The Squire's Tale

Hunting for something new at McKay's the other day, I ran across a series by Margaret Frazer -- the Dame Frevisse Medieval Mysteries -- in which a nun in a medieval convent solves crimes.  It looked intriguing, and a quick glance showed the writing to be good, so I decided to try it out and bought The Squire's Tale.   

It's a quiet, slow-paced novel, allowing the reader to get a sense of character, setting, and context without leaping into the criminal action.  In fact, the murders to be solved don't even occur until nearly 3/4 of the way through.  Yet I didn't find myself wondering when we would get to that point; I felt that the development warranted it and merely kept wondering which character it would be, given the dynamics among them.

Dame Frevisse interests me very much.  She is a woman of faith, who loves God and the worship of God, who gives willing obedience to her superior in the convent, who goes about her tasks with a generally willing and cheerful spirit.  When her tasks are not to her liking, she takes herself in hand, bites back uncharitable words and thoughts, and gets on with it.  When a matter is none of her business, she curbs her curiosity and turns her mind elsewhere.  At the same time, she notices all that goes on around her and remembers it when she needs it.

Not that she is a doormat, not at all.  When the abbess proposes that she wear an expensive cloak (a gift from her cousin which she never wears because of her vow of poverty) on her journey, she points out that the other sister has no such cloak and it would look out of place for one to be richly dressed, the other not; the abbess accepts her assessment.  When the lady of the house she stays in for a time acts the fool, Dame Frevisse rebukes her calmly and firmly and does not give in to her pleas for undeserved pity.  When the men of the household demur at her asking questions, she simply asserts the authority given her by the master of the house and persists.

Perhaps because the murders occur so late in the book, I did find the resolution a little too quick.  It wasn't unprepared for; I had suspected the culprit now and then though without certainty.  But we hadn't been as well prepared for the motive as I would have liked.  (I also felt that one of the principle characters should have done a bit of penance before being rewarded, though the reward is just.)  However, for me these were minor flaws.

Especially refreshing: no foul language; no explicit sex or excessive gore; unashamed discussion of sin, repentance, love of God, right and wrong; characters who struggle with sin and desire to live righteously; a main character who is willing to obey God and man yet without being limply subservient and while upholding the claims of justice.  In other words, I found it realistic without giving in to certain modern sensibilities which I find wearying at best.

I'd put this novel on a par with Ngaio Marsh's Inspector Alleyn series and plan to gather others as I can.  An enjoyable day's read, and, if you like character development and quiet pacing, definitely worthwhile.

A Theology of Reading

I've been working at reading Alan Jacobs' A Theology of Reading: The Hermeneutics of Love for several months now.  He's an excellent writer, but I don't have the background in philosophy that would make for easier reading, so I can only take it a bit at a time while working at absorbing it.  I'm sure I'm missing more than I'd like, but I do think I'm getting the main ideas.  I'll reread when I finish and would like then to give a review of the book.  Overall, he's making the case for reading with charity toward the text and the author, seeing books as gifts that should be offered and received in a spirit of love.  It's a wonderful book, one I hope to draw from as I read, write, and teach.


In the chapter I was reading yesterday, Jacobs offers this from Petrarch, who is explaining his frequent use of quotations from classical authors:

Nothing moves me so much as the quoted axioms of great men.  I like to rise above myself, to test my mind to see if it contains anything solid or lofty, or stout or firm against ill-fortune, or to find if my mind has been lying to me about itself.  And there is no better way of doing this -- except by experience, the surest mistress -- than by comparing one's mind with those it would most like to resemble.  Thus, as I am grateful to my authors who give me the chance of testing my mind against maxims frequently quoted, so I hope my readers will thank me.

Another reason to be well-read and pass on what we learn.

C. S. Lewis on Literature

Several of us read and discussed quotations from C. S. Lewis in chapel this week; here's what I wrote:

We often forget that C.S. Lewis made his living as a literary critic and teacher of literature. Teachers of literature today do not only use his literary works, such as Screwtape Letters or Till We Have Faces, in our classes, but also his works of criticism, such as The Discarded Image on medieval and Renaissance literature or Spenser’s Images of Life on the Fairie Queene. And his writings on the philosophy of literature, found in books such as On Stories and numerous essays in various collections, provide a framework for an approach to writing and reading that is invaluable to the serious Christian.

In his essay “Christianity and Literature” (which can be found in the collection Christian Reflections), Lewis writes about the contrast between modern criticism, which aggrandizes the self as the source of “creativity, originality, and spontaneity,” and the Scriptural understanding that we are to be “as little as possible ourselves,” and instead become “clean mirrors filled with the image of a face that is not ours.”

He writes, “pride does not only go before a fall but is a fall – a fall of the creature’s attention from what is better, God, to what is worse, itself.” Because of this, he asserts that “the basis of all critical theory [should be] the maxim that an author should never conceive himself as bringing into existence beauty or wisdom which did not exist before, but simply and solely as trying to embody, in terms of his own art, some reflection of eternal Beauty and Wisdom.” He further claims that “all the greatest poems have been made by men who valued something else much more than poetry”: in other words, art created merely for its own sake can only be shallow, frivolous, and self-important; art for the sake of the other – God and neighbor – has the potential to attain sublimity.

In other words, Christians are meant to be only reflected light – just as the moon has no light of its own but can only reflect the light of the sun, we have no light of our own but can only reflect the light of the Son of God. We cannot create ex nihilo: all that we make is drawn from what has already been given; it is discovery of that which already exists.

