Kerry McSweeney, Four Contemporary Novelists (Montreal: McGillQueen ’s University Press, 1983). 217. $24.95 Kerry McSweeney’s study proceeds from his conviction that Wilson, Moore, Fowles, and Naipaul are major writers — each has published a substantial body of fiction by which he may be judged, each is still writing and three may be said to be in their prime. Moreover, each has commented on his purpose as a writer and has had his work submitted to much public and critical commentary. For McSweeney, Wilson, Moore, Fowles, and Naipaul have remained, despite “ the contemporary crise de roman, committed to the representational, communicative and instructive functions of the novel.” They are a small band of brothers; not many of their generation can be added to their ranks. The Indian novelist, R. K . Narayan (who is men tioned twice in this book) is one, and the Australian novelist and Nobel Prize Winner, Patrick White (who is not mentioned) is perhaps another. Although “in subject matter, themes, schemata, style and sensibility each novelist is distinctly different from the others,” it is nevertheless possible to discuss them together in terms of “dominant themes, controlling techniques and informing sensibility.” The book, through its four chapters and 190 pages of careful exegesis, tellingly displays the convictions of each of the writers about the “place in serious contemporary fiction for a self-aware realism that combines in instructive and enriching ways the inevitable selfconsciousness of the present day with the representational and communi cative strengths of the traditional novel.” McSweeney’s subjects acknowledge the modernist forces which have altered the form and force of post-World War I fiction and their indebtedness to some of these impulses. But, in Wilson’s words, each is trying “to convince the reader that he was seeing society as a whole” or “ taking into account authorial point of view, indi viduals as in and of the whole.” Wilson, himself, departs only once in the expressionist novel, The Old Men at the Zoo, from the traditional form of the novel. His career reaches its apogee in No Laughing Matter where he finds his full strophe as social historian and moralist, and where he reveals his full command of craft in “narration, powers of characterisation, stylistic fluency and range, and impressionistic mimicry.” Wilson is fundamentally concerned with evil and its seemingly gratuitous effect in the affairs of men; with liberal humanism, its dilemmas and shortcomings; with “distrust of the moral universe” ; with the exercise of authority; with the relations between reason and intuition, thought and feeling, duty and pleasure; with the social and psychological conundrums of individual existence; and with the intricacies of class rela tionships.” For McSweeney, then, Wilson, for all his variety of invention in his eight novels, is a social realist, a novelist of manners and morals and “prober of the ethical life, in particular of the dilemmas of liberal humanists forced to confront reality of evil without and within.” Brian Moore is not of the stature of Wilson, Fowles, or Naipaul — he is not as well known nor as widely acclaimed as they are, nor does he grapple with “big themes of contemporary concern.” Put another way: “ Moore remains content to lick familiar wounds and to play over and over again his personal record of failure, loneliness, exile and meaninglessness.” Neverthe less, there are now twelve published novels and there is “need for critical mediation between novelist and reader if the essential distinction and cumu lative richness of Moore’s work is to be appreciated.” Moore, more than the other writers under review here, has plied his own course, deliberately unaffected by “ the wind of the crise de roman which has blown around him.” Moore is quoted as saying in “The Novel House is Empty” that “its tenants have wandered out witlessly into Barthian byways, through Borgesian mazes to squat, disconsolate, at Beckett’s crossroads, waiting for some faceless God.” So what Moore’s writing reveals, and what recommends him to us, is his capacity to reveal the drama of “the moment in a person’s life, the few crucial weeks or months when one suddenly con fronts the reality or unreality of one’s illusions.” Moore’s commitment is...