Unlike Graham Greene, who never disowned his "entertainments," Brian refused to talk about his thrillers and in his later years he vainly hoped that nobody would unearth these ephemeral works or decipher the pseudonyms, I personally could never understand this. From the very beginning it was obvious that he had mastered the genre. The books were immensely readable and his genius for atmosphere, dialogue and plot was everywhere evident, but when I said that to Brian it only irritated him.
The last time I saw Brian Moore he was sitting alone in a damp bar overlooking Vancouver's False Creek. I felt he was owed a drink. Just thirty minutes earlier he'd completed one of the worst literary events I had ever attended. The reading, from The Statement, had gone quite well, but it was followed by the most cringe-worthy Q & A.
It began badly with a woman who asked about his work habits. This is, I believe, the most common query posed at such events. It's repeated often by those who seek some sort of formula that will magically transform them into writers. In this particular instance, a rough description would not suffice; what this woman wanted were details, dammit. Her follow-up questions – and there were many – invariably began: "So, you're saying I should...."
Next up was a man who had some extremely complimentary things to say about Margaret Atwood. Praise served as preamble. After assuring the author that he and Atwood were very much in the same league, the speaker blamed Moore's relatively low profile on the fact that his novels were published by several different houses. "Your agent should attend to this", the author was advised.
It all ended with an animated, wildly overdressed man, who used the forum to deliver a lengthy speech on Canada as a "rabidly" anti-Catholic country.
"Is Canada an anti-Catholic country?" was Moore's brief, yet polite response.
Filing out, I repeated this question to my companion, a member of the Church of Rome, who countered that our prime minister, Jean Chrétien, was a Catholic (as had been seven of his nineteen predecessors). Though C of E myself, I breathed a sigh of relief.
At some point in all this mess, Moore had happened to mention The Revolution Script, his 1971 novel about the October Crisis. It was, he'd said, a mistake to have written the book. This off-hand remark came back to me while reading The Executioners. Having disowned his pulp novels, had Moore started to distance himself from other works?
Brian Moore was Graham Greene's favourite living novelist, and as one might expect, his bibliography is both impressive and long. Ignoring the pulps, from 1955 until his death he averaged something approaching a book every two years. Here's the list that was included in Moore's 1988 novel The Colour of Blood:
And here's what was printed seven years later in The Statement, the book he was obliged to promote that grey Vancouver afternoon:
Note that The Revolution Script has disappeared, as has Canada (1963), a non-fiction title he wrote for money "with the Editors of Life". I very much doubt that this was an oversight. Once published, the titles had always been recognized in similar bibliographies until Lies of Silence (1990)... when they disappeared, never to included again.
I'd have been proud to have written either.
And then there's the leader himself, who Moore biographer Denis Sampson tells us was inspired by Stanislaw Mikołajczyk, the subject of the author's very first piece of journalism.