As both a writer and a teacher of literature, these claims guide my philosophy.

As a writer, this leads me to seek first to serve my readers rather than to focus on my uniqueness as a writer; the work I produce must not be intended to draw attention primarily to me and my ability to be “different,” but rather it must be intended to serve those who read it by reflecting the beauty and wisdom that God has revealed. I must be in the business of seeking truth before all else, desiring to make that truth accessible to others for their benefit. If I do this, I can be confident that the unique personality God has given me will be carried in the works – but only to the extent that it is helpful in serving to point others to its Source. “He must increase; I must decrease” must be the Christian writer’s motto as it is that of all believers.

As a teacher of literature, I desire for students to find the wonder and beauty of the works they read, and to glorify God for such gifts – that fallen men can show us the beauty of God’s creation and the hope of redemption in a broken world. We can and should love such writers, but we honor them most when we recognize that they point us to a greater One, to the One who is the Source of all beauty and wisdom. Even secular literature often does this, of course, because every writer is made in the image of God and able to reflect some truth about the world he observes and records and reflects upon; whether he knows it or not, his compass is set to true North whenever he writes with honesty. And even what he may miss reminds us of the world’s brokenness and the need for God’s message of redemption to inform it.

In these ways, Lewis’s professional and Scriptural understanding of the place of literature in the life of the Christian informs all that I do and – even more importantly – challenges me to always remember my own purpose in the world: to “become a clean mirror filled with the image” of the Lord who lives in and through me.

Living Reality in Light of Eternity

“The people of our time are helpless, distracted, and rebellious, unable to interpret that which is happening, and full of apprehension about that which is to come, largely because they have lost this sure hold on the eternal which gives to each life meaning and direction, and with meaning and direction gives steadiness. I do not mean by this a mere escape from our problems and dangers, a slinking away from the actual to enjoy the eternal. I mean an acceptance and living out of the actual, in its homeliest details and its utmost demands, in the light of the eternal, and with that peculiar sense of ultimate security which only a hold on the eternal brings. When the vivid reality which is meant by these rather abstract words is truly possessed by us, when that which is unchanging in ourselves is given its chance, and emerges from the stream of succession to recognize its true home and goal, which is God – then though much suffering may, indeed will remain, apprehension, confusion, instability, despair will cease.”

When I read this passage from Evelyn Underhill’s Radiance, I was struck by the way it echoes what I have been saying about literature (good literature, true literature) for a very long time. We are not healed or helped or eased by escape from reality, whether into the worlds of literature or into a world of esoteric contemplation. The saint cannot very well be a saint if he does not live in reality, after all. We are not saints for God’s sake; we are saints for the sake of our neighbor. God pours Himself into us to make us saints, of course – we can hardly be saints on our own power – but He doesn’t do this because He has some personal need for our patience, our endurance, our joy, our love. He surely desires these things of us, and offers them to us for our growth and strength, but He is all this and all else that is Good, so when we offer Him these we offer Him nothing He doesn’t already have.

Rather, it is our neighbors who need us to be saints. We need to be saints in the midst of the reality of this broken world in order to serve our neighbors. We need to offer them the fruit of the joy, the faithfulness, the compassion, the diligence that He has poured out and wrought in us, to draw them to the only real Hope offered to any of us. We need to find the eternal, to turn to the eternal, to rejoice in the eternal and find our strength there in order to live well here, in, as Underhill calls it, the “actual.”

And while the road of the mystic, the road of contemplation, is one way into the eternal which informs our life in the actual, another road is that of literature, the words of the wise from all of time gathered in the soul to remind us of, of course, the eternal in the actual. I have said that literature shows us the ideal, the way the world ought to be. Not, if it is true, ideal in the sense of unfallen – we have no idea what an unfallen world would be – but ideal in demonstrating to us the way to live well in the midst of that fallenness, to demonstrate courage and compassion and forgiveness and gratitude, and to bear witness to their Source.

"Lit Instructor"

I ran across this lovely poem by William Stafford in Parker Palmer's The Courage to Teach:

"Lit Instructor"

Day after day up there beating my wings

with all the softness truth requires

I feel them shrug whenever I pause:

they class my voice among tentative things,

And they credit fact, force, battering.

I dance my way toward the family of knowing,

embracing stray error as a long-lost boy

and bringing him home with my fluttering.

Every quick feather asserts a just claim;

it bites like a saw into white pine.

I communicate right; but explain to the dean--

well, Right has a long and intricate name.

And the saying of it is a lonely thing.

--from American Poems

On Moral Fiction

I'm revisiting John Gardner's On Moral Fiction this summer, thanks to the quotation from it which Bill Luse posted at Apologia, and -- since I seem incapable this week of formulating any thoughts other than those required for the class I'm teaching -- I thought I'd post some quotations that have intrigued me this time through, ones that caught my attention the first few times I read the book and have done so again because of their remarkable applicability today, over three decades after its publication.

