Further Reading
- Banville, John. "Honest-to-God Alarms." The Times Literary Supplement, No. 4690 (19 February 1993): 22. (Praises the sustained tension and "existential terror" that the critic finds in No Other Life.)
- Bradbury, Patricia. "Moore Shatters Illusion in the Search for Spiritual Survival." Quill & Quire 53, No. 8 (August 1987): 29. (Favorable review of The Color of Blood. Bradbury admires both the novel's gripping plot and its emphasis upon "personal forgiveness and honesty.")
- Breslin, John R. "The Savage Mission." Commonweal CXII, No. 10 (17 May 1985): 313-14. (Praises Moore's depiction in Black Robe of the ambiguities in both Native American and Jesuit culture.)
- Coren, Michael. "Brian Moore's Love among the Ruins of Belfast." Quill & Quire 56, No. 4 (April 1990): 28. (Admires the structural complexity of Lies of Silence and Moore's astute analysis of the strife in Northern Ireland.)
- Cosgrove, Brian. "Brian Moore and the Price of Freedom in a Secular World." Irish University Review 18, No. 1 (Spring 1988): 59-73. (Analyzes The Lonely Passion of Judith Hearne and The Doctor's Wife in terms of George Lukacs's theory that the novelistic form developed in response to the disappearance of God in an increasingly secular world. According to Cosgrove, both Judith Hearne and Sheila Redden exemplify Lukacs's claim that, in such a world, individuals must construct their own meaning.)
- Craig, Patricia. "Moore's Maladies: Belfast in the Mid-Twentieth Century." Irish University Review 18, No. 1 (Spring 1988): 12-23. (Characterizes Moore as a "strong social critic" who analyzes some of the social, sexual, and intellectual problems that trouble Belfast in The Lonely Passion of Judith Hearne, The Feast of Lupercal, and The Emperor of Ice Cream.)
- Cronin, John. "The Resilient Realism of Brian Moore." Irish University Review 18, No. 1 (Spring 1988): 24-36. (Provides an overview of Moore's career, focusing on his shift away from the lonely and conflicted Irish exiles who figure prominently in his early novels to the "new, un-Irish fables which are proving impressively effective vehicles for his enduring speculations about the human condition.")
- Dahlie, Hallvard. "Black Robe: Moore's 'Conradian' Tale and the Quest for Self." Irish University Review 18, No. 1 (Spring 1988): 88-95. (Identifies similarities between Marlow, Joseph Conrad's narrator in Heart of Darkness (1902), and Laforgue, Moore's protagonist in Black Robe.)
- Eder, Richard. Review of Black Robe, by Brian Moore. The Los Angeles Times Book Review (7 April 1985): 1. (Asserts that while Moore's effort to represent seventeenth-century Native-American culture is often strained, his depiction of the Indians is more substantial and realistic than his portrayal of Father Laforgue.)
- Flanagan, Thomas. "Dangerous Amusements." The Nation (New York) 245, No. 10 (3 October 1987): 345-46. (Examines the varied novelistic settings in which Moore has explored what Flanagan considers his central concern in The Color of Blood, "the fragility of the self." Flanagan also discusses a Canadian Broadcast Corporation documentary on Moore's career.)
- Foster, John Wilson. "Crisis and Ritual in Brian Moore's Belfast Novels." Eire-Ireland III, No. III (Autumn 1968): 66-74. (Maintains that both Diarmuid Devine in The Feast of Lupercal and the title character in The Lonely Passion of Judith Hearne confront "a primitive rather than a twentieth-century dilemma": how to live when rejected by a "compassionless community.")
- Frayne, John P. "Brian Moore's Wandering Irishman—The Not-So-Wild Colonial Boy." In Modern Irish Literature: Essays in Honor of William York Tindall, edited by Raymond J. Porter and James D. Brophy, pp. 215-34. New York: Twayne Publishers, 1972. (Overview of Moore's first seven novels. Frayne discusses Moore's depiction of the conflict between Irish and American values and argues that his belief in failure as a distiller of personality produces "static" and "self-defeating" characters.)
