Mystery And Manners Part 4

The novelist is required to open his eyes on the world around him and look. If what he sees is not highly edifying, he is still required to look. Then he is required to reproduce, with words, what he sees. Now this is the first point at which the novelist who is a Catholic may feel some friction between what he is supposed to do as a novelist and what he is supposed to do as a Catholic, for what he sees at all times is fallen man perverted by false philosophies. Is he to reproduce this? Or is he to change what he sees and make it, instead of what it is, what in the light of faith he thinks it ought to be? Is he, as Baron von Hugel has said, supposed to "tidy up reality?"

Just how can the novelist be true to time and eternity both, to what he sees and what he believes, to the relative and the absolute? And how can he do all this and be true at the same time to the art of the novel, which demands the illusion of life?

I have found that people outside the Church like to suppose that the Church acts as a restraint on the creativity of the Catholic writer and that she keeps him from reaching his full development. These people point to the fact that there are not many Catholic artists and writers, at least in this country, and that those who do achieve anything in a creative way are usually converts. This is a criticism that we can't shy away from. I feel that it is a valid criticism of the way Catholicism is often applied by our Catholic educational system, or from the pulpit, or ignorantly practiced by ourselves; but that it is, of course, no valid criticism of the religion itself.

There is no reason why fixed dogma should fix anything that the writer sees in the world. On the contrary, dogma is an instrument for penetrating reality. Christian dogma is about the only thing left in the world that surely guards and respects mystery. The fiction writer is an observer, first, last, and always, but he cannot be an adequate observer unless he is free from uncertainty about what he sees. Those who have no absolute values cannot let the relative remain merely relative; they are always raising it to the level of the absolute. The Catholic fiction writer is entirely free to observe. He feels no call to take on the duties of G.o.d or to create a new universe. He feels perfectly free to look at the one we already have and to show exactly what he sees. He feels no need to apologize for the ways of G.o.d to man or to avoid looking at the ways of man to G.o.d. For him, to "tidy up reality" is certainly to succ.u.mb to the sin of pride. Open and free observation is founded on our ultimate faith that the universe is meaningful, as the Church teaches.

And when we look at the serious fiction written by Catholics in these times, we do find a striking preoccupation with what is seedy and evil and violent. The pious argument against such novels goes something like this: if you believe in the Redemption, your ultimate vision is one of hope, so in what you see you must be true to this ultimate vision; you must pa.s.s over the evil you see and look for the good because the good is there; the good is the ultimate reality.

The beginning of an answer to this is that though the good is the ultimate reality, the ultimate reality has been weakened in human beings as a result of the Fall, and it is this weakened life that we see. And it is wrong, moreover, to a.s.sume that the writer chooses what he will see and what he will not. What one sees is given by circ.u.mstances and by the nature of one's particular kind of perception.

The fiction writer should be characterized by his kind of vision. His kind of vision is prophetic vision. Prophecy, which is dependent on the imaginative and not the moral faculty, need not be a matter of predicting the future. The prophet is a realist of distances, and it is this kind of realism that goes into great novels. It is the realism which does not hesitate to distort appearances in order to show a hidden truth.

For the Catholic novelist, the prophetic vision is not simply a matter of his personal imaginative gift; it is also a matter of the Church's gift, which, unlike his own, is safeguarded and deals with greater matters. It is one of the functions of the Church to transmit the prophetic vision that is good for all time, and when the novelist has this as a part of his own vision, he has a powerful extension of sight.

It is, unfortunately, a means of extension which we constantly abuse by thinking that we can close our own eyes and that the eyes of the Church will do the seeing. They will not. We forget that what is to us an extension of sight is to the rest of the world a peculiar and arrogant blindness, and that no one today is prepared to recognize the truth of what we show unless our purely individual vision is in full operation. When the Catholic novelist closes his own eyes and tries to see with the eyes of the Church, the result is another addition to that large body of pious trash for which we have so long been famous.

It would be foolish to say there is no conflict between these two sets of eyes. There is a conflict, and it is a conflict which we escape at our peril, one which cannot be settled beforehand by theory or fiat or faith. We think that faith ent.i.tles us to avoid it, when in fact, faith prompts us to begin it, and to continue it until, like Jacob, we are marked.