On art as instructive:

"Moral action is action which affirms truth. [. . .] It was once a quite common assumption that good books incline the reader to [. . .] morality. It seems no longer a common or even defensible assumption, at least in literate circles, no doubt partly because the moral effect of art can so easily be gotten wrong, as Plato got it wrong in the Republic. To Plato it seemed that if a poet showed a good man performing a bad act, the poet's effect was corruption of the audience's morals. Aristotle agreed with Plato's notion that some things are moral and others not; agreed, too, that art should be moral; and went on to correct Plato's error. It's the total effect of an action that's moral or immoral, Aristotle pointed out. In other words, it's the energeia -- the actualization of the potential which exists in character and situation -- that gives us the poet's fix on good and evil; that is, dramatically demonstrates the moral laws, and the possibility of tragic waste, in the universe. It's a resoundingly clear answer, but it seems to have lost currency."

Later, there's this:

"In a democratic society, where every individual opinion counts and where nothing, finally, is left to some king or group of party elitists, art's incomparable ability to instruct, to make alternatives intellectually and emotionally clear, to spotlight falsehood, insincerity, foolishness -- art's incomparable ability, that is, to make us understand -- ought to be a force bringing people together, breaking down barriers of prejudice and ignorance, and holding up ideals worth pursuing." He indicts American literature of his day (the book was published in 1977) for largely not doing this well, of instead posting "cynical attacks on traditional values such as honesty, love of country, marital fidelity, work, and moral courage. This is not to imply that such values are absolutes, too holy to attack. But it is dangerous to raise a generation that smiles at such values, or has never heard of them, or dismisses them with indignation, as if they were not relative goods but absolute evils. The Jeffersonian assumption that truth will emerge where people are free to attack the false becomes empty theory if falsehood is suffered and obliged like an unwelcome -- or, worse, an invited -- guest. Yet to attack a work of fiction on moral grounds seems now almost unthinkable."

Intellect and the Love of God

Dr. Anthony (Tony) Esolen visited the college for three days this week, speaking in chapel and classes, giving a poetry reading, and talking to many of us one on one. We have seen in him and his work the beauty of the intellect informed by devotion to Christ, and some of us will never be the same.

Tony’s first chapel talk challenged us to consider the loss of a true “popular culture” – one which emerges from the people themselves based on a common identity and values. Because entertainment today is done for and to us, we no longer know how to create such a culture, nor do most of us even believe that we should – like so many other things, entertainment – culture – should be left to the experts. Tony got at this concept through a discussion of the morality plays popular across Europe and Great Britain for three centuries – plays produced by the people of their own towns for the Christian festivals such as Corpus Christi. He narrated the “Second Shepherd’s Play” to show the depth of the people’s knowledge of human nature, its depravity and its possibility for redemption. He kept us laughing and in the midst of the laughter reminded us of the need for grace and compassion, forgiveness and love. It was challenging, compelling, true excellence in which love for the Lord and the people He has created shone.

The second chapel talk was brilliant. Tony drew us through The Tempest, Shakespeare’s lovely tale of betrayal, correction, redemption, and reconciliation, showing us how obedience and love are intertwined. I can’t summarize it at this point; so many images swirl in my mind: Caliban, who – though half-witch and hateful – can feel wonder and so has hope for redemption; Ferdinand and Miranda, whose love shows the spirit of self-abnegation and purity; Prospero in his God-like role of judge and profferer of the means of grace and forgiveness: repentance and obedience. All bound up in the capacity for wonder, for seeing that which is beyond and above ourselves – for without wonder there can be no acknowledgement of God, of love.

In the Renaissance Lit class, Tony discussed with the students the courtly love tradition through the story of Virgil’s proper response of instant obedience to the heavenly lady Beatrice, to carry out her wish that he guide a lost soul in the first stages of his journey back to truth – as contrasted to the improper story of the adulterous couple Paulo and Francesca, who fall in love at first sight and pursue their own desires. The second day, he took us through contrasts in the image of the journey: Dante sets off on a journey to find God; within the rings of hell are many who, because they refused to journey anywhere but for and to the self, are condemned to be always moving while going nowhere. Throughout the discussion both days, the contrast between love of God and love of self – the need to abandon ourselves completely to God in childlike trust, to practice the divine madness of love.

Tuesday night, Tony read poetry to us: Milton, Browning, Hopkins, Herbert. He blindfolded himself to play the part of the blind poet, and in some cases blind Satan, and quoted passage after passage from Paradise Lost. He recited Browning’s monologue “The Bishop Orders His Tomb at Saint Praxed’s” and Hopkins’ sonnets, and Herbert’s passionate poems about his journey with the Lord of life. After an hour and a half, which amazingly seemed like fifteen minutes to a group of college students in mid-term week, we knew that we had heard the gospel from someone who lived it, through the poets he loves. And we walked away desiring a better love for God and man alike.

I have known one other true genius in my life. He is a good man who practices the Christian virtues without knowing the One by whom they exist; he has that capacity rare among the truly intellectually brilliant of being able to articulate ideas at any level. This week I saw what that man would be if he turned to his Creator and embraced the One who makes his life, his love, his goodness possible. I saw the deepest devotion to Christ, flowing from a man who has given heart, mind, soul, and strength to love Him, and I was challenged as perhaps never before to make that kind of life mine.

And that is the most important thing that happened at our college this week. We saw that brilliant intellect can exist integrated with unabashed, flooding love for God. Praise Him for His work in Tony’s life so that ours might be challenged and changed to more and deeper love.

Happy Days: New Books!

