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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?

Takes on what, for most novelists, has been the most challenging of subjects: a novel directly concerned with religious beliefs.

On vacation from school, Denis goes to stay at Crome, an English country house inhabitated by several of Huxley's most outlandish characters--from Mr. Barbecue-Smith, who writes 1,500 publishable words an hour by "getting in touch" with his "subconscious," to Henry Wimbush, who is obsessed with writing the definitive HISTORY OF CROME. Denis's stay proves to be a disaster amid his weak attempts to attract the girl of his dreams and the ridicule he endures regarding his plan to write a novel about love and art. Lambasting the post-Victorian standards of morality, CROME YELLOW is a witty masterpiece that, in F. Scott Fitzgerald's words, "is too irnonic to be called satire and too scornful to be called irony."

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.

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?

The tenth child of a fantasist mother and an absent millionaire, Matty Crickholme is growinginto a sexually bewildered, neurotic young man. Through the collected paraphernalia of anunconventional childhood, Alex Kovacs creates a quirky, kaleidoscopic rumination on family andhow it shapes us—for better or worse.Sexology follows the strange, wonderful, fluxional world of the Crickholmes, wherenonconformism is celebrated, siblings form autonomous republics, and eccentricity reignssupreme. The Crickholme siblings youthful exploits take them on myriad paths: a hermeticpsychic, a dog trainer, an ice cream purveyoress, a missing person. Between memories,factoids, letters, and old photographs, Matty investigates how their offbeat rearing made themthe adults they became, and how fantasy and convention collide.Alex Kovacs’s writings have received acclaim for their invention, wit, and astute observations ofour absurd world. Sexology brings this intellectual playfulness to the story of the Crickholmeswith a unique prose that evokes the complex emotional landscapes of W.G. Sebald’s novels andthe sometimes-gentle, sometimes-devastating style of Susanna Clarke. The result is anentrancing, incomparable medley.