For some Catholic writers the combat will seem to be with their own eyes, and for others it will seem to be with the eyes of the Church. The writer may feel that in order to use his own eyes freely, he must disconnect them from the eyes of the Church and see as nearly as possible in the fashion of a camera. Unfortunately, to try to disconnect faith from vision is to do violence to the whole personality, and the whole personality partic.i.p.ates in the act of writing. The tensions of being a Catholic novelist are probably never balanced for the writer until the Church becomes so much a part of his personality that he can forget about her-in the same sense that when he writes, he forgets about himself.

This is the condition we aim for, but one which is seldom achieved in this life, particularly by novelists. The Lord doesn't speak to the novelist as he did to his servant, Moses, mouth to mouth. He speaks to him as he did to those two complainers, Aaron and Aaron's sister, Mary: through dreams and visions, in fits and starts, and by all the lesser and limited ways of the imagination.

I would like to think that in the future there will be Catholic writers who will be able to use these two sets of eyes with consummate skill and daring; but I wouldn't be so reckless as to predict it. It takes readers as well as writers to make literature. One of the most disheartening circ.u.mstances that the Catholic novelist has to contend with is that he has no large audience he can count on to understand his work. The general intelligent reader today is not a believer. He likes to read novels about priests and nuns because these persons are a curiosity to him, but he does not really understand the character motivated by faith. The Catholic reader, on the other hand, is so busy looking for something that fits his needs, and shows him in the best possible light, that he will find suspect anything that doesn't serve such purposes.

The word that occurs again and again in his demands for the Catholic novel is the word positive. Frequently, in reading articles about the failure of the Catholic novelist, you will get the idea that he is to raise himself from the stuff of his own imagination by beginning with Christian principles and finding the life that will ill.u.s.trate them. This is the procedure, I gather, that is going to guarantee that all his work will be positive. The critic seems to a.s.sume that what the Catholic writer writes about will follow a broad general att.i.tude he has toward all reality and that this att.i.tude will be brought about by a belief in the general resurrection. He forgets that the novelist does not write about general beliefs but about men with free will, and that there is nothing in our faith that implies a foregone optimism for man so free that with his last breath he can say No. All Catholic literature will be positive in the sense that we hold this freedom to exist, but the Church has never encouraged us to believe that h.e.l.l is not a going concern. The writer uses his eyes on what he happens to be facing. In a recent book by a Catholic scholar, Mauriac and Greene are taken to task because in their novels they do not give us a true picture of Christian marriage. It is implied that if they exerted themselves a few degrees more, they could do this and, in the process, improve their art. This is a very doubtful proposition. Vocation is a limiting factor, and the conscientious novelist works at the limits of his power and within what his imagination can apprehend. He does not decide what would be good for the Christian body and proceed to deliver it. Like a very doubtful Jacob, he confronts what stands in his path and wonders if he will come out of the struggle at all.

It is usually a.s.sumed that the novelist has chosen a perverse subject or att.i.tude with an eye to fashion. It is fashionable to be gloomy, and so he has ignored the virtue of Christian hope; it is fashionable to show the dying marriage, and so he ignores the Christian one.

Surely, if a novelist is worth reading in the first place, his integrity in these matters is worth trusting. It has been my experience that in the process of making a novel, the serious novelist faces, in the most extreme way, his own limitations and those of his medium. He knows that the survival of his work depends upon an integrity that eliminates fashion from his considerations. Our final standard for him will have to be the demands of art, which are a good deal more exacting than the demands of the Church. There are novels a writer might write, and remain a good Catholic, which his conscience as an artist would not allow him to perpetrate.

We Catholics are very much given to the Instant Answer. Fiction doesn't have any. It leaves us, like Job, with a renewed sense of mystery. St. Gregory wrote that every time the sacred text describes a fact, it reveals a mystery. This is what the fiction writer, on his lesser level, hopes to do. The danger for the writer who is spurred by the religious view of the world is that he will consider this to be two operations instead of one. He will try to enshrine the mystery without the fact, and there will follow a further set of separations which are inimical to art. Judgment will be separated from vision, nature from grace, and reason from imagination.

These are separations which we see in our society and which exist in our writing. They are separations which faith tends to heal if we realize that faith is a "walking in darkness" and not a theological solution to mystery. The poet is traditionally a blind man, but the Christian poet, and storyteller as well, is like the blind man whom Christ touched, who looked then and saw men as if they were trees, but walking. This is the beginning of vision, and it is an invitation to deeper and stranger visions that we shall have to learn to accept if we want to realize a truly Christian literature.