The day an Amazon box appears is always delightful! In this shipment:

Poetry and Creative Nonfiction

• The Stream and The Sapphire by Denise Levertov
• Teaching a Stone to Talk by Annie Dillard
• Love's Immensity: Mystics on the Endless Life by Scott Cairns

On Christianity

• The Prodigal God by Timothy Keller
• Jesus of Nazareth by Joseph Ratzinger (Benedict XVI)

Fiction

• The Changling Sea by Patricia McKillip
• The Fifth Woman by Henning Mankell (a Kurt Wallandar mystery)
• Dead Irish by John Lescroart (a Dismas Hardy mystery)
• Child 44 by Tom Rob Smith
• The Diary of a Country Priest by Georges Bernanos
• In the Beginnng: First Novels in a Mystery Series by Mary Jean Demarr

Education

• The Beautiful Tree: A Personal Journey into How the World's Poorest People are Educating Themselves by James Tooley
• The Paideia Proposal by Mortimer Adler
• Shop Class as Soulcraft: An Inquiry into the Value of Work by Matthew B. Crawford
• How to Think about the Great Ideas by Mortimer Adler

Yes, I've read the essays in Teaching a Stone to Talk -- I just didn't have the collection itself. A friend lent me The Changling Sea, and I had to have my own copy; McKillip's fantasy writing is some of the most beautiful I've ever read. (I hear it's uneven, but so far -- after three -- I'm a fan.)

I have begun the Kurt Wallandar mystery and am in love. I recall seeing one of Mankell's stories on Mystery and enjoying it -- but one never can judge the book by a television adaptation. They seem, however, to have captured his character quite well. The stories are set in Sweden (the author is Swedish and the books are translated), and I am enjoying the new (to me) setting and Wallandar's meditations on Swiss life and the changes he's seen over the years.

The rest sit beside my LazyBoy in the study awaiting their turn. First, however, I shall finish Scott Cairns' The End of Suffering and post a review of it. It's a lovely book, challenging and encouraging.

I plan to make another order soon -- recommendations are always welcome!

Ghost Stories by Russell Kirk

Ancestral Shadows: An Anthology of Ghostly Tales by Russell Kirk

The final piece in this anthology is an essay by Kirk, “A Cautionary Note on the Ghostly Tale.” He writes that his tales are “experiments in the moral imagination,” which will include “elements of parable and fable.” “The good ghost story,” he says, “must have for its kernel some clear premise about the character of human existence – some theological premise, if you will.” He reminds us that “all important literature has some ethical end; and the tale of the preternatural [. . .] can be an instrument for the recovery of moral order.”

One reason this is so is because the best of such stories “are underlain by a healthy concept of the character of evil” – but also by the knowledge that evil powers “do not rule the universe; by bell, book, and candle, symbolically at least, we can push them down under.” He is clear that he believes in the supernatural, that he refuses merely material, scientific explanations (or hallucination) for the glimpses of it that people sometimes have, and he also tells us that these glimpses must be fleshed out, by the imagination, to create a good tale.

The ghostly tale can be “a means for expressing truth enchantingly,” he writes, but not at the expense of exercising “didactic moralism” nor by losing real fear of real evil – the “shapes and voices half-glimpsed and half-heard are [not] symbols merely.” He takes note of the materialistic nature of his culture (born in 1918, he lived through most of the 20th century), and remarks on his hope that “as the rising generation regains the awareness that ‘nature’ is something more than more fleshly sensation, and that something may lie above human nature, and something below it – why, the divine and the diabolical [may] rise up again in serious literature.”

The tales are fascinating and well-told. Occasionally a character from one story reappears in another, and – while each story is complete in itself – it is helpful to know the earlier tale, so I recommend reading them in order. It’s hard to reveal much about them, as the element of mystery and suspense is necessary for full enjoyment. There are tales of retribution and of beneficent help from beyond the grave, of possession and attempted possession, of heroics in the face of monstrous supernatural evil, of pride and humility, set around the world in city and country, musty old mansions and ancient cathedrals.

Kirk’s tales remind me often of Charles Williams’ novels (and Kirk was familiar with these). I don’t find the stories didactic; they are simply fascinating tales, well-told. Of course, I share Kirk’s Christian worldview, which allows for the actual existence of clearly distinct good and evil – and for good to have ultimate power over evil. His narrative style is easy to read, self-effacing – his skillful craftsmanship ensures that the reader’s attention is given to the story itself. Each story shows evil as evil, and unashamedly shows us good ascendant over it. Characters have choices, and, much as in Williams’ work, the choices lead them toward heaven or hell. Choices are sometimes offered in that murky world between living and dying, past and present, too; the shadowland where time is no longer in play.

“I present [these tales] to you unabashed,” Kirk writes. “They may impart some arcane truths about good and evil: as Chesterton put it, all life is an allegory, and we can understand it only in parable.” Certainly he has succeeded in his goal, perhaps beyond his expectations, and I shall read these stories many times, gladly obeying his final injunction: “Pray for us scribbling sinners now and at the hour of our death.” God rest us all in His eternal goodness.

Russell Kirk is an icon of the conservative movement, right up there with William F. Buckley, and has written on politics, culture, and economics (he even wrote an economics text for high school which my son greatly benefited from).

Books, Books, Books

I made an order from Amazon a week or so ago, hoping that some of the books would come in about the time the term ended. Much to my dismay, they shipped them immediately and they have already arrived. So I now have ten new books sitting beside my Lazyboy and approximately 53,982 pages of student writing to plow through before I can justify doing more than stare at them longingly.

