley's latest novel is a timely portrait of one man's attempt to bring order to his disordered existence.

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.

This Whitbread Book of The Year Award winner for 1990 is the final novel of the "Catastrophe Practice" series. Set in the 1920s and 30s it tells the story of two young radicals, Max and Eleanor, who meet, love, separate and come together again during the maelstrom of the Spanish Civil War.

Judith is an aspiring young actress and the mistress of a writer on a popular satirical magazine. Her life has increasingly become a dangerous mixture of drugs and self-delusion. When she eventually suffers a breakdown, she seeks healing in an Indian ashram run by an eccentric and even possibly mad guru. But what is at the back of appearances? How calculated is the self-destructiveness from which a new order might emerge?Judith returns to England and joins up with Bert, one of a few friends who have helped her. Bert is making a film about an anti-Bomb demonstration outside a US airbase; the demonstrators have threatened to detonate a bomb themselves in protest. Within this increasingly chaotic setting Judith is led, by way of a search for a lost child of one of her friends, to a place of stillness at the centre. But what attitude makes sense in this sort of world? Who survives?Judith is the third novel based on the interlocking fortunes of the characters in Catastrophe Practise.

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.

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.

Although Nicholas Mosley has written two volumes of family biography and a volume of memoirs, he has, until now, avoided writing about his World War Two experiences.The son of Sir Oswald Mosley who, as the leader of the British Union of Fascists, had been jailed with his second wife, Diana (one of the Mitford sisters), early on in the war ostensibly as a security risk. Despite this, Nicholas was dispatched to join his regiment, the Rifle Brigade, as the Allies fought their way up the Italian peninsula. He came of age in the forcing house of war, surrounded by the constant threat of capture by the Germans.At one point in the Italian campaign this very nearly happened. How Nicholas got away and survived is an example of how sometimes fact can be more bizarre than fiction.Time at War is both an absorbing memoir and an intriguing account of a relationship unlike any other in World War Two. How do you live your life as a soldier fighting the Axis powers when your father is the self-proclaimed British fascist leader?

In Children of Darkness and Light, Mosley takes on what for most novelists has been the most challenging of subjects: a novel directly concerned with religious belief. A middle-aged, burnt-out journalist is sent to the north of England to do a story about the possible appearance of the Blessed Virgin to a group of children, though this may be a rumor initiated by the government to cover up a nuclear disaster. Or both. Out of such conflicting possibilities, Mosley invents a sinister world where nothing is what it seems to be. And as Mosley's narrator moves through the possibilities of half-truths, lies, conspiracies, and betrayals, he himself creates a parallel crisis in his personal life wherein he and his wife are trying to destroy their marriage or save it, or - as we come to expect in Mosley novels - do both at once. And behind all this is the possibility that the narrator - half philosopher and half would-be saint - is little more than a middle-aged man trying to justify his irresponsibility and infidelity behind a shield of wit and irony.

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.

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.

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.

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.

"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.

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?"

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?

"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.

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.

In his final novel, Rainbow People, NicholasMosley offers us the distinctly twenty-firstcenturystory of a holy family. A man, awoman, and a child walk together along thecoast of the Mediterranean Sea, near theborder between Greece and Macedonia. Theywatch as a film is made about the refugeecrisis on the beach. While the mother andfather, joined by the filmmaker, contemplatethe meaning of the crisis, the limited powersof art, the greater powers of fear and faith, thechild explores, plays, and constantlytransforms before their eyes. Months later, thefamily travels from their home in England toCalais, France, where an enormous refugeecamp called “the Jungle” has sprung up. Here,in this unlikely place, the child shows theadults a graceful way to face the future.Mosley’s Rainbow People is a masterful,powerful book about borders, politics, andhope.

"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."

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.

This is a tribute for one of the best African American comedians to ever come to stage. This is a tribute to Martin Lawrence.

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?

At the center of Hopeful Monsters, a pyrotechnically accomplished novel of ideas--winner of the Whitbread Award--are Max and Eleanor, who meet at an orgiastic clash of Nazi and communist youth in Weimar Germany. Their ensuing love affair takes them across landscapes that range from Stalin's Russia to Los Alamos on the eve of the atomic age and into the orbit of such extraordinary characters as Albert Einstein.

Nicholas Mosley brings the unblinking probing of a scientist to bear on the workings of the writer’s imagination. The result is a constantly stimulating, frequently startling, and always cheerfully unorthodox autobiography.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.Efforts at Truth, Mosley’s distinctive autobiography, brings together the singular life and intricate mind of an important, multifaceted writer.

"Natalie Natalia"?is Nicholas Mosley's brilliant examination of political life. It revolves around Anthony Greville, a conservative Member of Parliament who is tormented by his ambivalence toward his career, by his religious doubts, and by his adulterous affair with Natalia Jones, the enigmatic wife of a colleague.The course of their affair dramatizes love in its most creative and perilously destructive aspects, the two facets symbolized in the two names he has for his lover: "I sometimes called Natalia Natalie instead of Natalia," Greville says, "when she was the ravenous rather than the angelic angel... What Natalie said was often a code for what Natalia was meaning." Ranging in setting from England to Central Africa, the novel is a remarkable investigation of ethics, with fiction itself as an ethical activity.

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."