The universe of the Catholic fiction writer is one that is founded on the theological truths of the Faith, but particularly on three of them which are basic-the Fall, the Redemption, and the Judgment. These are doctrines that the modern secular world does not believe in. It does not believe in sin, or in the value that suffering can have, or in eternal responsibility, and since we live in a world that since the sixteenth century has been increasingly dominated by secular thought, the Catholic writer often finds himself writing in and for a world that is unprepared and unwilling to see the meaning of life as he sees it. This means frequently that he may resort to violent literary means to get his vision across to a hostile audience, and the images and actions he creates may seem distorted and exaggerated to the Catholic mind.

The great mistake that the unthinking Catholic reader usually makes is to suppose that the Catholic writer is writing for him. Occasionally this may happen, but generally it is not happening today. Catholics brought up in sheltered Catholic communities with little or no intellectual contact with the modern world are apt to suppose that truth as Catholics know it is the order of the day except among the naturally perverse. It may be true that these are good times for the Church in one sense or another. There are signs of a returning interest in supernatural realities, but there's just enough of this to provide renewed hope, not yet to provide a working reality strong enough to support fiction for many writers.

A few writers can, by virtue of special talent, in all honesty write works of art that satisfy Catholics and that non-believers can respect. One of these in this country is a man named Paul Horgan. Mr. Horgan is an artist, and he writes the kind of books that Catholics say they want to read. Whether there is a great sale of his books to Catholics, I severely doubt, but anyway, he is a case in point of the writer who is able to remain true to what he sees and the demands of his art and, at the same time, write books that don't offend the ordinary Catholic. But to demand that every Catholic write like Mr. Horgan is to limit the nature and possibilities of art. There is a great tendency today to want everybody to write just the way everybody else does, to see and to show the same things in the same way to the same middling audience. But the writer, in order best to use the talents he has been given, has to write at his own intellectual level. For him to do anything else is to bury his talents. This doesn't mean that, within his limitations, he shouldn't try to reach as many people as possible, but it does mean that he must not lower his standards to do so.

Arthur Koestler has said that he would swap a hundred readers now for ten readers in ten years and that he would swap those ten for one in a hundred years. This is the way every serious writer feels about it. Of course, when the writer tries to write what he sees and according to the standards of art, he is bound to be read by all sorts of people who don't understand what he is doing and are therefore scandalized by it, and this brings me to the second pious argument against writing the way the artist, as artist, feels he should. This is the danger he runs of corrupting those who are not able to understand what he is doing. It is very possible that what is vision and truth to the writer is temptation and sin to the reader. There is every danger that in writing what he sees, the novelist will be corrupting some "little one," and better a millstone were tied around his neck.

This is no superficial problem for the conscientious novelist, and those who have felt it have felt it with agony. But I think that to force this kind of total responsibility on the novelist is to burden him with the business that belongs only to G.o.d. I think the solution to this particular problem leads us straight back where we started from-the subject of the standards of art and the nature of fiction itself. The fact is that if the writer's attention is on producing a work of art, a work that is good in itself, he is going to take great pains to control every excess, everything that does not contribute to this central meaning and design. He cannot indulge in sentimentality, in propagandizing, or in p.o.r.nography and create a work of art, for all these things are excesses. They call attention to themselves and distract from the work as a whole.

The fiction writer has to make a whole world believable by making every part and aspect of it believable. There are many Catholic readers who open a novel and, discovering the presence of an arm or a leg, piously close the book. We are always demanding that the writer be less explicit in regard to natural matters or the concrete particulars of sin. The writer has an obligation here, but I believe it can be met by adhering to the demands of his art, and if we criticize on this score, we must criticize by the standards of art. Many Catholic readers are overconscious of what they consider to be obscenity in modern fiction for the very simple reason that in reading a book, they have nothing else to look for. They are not equipped to find anything else. They are totally unconscious of the design, the tone, the intention, the meaning, or even the truth of what they have in hand. They don't see the book in a perspective that would reduce every part of it to its proper place in the whole.

The demand for positive literature, which we hear so frequently from Catholics, comes about possibly from weak faith and possibly also from this general inability to read; but I think it also comes about from the a.s.sumption that the devil plays the major role in the production of fiction. Probably the devil plays the greatest role in the production of that fiction from which he himself is absent as an actor. In any case, I think we should teach our prospective writers that their best defense against his taking over their work will lie in their strict attention to the order, proportion, and radiance of what they are making.