Books on culture and faith:
The Death of Christian Culture and The Restoration of Christian Culture, both by John Senior
Images of Hope: Meditations on Major Feasts by Benedict XVI
Culture Making by Andy Crouch

One on politics:
Liberty and Tyranny by Mark Levin

Creative nonfiction:
Waiting for Snow in Havana by Carlos Eire

Fiction:
We the Underpeople by Cordwainer Smith
Eifelheim by Michael Flynn
The Best of Gene Wolfe (short stories)
Ancestral Shadows (ghost stories) by Russell Kirk

John Senior was a classics professor, well-loved, at my alma mater; I've been seeing a number of articles about him lately and, since I never took any of his classes, I thought it would be good to get to know him this way. The fiction writers are all new to me, recommended by commenters at the Touchstone weblog Mere Comments. I've read some of Kirk's nonfiction, but none of his fiction. I confess to reading the first story in the Wolfe collection and falling in love already. One more week . . .

The Day of the Jackal

Murder mysteries are my usual "light reading" choice. Spy thrillers are not my cup of tea; too much political intrigue as a rule to keep my interest. But when we went to McKay's at the beginning of spring break a couple of weeks ago, I picked up Frederick Forsyth's The Day of the Jackal, thinking I ought to give it a try since it is such a well-regarded classic of the genre. I began reading just a chapter a day when I could get to it, enjoying it much more than I'd thought I would . . . then yesterday, with about the last half to go, I couldn't put it down till I finished. It's a truly excellent work.

Perhaps "spy" is a bit of a misnomer; it's about an assassin who is hired by resistance forces to kill Charles deGaulle, and the hunt for him when the plot is discovered. But Forsyth skillfully weaves in the political background of the story and the rationale of the rebels, remaining true to history as he creates his own characters and plot to place within its bounds. No one knows who the Jackal is, except that he is a tall, blonde Englishman who has never been connected with any name or any crime. Forsyth first introduces us to the rebels and their decision to hire a foreign assassin after their sixth attempt to kill deGaulle goes astray and one of their leaders is executed; then he follows the Jackal's meticulous planning, including the various disguises he prepares (along with passports and papers for each), leaving us no doubt of his cool and merciless character. Finally, the government forces discover the plot and the hunt is on -- Commissaire Ledel versus the Jackal in a battle of wits, the stakes literally life or death.

Forsyth kept my attention with every* word. He writes with much detail, but every* detail essential. His style is not mannered in any way; it is an excellent example of realist writing which keeps the writer out of the text through any obvious mannerisms or commentary. The structure is perfect as he moves back and forth between simultaneous events without losing the thread of the narrative, neither giving away too much too soon nor holding back needed information to follow the complex plot. We never learn who the Jackal is, and he is portrayed as a mysterious and unknowable man with no conscience but a taste for the good life, which he plans to live after completing this last job for enough money to "retire" on. Many of the other characters are well-rounded, not overly stereotyped (some of the more minor ones are, of course; one can't have such a huge cast as he does without some shorthand characterization); he is particularly good at creating the tensions of conversation in which there are competing personal and professional interests.

Ironies of all sorts abound, and the hypocrisies and ambitions of the politicians (and the hubris of deGaulle) are interestingly contrasted with Ledel's single-minded pursuit of criminals who would destroy the peace. When the government men following the investigation complain of his contacting heads of police in other states, Ledel says mildly, "all countries, whatever their political outlook, are opposed to crime. So we are not involved in the same rivalries as the more political branches of international relations." They needn't worry about the discretion of police in other countries, he assures them: "The political assassin is the world's outlaw." After receiving the assignment, the narrator tells us that Ledel might have been thinking of the immense power given him or the honors that might come if he succeeded or the repercussions of failure -- but "[b]ecause he was what he was, he thought of none of these things. He was puzzling as to how he would explain over the phone to Amelie [his wife] that he was not coming home until further notice."

The contrast of the small, henpecked detective with the confident, handsome, physically strong Jackal works excellently. The Jackal knows his job and pursues it single-mindedly, certain of his success because certain of his own abilities, and driven by his selfish desires. But the detective, whose appearance works against him in the government briefing room, is no less single-minded and at least as brilliant. He, however, places his confidence in his method and his colleagues, not in his personal brilliance, and is driven by his ideal of justice. And Forsyth develops their battle in a novel I highly recommend.

*My one caveat: I did feel that the few scenes of sexual intimacy were overdone and gratuitous; one doesn't need the detail there either to follow the plot or to understand the characters. These are not frequent, but I found them disturbing.

Connections, Connections

The past couple of weeks have been filled with connections in literature and discussion. It’s driving me a bit crazy because there’s no time to sort them out, write them down, make more than vaguely intuitive sense of them.

So I’m recording impressions today, just for fun (or, more likely and more seriously, for sanity).

Elocution: I’m teaching Charles Williams’ Descent into Hell in freshman comp this semester. The action (if it can be called that) takes place within the scope of a play production, a pastoral comedy written by the eminent poet-dramatist Peter Stanhope. The leader of the chorus, Pauline, is working on her lines one day and enters a discussion with her grandmother, Margaret, who notes in passing that the play’s producer, Mrs. Parry, has always thought a little too much of elocution and not enough of the poetry itself. She goes on, with infinite kindness, to also note that Pauline has been rather like this in her relation to Margaret: more concerned with the outward care of duty, of appearance, than the give-and-take of Love. Pauline, duly rebuked, finds this a help along her way to understanding and living in Love.