- Leahy, David. "History: Its Contradiction and Absence in Brian Moore's The Revolution Script and Black Robe." World Literature Written in English 28, No. 2 (Autumn 1988): 308-17. (Challenges the claim, advanced by Moore and many of his critics, that Moore's realism is "ideologically innocent." Leahy argues that The Revolution Script and Black Robe, by ignoring contextual complexities and suppressing subversive voices, re-inscribe hegemonic values.)
- Long, J. V. "The Cardinal's Virtues." Commonweal CXIV, No. 19 (6 November 1987): 634-36. (Lauds Moore's characterization of Cardinal Bem, the central character in The Color of Blood, as a spiritual innocent who nonetheless demonstrates the "shrewd practice of virtue" during a complex political crisis.)
- McIlroy, Brian. "A Brian Moore Bibliography: 1974–1987." Irish University Review 18, No. 1 (Spring 1988): 106-33. (Bibliography which includes Moore's novels first published after 1974, earlier novels reprinted after 1974, and scripts. McIlroy also lists secondary sources including interviews, whole books and chapters, dissertations, articles, and reviews.)
- McIlroy, Brian. "Displacement in the Fiction of Brian Moore." English Studies in Canada XV, No. 2 (June 1989): 214-34. (Uses psychoanalytic and postcolonial theory to assert that Moore's Irish characters play language games reflecting their status as colonized subjects and participation in "the mediation of repression in Moore's fiction.")
- McSweeney, Kerry. "Brian Moore's Grammars of the Emotions." In his Four Contemporary Novelists: Angus Wilson, Brian Moore, John Fowles, V. S. Naipaul, pp. 56-99. Quebec: McGill-Queen's University Press, 1983. (Asserts that the settings in Moore's fiction reflect his own circumstances and divides the novels into categories: those set in Belfast, those set in Europe and Canada, and those set in the United States. McSweeney also notes similarities between the novelist and English poet Philip Larkin.)
- O'Connell, Shaun. "Brian Moore's Ireland: A World Well Lost." The Massachusetts Review XXIX, No. 3 (Fall 1988): 539-55. (Examines the ways in which Moore's early novels represent Ireland as repressive and limiting. O'Connell further proposes that the Irish émigrés depicted in later novels often prove unable to progress beyond the paralysis that characterized their lives in Ireland.)
- O'Donoghue, Jo. Brian Moore: A Critical Study. Dublin: Gill and MacMillan, 1990, 266 p. (Analyzes Moore's fiction according to geographic and thematic categories, for example: novels set in Belfast, "novels of exile and escape," novels that explore the consequences of rejecting God, and novels that explore "politics as morality.")
- Ricks, Christopher. "The Simple Excellence of Brian Moore." The New Statesman 71 (18 February 1966): 227-28. (Commends Moore's early fiction, asserting that his focus on ordinary emotional experiences renders the novels widely accessible.)
- Roberts, Paul. "Black Robe: A Terrible and Touching Beauty." Quill & Quire 51, No. 6 (June 1985): 38. (Praises the verisimilitude and objectivity of Black Robe.)
- Sale, Richard B. "An Interview in London with Brian Moore." Studies in the Novel 1, No. 1 (Spring 1969): 67-80. (Relates Moore's observations regarding his childhood, the authors who influenced him, and various techniques he has employed in his fiction.)
- Shepherd, Allen. "The Perfect Role of the Outsider: Brian Moore's No Other Life." New England Review 16, No. 3 (Summer 1994): 164-67. (Praises Moore's "creation of a multiplicity of perspectives on Jeannot," the main character in No Other Life, and asserts that the novel succeeds more because it is absorbing than because it is topical.)
- Sigal, Clancy. "Cardinal Bem on the Run." The New York Times Book Review (27 September 1987): 11. (Favorable review of The Color of Blood, which Sigal admires because, within an absorbing thriller format, Moore explores the complexities of the relationship between church and state in Eastern Europe.)
- Turbide, Diane. "Bombs and Betrayal." Maclean's 103, No. 25 (18 June 1990): 66. (Praises Lies of Silence for fusing detailed characterization with suspenseful plotting.)
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