There are those who maintain that you can't demand anything of the reader. They say the reader knows nothing about art, and that if you are going to reach him, you have to be humble enough to descend to his level. This supposes either that the aim of art is to teach, which it is not, or that to create anything which is simply a good-in-itself is a waste of time. Art never responds to the wish to make it democratic; it is not for everybody; it is only for those who are willing to undergo the effort needed to understand it. We hear a great deal about humility being required to lower oneself, but it requires an equal humility and a real love of the truth to raise oneself and by hard labor to acquire higher standards. And this is certainly the obligation of the Catholic. It is his obligation in all the disciplines of life but most particularly in those on which he presumes to pa.s.s judgment. Ignorance is excusable when it is borne like a cross, but when it is wielded like an ax, and with moral indignation, then it becomes something else indeed. We reflect the Church in everything we do, and those who can see clearly that our judgment is false in matters of art cannot be blamed for suspecting our judgment in matters of religion.

The Catholic Novelist in the Protestant South In the past several years I have gone to speak at a number of Catholic colleges, and I have been pleased to discover that fiction seems to be important to the Catholic student in a way it would not have been twenty, or even ten, years ago. In the past, Catholic imagination in this country has been devoted almost exclusively to practical affairs. Our energies have gone into what has been necessary to sustain existence, and now that our existence is no longer in doubt, we are beginning to realize that an impoverishment of the imagination means an impoverishment of the religious life as well.

I am concerned that future Catholics have a literature. I want them to have a literature that will be undeniably theirs, but which will also be understood and cherished by the rest of our countrymen. A literature for ourselves alone is a contradiction in terms. You may ask, why not simply call this literature Christian? Unfortunately, the word Christian is no longer reliable. It has come to mean anyone with a golden heart. And a golden heart would be a positive interference in the writing of fiction.

I am specifically concerned with fiction because that is what I write. There is a certain embarra.s.sment about being a storyteller in these times when stories are considered not quite as satisfying as statements and statements not quite as satisfying as statistics; but in the long run, a people is known, not by its statements or its statistics, but by the stories it tells. Fiction is the most impure and the most modest and the most human of the arts. It is closest to man in his sin and his suffering and his hope, and it is often rejected by Catholics for the very reasons that make it what it is. It escapes any orthodoxy we might set up for it, because its dignity is an imitation of our own, based like our own on free will, a free will that operates even in the teeth of divine displeasure. I won't go far into the subject of whether such a thing as a Catholic novel is possible or not. I feel that this is a bone which has been picked bare without giving anybody any nourishment. I am simply going to a.s.sume that novelists who are deeply Catholic will write novels which you may call Catholic if the Catholic aspects of the novel are what interest you. Such a novel may be characterized in any number of other ways, and perhaps the more ways the better.

In American Catholic circles we are long on theories of what Catholic fiction should be, and short on the experience of having any of it. Once when I spoke on this subject at a Catholic university in the South, a gentleman arose and said that the concept Catholic novel was a limiting one and that the novelist, like Whitman, should be alien to nothing. All I could say to him was, "Well, I'm alien to a great deal." We are limited human beings, and the novel is a product of our best limitations. We write with the whole personality, and any attempt to circ.u.mvent it, whether this be an effort to rise above belief or above background, is going to result in a reduced approach to reality.

But I think that in spite of this spotty and suspect sophistication, which you find here and there among us, the American Catholic feels the same way he has always felt toward the novel: he trusts the fictional imagination about as little as he trusts anything. Before it is well on its feet, he is worrying about how to control it. The young Catholic writer, more than any other, is liable to be smothered at the outset by theory. The Catholic press is constantly broken out in a rash of articles on the failure of the Catholic novelist: the Catholic novelist is failing to reflect the virtue of hope, failing to show the Church's interest in social justice, failing to portray our beliefs in a light that will make them desirable to others. He occasionally writes well, but he always writes wrong.

We have recently gone through a period of self-criticism on the subject of Catholics and scholarship, which for the most part has taken place on a high level. Our scholarship, or lack of it, has been discussed in relation to what scholarship is in itself, and the discussion-when it has been most valuable-has been conducted by those who are scholars and who know from their own experience what the scholar is and does.