Then we read the “Night” section in Goethe's Faust for World Lit 2. And lo and behold, here is Wagner, Faust’s student, prating on about the importance of elocution to public speaking – if one speaks with the right tones and gestures, one will be effective. Faust decries this: what is needed for effective persuasion, he says, is to speak from the heart, not to study form. I am not sure, however, that his understanding and advice is really the same as Margaret’s – I want to bring them together and explore the similarity and what may be some key difference in the ideas.

Negation: This has been cropping up everywhere, it seems. We read Katherine Anne Porter’s short story “Flowering Judas” in Intro to Lit recently; the main character, Laura, lives by negation – saying “no” to every possibility for life and love. This negation leads her, she seems to know, to be as cruel as the socialist/Marxist revolutionaries she works alongside, yet she cannot bring herself to say “yes” to any hopeful possibility.

We also read Ernest Hemingway’s “Hills Like White Elephants” in that class, another tale of negation. The man wants only to have his footloose, fancy-free life without responsibility; the girl, it appears, finally gives in to him, choosing the death of her unborn child, still intangible to her, to keep the tangible security of his presence – yet knowing, even as she chooses, that this too will be another death.

And Descent is a story of negation. Wentworth is given the opportunity to choose love, again and again, and each time he refuses, despising everyone and everything that keeps him from being the one in the limelight. I would, again, like to look at these and other pieces I’ve been reading to find the connecting threads.

The serpent in Eden: This one’s been cropping up all of a sudden, too – the Cupid and Psyche myth, Lily Sammile in Descent, somewhere else recently that refuses to come to my exhausted mind on this Friday evening at the end of another lovely but tiring week.

Connections. I’ve always looked for them; they are everywhere in literature. But somehow these are haunting me just now, and I hope to find out why soon.

Exiles

I got books this last week, and immediately devoured Exiles by Ron Hansen. It is a fictionalized account of Gerard Manley Hopkins' life paralleled with the lives of the five nuns who died in the shipwreck of the Deutschland, about which Hopkins wrote one of his most compelling poems.

The book's title reflects the fact that both Hopkins and the five nuns were in some sense exiles. The nuns were sailing from Germany to England and then to the U.S. at least in part because their religion and work was being suppressed by the Falk Laws against Roman Catholicism in Germany. Hopkins made himself an exile in one sense by converting to Roman Catholicism in an England which still despised and to some degree discriminated against Catholics (university degrees were not available to Catholics, for example, except from Catholic institutions); his conversion also cost him at least some fellowship with his family, although they did not disown him. His constant moving about by command of the Jesuit order which he entered was another form of exile, especially when his final move took him away from his beloved England to Ireland, where he died. In addition, Hansen suggests that he was in some sense exiled from his natural gift for poetry because of his vocational choice.

Hopkins was tremendously moved by the accounts he read of the wreck of the Deutschland, and especially by the deaths of the five nuns, one of whom was said to have cried out "O Christ, come quickly!" as passenger after passenger succumbed in various ways to the cold weather and the icy water. His poem, The Wreck of the Deutschland, imagines both the terror of the wreck, with many details gleaned from his reading, and the faith and hope of the nuns lost in it, as well as containing the story of his own faith. It is a magnificent poem, and it is especially important because it is the first complete effort in his experimental sprung rhythm -- which is quite likely the reason it was refused publication.

The book works very well at some levels. Hansen uses many of Hopkins' own words, from his poetry, his journals, and his letters; he does this explicitly but often simply merges them into the text, creating a stab of unexpected delight when the reader recognizes some loved phrase. He tells the two stories alternately within each chapter. The first couple of times he switched I found startling, but grew used to it quickly. The part of Hopkins' story that he tells, he tells well. There is a good deal of information about Hopkins available, and he stays true to this, making the scenes he creates ring true to what we know of the man already.

Next to nothing is actually known about the five nuns besides their names, so Hansen has pretty much free play here, and he creates five intriguing characters with very different lifestories, personalities, and motivations. He doesn't sugarcoat them -- they have their flaws -- but at the same time he shows a realistic commitment to their vocation.

However, when I finished the book I was left with a sense of incompleteness. It is true that Hopkins was a melancholic man who suffered from severe depression much of his adult life. The "terrible sonnets" reveal this to us as well as his journal, his letters, and second-party sources. Yet this was not the whole of the man, and Hansen only alludes to the hope and joy that his work also shows us. Yes, he gives some scenes and descriptions of Hopkins the genial colleague and friend, and Hopkins' dying words -- "I am so happy!" But the emphasis in the second half of the book is so much on the darkness that one could easily believe that Hopkins was simply a miserable person who had missed his true calling -- a suggestion at least hinted at in a long paragraph interlude speculating on how his life might have been so much better (and longer) had he not become a priest.

I do not believe that the body of Hopkins' work supports this idea, nor do I think it is our place to suggest that he should have led an easier life and given us more poetry. Perhaps, in fact, he could not have given us the remarkable work that he did had he lived an easier life. In any case, it seems to have been Hopkins' own very clear sense that he was living as he had been called to live, that God -- though at times He seemed far away and even uncaring -- was at all times his Friend and Father and Lord, and that disappointments and adversities were simply part of the refining process required of all of us. I wish that Hansen had shown this; I wish that he had emphasized the Hopkins that we see in the "sonnets of consolation" which Hansen barely mentions as having been written after the "terrible sonnets."

This same sense of darkness seems to permeate the story of the five nuns. Although he presents them as women of faith, true to their vocation, with prayer and meditation as an integral part of their lives, still they come across somehow as not particularly hopeful, meeting death stoically perhaps, but not especially with Christ in mind or a joy to meet Him. I don't know if Hansen was afraid to create plaster saints -- always a danger in writing about faith -- but in avoiding that danger it seems to me he has struck the opposite, offering us a stoicism that could be seen in many who do not have the hope of Christ at all.

Still and all, I will seriously consider assigning this book the next time I teach a course in Hopkins. It's reasonably well-written, and offers a perspective to be considered alongside Hopkins' own work and factual biographies of him. It might also be an interesting book to use in a creative writing course, given the two different sets of information and how Hansen uses and transforms each of them into fictional biography.

New Year's Resolutions

This morning as I’ve browsed the web I’ve of course run across numerous references to the ending of one year and the beginning of the next. “Have you made your New Year’s resolutions yet?” (of course not; the moment after I make one I’ll break it, so why bother?). “Highlights of 2008” (more depressing than encouraging to me, as a rule – what many people seem to think of as a “highlight” often strikes me as a new low). “How to make your dreams come true in 2009” (sure; it’s all so simple and will certainly happen this time).

Then I came to one of my favorite sites – Touchstone’s Mere Comments – and found what I wanted: a post by my favorite contemporary writer, Tony Esolen, which offers true wisdom and food for thought – “Should Auld Acquaintance be Forgot?” he asks, and answers, of course, “by no means, and here’s why.”

The comments are worth reading, as well, and led me to some thinking about time and how it is described in one of my favorite plays, A Raisin in the Sun. Walter has lost his father’s life insurance money on a scam, and Beneatha, having counted on part of it to help her through medical school, is in the depths of despair. Her suitor Asagai, a Nigerian who plans to return to his country to help free it from Britain’s rule, challenges her. I don’t have the text with me, so what follows is from memory.

Beneatha tells Asagai that man never changes, and simply walks the pointless circle of time, repeating evil again and again. Asagai says no, time is a line whose end you cannot see and thus cannot despair of. Man marches forward, doing what he can in his own day to reach the unrealized dream of a better future, which does exist.

I was trying to explain the difference to my class last semester, and found that I couldn’t show Asagai’s concept as a simple straight line, as he initially states it: he goes on to say that if his country is liberated there will of course be upheaval again, and he may even become a martyr because of new persecutions by different people, but that liberty and peace will still come in some unseeable future if people like him continue to work for that dream. And so I found that my picture on the board became a series of Beneatha’s circles moving across the board in a kind of helix toward the future.

Beneatha’s circle by itself holds a certain appeal as a description of truth – doesn’t it often seem that “the more things change, the more they stay the same,” that “nothing new under the sun” means mainly that life is made up of evil and despair? Asagai’s line seems so much more optimistic, more hopeful: it is going somewhere, not merely repeating itself, even if it contains repetition within it.

And yet . . . there is nothing – nothing – in Asagai’s philosophy which justifies optimism. He envisions a future of freedom and prosperity for his people, and he is pursuing the means (education, medical care, political action) that he believes will bring about such a future – yet with no actual foundation for that belief. Education, for example, may bring about better health conditions and greater political involvement, yes, but it may also bring seeds of greater discontentment and ideas which will be just as destructive as those which he sees as now holding his people down. What kind of education is the key to a better future . . . and nowhere does Asagai seem to see the need to consider this key question. It is mere “education” in itself, mere “political action” in itself, which will somehow bring about the bright future he envisions.

So I was encouraged in reading Tony’s post and the comments on it to consider time in both its repetitive cycles (for Beneatha is not entirely wrong) and its movement to somewhere – but not an abstract movement to a merely hoped-for earthly end (as Asagai would have it). Rather, this journey through the cycles of time is a journey to a very specific destination: an eternal life either in the presence of God or separated from His love, either in the presence of those who have gone before or separated forever from human love as well. (C. S. Lewis reminds us somewhere that we have never met a mere mortal.) That destination should determine what means we use to move closer to it -- not just any kind of education, for example, but education which gives us a true image of who and what we are so that we will choose our course wisely.

Several of the images various commenters brought up following Tony’s post bring out time's dual nature as both cycle and line: “a continually widening upward spiral toward God,” one called it, or another suggested that “from another angle, the spiral could be seen as ever-narrowing”; another gave the picture of Abba Dositheus: “a movement inward along the spokes of a wheel: we all begin on the rim, and as we move in towards Christ, who is the hub, we move closer to Him and to each other.” I like these; they help me to see the concept and understand all the better this journey we are on.

And that perspective of time, a journey with its cycles and its known end, reminds me of the only resolution that’s important each new year, each new day: to live well within time’s possibilities, loving God and my neighbor, for God’s glory and my neighbor’s welfare.

New Literary Magazine

A friend who is an assistant editor has drawn attention to a new online literary magazine, The Christendom Review. What I've read in the first issue so far is excellent, and I highly recommend a look. For some of you who are writers, this may be a good place to submit.

Yes, yes, I know, I haven't posted the new post about Charlie. Chalk it up to too tired to think coherently. It's in progress, though.