But when we talk about the Catholic failure to produce good fiction in this country, we seldom hear from anyone actively engaged in trying to produce it, and the discussion has not yielded any noticeable returns. We hear from editors, schoolteachers, moralists, and housewives; anyone living considers himself an authority on fiction. The novelist, on the other hand, is supposed to be like Mr. Jarrell's pig that didn't know what bacon was. I think, though, that it is occasionally desirable that we look at the novel-even the so-called Catholic novel-from some particular novelist's point of view.

Catholic discussions of novels by Catholics are frequently ridiculous because every given circ.u.mstance of the writer is ignored except his Faith. No one taking part in these discussions seems to remember that the eye sees what it has been given to see by concrete circ.u.mstances, and the imagination reproduces what, by some related gift, it is able to make live.

I collect articles from the Catholic press on the failures of the Catholic novelist, and recently in one of them I came upon this typical sentence: "Why not a positive novel based on the Church's fight for social justice, or the liturgical revival, or life in a seminary?"

I take it that if seminarians began to write novels about life in the seminary, there would soon be several less seminarians, but we are to a.s.sume that anybody who can write at all, and who has the energy to do some research, can give us a novel on this or any needed subject-and can make it positive.

A lot of novels do get written in this way. It is, in fact, the traditional procedure of the hack, and by some accident of G.o.d, such a novel might turn out to be a work of art, but the possibility is unlikely.

In this same article, the writer asked this wistful question: "Would it not seem in order now for some of our younger men to explore the possibilities inherent in certain positive factors which make Catholic life and the Catholic position in this country increasingly challenging?"

This att.i.tude, which proceeds from the standpoint of what it would be good to do or have to supply a general need, is totally opposite from the novelist's own approach. No serious novelist "explores possibilities inherent in factors." Conrad wrote that the artist "descends within himself, and in that region of stress and strife, if he be deserving and fortunate, he finds the terms of his appeal."

Where you find the terms of your appeal may have little or nothing to do with what is challenging in the life of the Church at the moment. And this is particularly apparent to the Southern Catholic writer, whose imagination has been molded by life in a region which is traditionally Protestant. The two circ.u.mstances that have given character to my own writing have been those of being Southern and being Catholic. This is considered by many to be an unlikely combination, but I have found it to be a most likely one. I think that the South provides the Catholic novelist with some benefits that he usually lacks, and lacks to a conspicuous degree. The Catholic novel can't be categorized by subject matter, but only by what it a.s.sumes about human and divine reality. It cannot see man as determined; it cannot see him as totally depraved. It will see him as incomplete in himself, as p.r.o.ne to evil, but as redeemable when his own efforts are a.s.sisted by grace. And it will see this grace as working through nature, but as entirely transcending it, so that a door is always open to possibility and the unexpected in the human soul. Its center of meaning will be Christ; its center of destruction will be the devil. No matter how this view of life may be fleshed out, these a.s.sumptions form its skeleton.

But you don't write fiction with a.s.sumptions. The things we see, hear, smell, and touch affect us long before we believe anything at all, and the South impresses its image on us from the moment we are able to distinguish one sound from another. By the time we are able to use our imaginations for fiction, we find that our senses have responded irrevocably to a certain reality. This discovery of being bound through the senses to a particular society and a particular history, to particular sounds and a particular idiom, is for the writer the beginning of a recognition that first puts his work into real human perspective for him. What the Southern Catholic writer is apt to find, when he descends within his imagination, is not Catholic life but the life of this region in which he is both native and alien. He discovers that the imagination is not free, but bound.

For many young writers, Catholic or other, this is not a pleasant discovery. They feel that the first thing they must do in order to write well is to shake off the clutch of the region. They would like to set their stories in a region whose way of life seems nearer the spirit of what they think they have to say, or better, they would like to eliminate the region altogether and approach the infinite directly. But this is not even a possibility.

The fiction writer finds in time, if not at once, that he cannot proceed at all if he cuts himself off from the sights and sounds that have developed a life of their own in his senses. The novelist is concerned with the mystery of personality, and you cannot say much that is significant about this mystery unless the characters you create exist with the marks of a believable society about them. The larger social context is simply left out of much current fiction, but it cannot be left out by the Southern writer. The image of the South, in all its complexity, is so powerful in us that it is a force which has to be encountered and engaged. The writer must wrestle with it, like Jacob with the angel, until he has extracted a blessing. The writing of any novel worth the effort is a kind of personal encounter, an encounter with the circ.u.mstances of the particular writer's imagination, with circ.u.mstances which are brought to order only in the actual writing.

The Catholic novel that fails is usually one in which this kind of engagement is absent. It is a novel which doesn't grapple with any particular culture. It may try to make a culture out of the Church, but this is always a mistake because the Church is not a culture. The Catholic novel that fails is a novel in which there is no sense of place, and in which feeling is, by that much, diminished. Its action occurs in an abstracted setting that could be anywhere or nowhere. This reduces its dimensions drastically and cuts down on those tensions that keep fiction from being facile and slick.

The Southern writer's greatest tie with the South is through his ear, which is usually sharp but not too versatile outside his own idiom. With a few exceptions, such as Miss Katherine Anne Porter, he is not too often successfully cosmopolitan in fiction, but the fact is that he doesn't need to be. A distinctive idiom is a powerful instrument for keeping fiction social. When one Southern character speaks, regardless of his station in life, an echo of all Southern life is heard. This helps to keep Southern fiction from being a fiction of purely private experience.

Alienation was once a diagnosis, but in much of the fiction of our time it has become an ideal. The modern hero is the outsider. His experience is rootless. He can go anywhere. He belongs nowhere. Being alien to nothing, he ends up being alienated from any kind of community based on common tastes and interests. The borders of his country are the sides of his skull.

The South is traditionally hostile to outsiders, except on her own terms. She is traditionally against intruders, foreigners from Chicago or New Jersey, all those who come from afar with moral energy that increases in direct proportion to the distance from home. It is difficult to separate the virtues of this quality from the narrowness which accompanies and colors it for the outside world. It is more difficult still to reconcile the South's instinct to preserve her ident.i.ty with her equal instinct to fall eager victim to every poisonous breath from Hollywood or Madison Avenue. But good and evil appear to be joined in every culture at the spine, and as far as the creation of a body of fiction is concerned, the social is superior to the purely personal. Somewhere is better than anywhere. And traditional manners, however unbalanced, are better than no manners at all.

The writer whose themes are religious particularly needs a region where these themes find a response in the life of the people. The American Catholic is short on places that reflect his particular religious life and his particular problems. This country isn't exactly cut in his image. Where he does have a place-such as the Midwestern parishes, which serve as J. F. Powers' region, or South Boston, which belongs to Edwin O'Connor-these places lack the significant features that result in a high degree of regional self-consciousness. They have no great geographical extent, they have no particularly significant history, certainly no history of defeat; they have no real peasant cla.s.s, and no cultural unity of the kind you find in the South. So that no matter what the writer brings to them in the way of talents, they don't bring much to him in the way of exploitable benefits. Where Catholics do abound, they usually blend almost imperceptibly into the general materialistic background. If the Catholic faith were central to life in America, Catholic fiction would fare better, but the Church is not central to this society. The things that bind us together as Catholics are known only to ourselves. A secular society understands us less and less. It becomes more and more difficult in America to make belief believable, but in this the Southern writer has the greatest possible advantage. He lives in the Bible Belt.

It was about 1919 that Mencken called the South the Bible Belt and the Sahara of the Bozarts. Today Southern literature is known around the world, and the South is still the Bible Belt. Sam Jones' grandma read the Bible thirty-seven times on her knees. And the rural and small-town South, and even a certain level of the city South, is made up of the descendants of old ladies like her. You don't shake off their influence in even several generations.

To be great storytellers, we need something to measure ourselves against, and this is what we conspicuously lack in this age. Men judge themselves now by what they find themselves doing. The Catholic has the natural law and the teachings of the Church to guide him, but for the writing of fiction, something more is necessary.

For the purposes of fiction, these guides have to exist in a concrete form, known and held sacred by the whole community. They have to exist in the form of stories which affect our image and our judgment of ourselves. Abstractions, formulas, laws will not serve here. We have to have stories in our background. It takes a story to make a story. It takes a story of mythic dimensions, one which belongs to everybody, one in which everybody is able to recognize the hand of G.o.d and its descent. In the Protestant South, the Scriptures fill this role.