Worldview and Art

From Joyce Cary, in Art and Literature (quoted in the anthology The Christian Imagination, edited by Leland Ryken, which was recommended to me by LuCindy):

All writers [. . .] must have, to compose any kind of story, some picture of the world, and of what is right and wrong with that world.

(Yes, Bryan friends, I'm teaching at Summit this week . . . and what a privilege.)

Waterwalk

I've just read Steven Faulkner's Waterwalk, a memoir of his canoe journey from the upper North to St. Louis to "discover" the Mississippi with his son Justin, following the route of Marquet and Joliet. It's a good book -- Faulkner is a good descriptive writer, and his meditations on his relationship with his son are honest and thoughtful. There are days of lovely solitude, of excitement and near-disaster, of back-breaking boredom. There's history as he weaves the two journeys together. I found his discussions of environmental and technological issues a bit heavy-handed; even though I agee with quite a bit of what he says, it felt more like being preached at than reflective musing, which is what the rest of the book seems to call for. But despite that particular flaw (to me; others won't mind it), the book is well worth reading to encourage one to think again about the need to slow down, to see what's around us, to reflect, to try to connect with mind and heart instead of cell phone and Facebook. And, in the end, to remember that we can only know so much of any other created being, that we are mysteries even to ourselves, that wisdom can be passed on but must also be learned, each of us in his own unique journey. We may travel together for a time, but even together we may be in very different places; finally, we can only love and pray.

"Terribly Good"

Standing outside the car this morning at home, I looked up at black clouds churning against a charcoal grey background. "Beautiful!" I exclaimed. "Threatening," another voice murmured in my ear, as I thought of lightning strikes and tornado warnings. A few minutes later, as I stepped out of the car on campus, the chill wind whipped tree branches and my fresh-washed hair. "Invigorating!" I cried. "Destructive," that other voice whispered, as I trod on pear blossoms and broken twigs littering the ground.

A "terrible beauty," Yeats called the martrydom of the Irish rebels. A "terrible gift," Byron called melancholia. The world is "terribly good," says Stanhope in Charles Williams' novel Descent into Hell.

Life is made of paradox and mystery. I want to accept it -- no, more than accept -- embrace it, run toward it, or at least not run from it and let it embrace me, as Pauline finally allows her most terrible fear to overtake her, only to find it is precisely what makes her most fully herself, most wonderfully able to serve others, most joyfully confident in a Power greater than any she could conjure or imagine, and which she now understands is indeed "terribly good."

Under the Mercy

So I got two novels by Charles Williams last week -- War In Heaven and Descent into Hell -- and inhaled them both over the weekend. (Really, they are pretty short, I swear.) I've been finding in the past couple of years that I much prefer to just take in a novel wholesale and then, if it has spoken to me, go back and re-read it, perhaps many times, at a slower pace to figure out why I fell in love with it. I shall revisit both these novels, and the other two Williams novels I have , over the summer, not to mention adding to my collection till I have them all . . .

War in Heaven is a grail story, superbly done in Williams' inimitable style, bringing together the most unlikely group to save the holy object. Williams suggests through the story also the most unlikely -- from our human perspective -- possibilities for individual salvation, reminding me of Graham Greene and Evelyn Waugh, who also make much of our human frailties and God's mercy.

But Descent into Hell is the one that had me barely breathing Sunday evening. Williams takes the understanding that self-absorption is hell and shows the temptations to it, the ways out of it, and the consequences of choosing both rightly and wrongly. It is horrifying in its picture of Lawrence Wentworth's fall, and there is nothing simplistic about Pauline Anstruther's salvation from the same fate. It is a true book . . .

Rambling notes:
There are doppelgangers, suicide, ghosts walking, visions of heaven and of hell, the temptress Lilith (whose story I really must become more familiar with; so many of my favorite writers make use of it), the doctrine of substitution applied in our lives in a more compelling way than I've ever seen it, and again the constant suggestion that the slightest choice that is not evil could serve to put us on the way of salvation . . .

Early on, one of the characters says to poet Peter Stanhope, whose latest play they are going to produce, that "nature is so terribly good."

He agrees, but taking her literally: "it comes from doing so much writing, but when I say 'terribly' I think I mean 'full of terror'. A dreadful goodness."

She replies resentfully, "If things are good they're not terrifying, are they?"

Pauline, who confronts daily her own personal terror, interjects at this point the question, "And if things are terrifying, can they be good?'

Stanhope: "Yes, surely. Are our tremors to measure the Omnipotence?"

At the end, "Under the Mercy," Stanhope tells Pauline. "Go in peace, under the Mercy."

"Because I do not hope"

from T. S. Eliot, Ash Wednesday

I

Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
Desiring this man's gift and that man's scope
I no longer strive to strive towards such things
(Why should the aged eagle stretch its wings?)
Why should I mourn
The vanished power of the usual reign?

Because I do not hope to know again
The infirm glory of the positive hour
Because I do not think
Because I know I shall not know
The one veritable transitory power
Because I cannot drink
There, where trees flower, and springs flow, for
there is nothing again.

Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessed face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice.

And pray to God to have mercy upon us
And I pray that I may forget
These matters that with myself I too much discuss
Too much explain
Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us

Because these wings are no longer wings to fly
But merely vans to beat the air
The air which is now thoroughly small and dry
Smaller and dryer than the will
Teach us to care and not to care
Teach us to sit still.

Pray for us sinners now and at the hour of our death,
Pray for us now and at the hour of our death.

-- T. S. Eliot