The Hebrew genius for making the absolute concrete has conditioned the Southerner's way of looking at things. That is one of the reasons why the South is a storytelling section. Our response to life is different if we have been taught only a definition of faith than if we have trembled with Abraham as he held the knife over Isaac. Both of these kinds of knowledge are necessary, but in the last four or five centuries, Catholics have overemphasized the abstract and consequently impoverished their imaginations and their capacity for prophetic insight.

Nothing will insure the future of Catholic fiction so much as the biblical revival that we see signs of now in Catholic life. The Bible is held sacred in the Church, we hear it read at Ma.s.s, bits and pieces of it are exposed to us in the liturgy, but because we are not totally dependent on it, it has not penetrated very far into our consciousness nor conditioned our reactions to experience. Unfortunately, where you find Catholics reading the Bible, you find that it is usually a pursuit of the educated, but in the South the Bible is known by the ignorant as well, and it is always that mythos which the poor hold in common that is most valuable to the fiction writer. When the poor hold sacred history in common, they have ties to the universal and the holy, which allows the meaning of their every action to be heightened and seen under the aspect of eternity. The writer who views the world in this light will be very thankful if he has been fortunate enough to have the South for his background, because here belief can still be made believable, even if for the modern mind it cannot be made admirable.

Religious enthusiasm is accepted as one of the South's more grotesque features, and it is possible to build upon that acceptance, however little real understanding such acceptance may carry with it. When you write about backwoods prophets, it is very difficult to get across to the modern reader that you take these people seriously, that you are not making fun of them, but that their concerns are your own and, in your judgment, central to human life. It is almost inconceivable to this reader that such could be the case. It is hard enough for him to suspend his disbelief and accept an anagogical level of action at all, harder still for him to accept its action in an obviously grotesque character. He has the mistaken notion that a concern with grace is a concern with exalted human behavior, that it is a pretentious concern. It is, however, simply a concern with the human reaction to that which, instant by instant, gives life to the soul. It is a concern with a realization that breeds charity and with the charity that breeds action. Often the nature of grace can be made plain only by describing its absence.

The Catholic writer may be immersed in the Bible himself, but if his readers and his characters are not, he does not have the instrument to plumb meaning-and specifically Christian meaning-that he would have if the biblical background were known to all. It is what writer, character, and reader share that makes it possible to write fiction at all.

The circ.u.mstances of being a Southerner, of living in a non-Catholic but religious society, furnish the Catholic novelist with some very fine antidotes to his own worst tendencies. We too much enjoy indulging ourselves in the logic that kills, in making categories smaller and smaller, in prescribing att.i.tudes and proscribing subjects. For the Catholic, one result of the Counter-Reformation was a practical overemphasis on the legal and logical and a consequent neglect of the Church's broader tradition. The need for this emphasis has now diminished, and the Church is busy encouraging those biblical and liturgical revivals which should restore Catholic life to its proper fullness. Nevertheless the scars of this legalistic approach are still upon us. Those who are long on logic, definitions, abstractions, and formulas are frequently short on a sense of the concrete, and when they find themselves in an environment where their own principles have only a partial application to society, they are forced, not to abandon the principles, but in applying them to a different situation, to come up with fresh reactions.

I often find among Catholics a certain impatience with Southern literature, sometimes a fascinated impatience, but usually a definite feeling that with all the violence and grotesqueries and religious enthusiasm reflected in its fiction, the South-that is, the rural, Protestant, Bible Belt South-is a little beyond the pale of Catholic respect, and that certainly it would be ridiculous to expect the emergence in such soil of anything like a literature inspired by Catholic belief. But for my part, I don't think that this is at all unlikely. There are certain conditions necessary for the emergence of Catholic literature which are found nowhere else in this country in such abundance as in the Protestant South; and I look forward with considerable relish to the day when we are going to have to enlarge our notions about the Catholic novel to include some pretty odd Southern specimens.

It seems to me that the Catholic Southerner's experience of living so intimately with the division of Christendom is an experience that can give much breadth and poignance to the novels he may produce. The Catholic novelist in the South is forced to follow the spirit into strange places and to recognize it in many forms not totally congenial to him. He may feel that the kind of religion that has influenced Southern life has run hand in hand with extreme individualism for so long that there is nothing left of it that he can recognize, but when he penetrates to the human aspiration beneath it, he sees not only what has been lost to the life he observes, but more, the terrible loss to us in the Church of human faith and pa.s.sion. I think he will feel a good deal more kinship with backwoods prophets and shouting fundamentalists than he will with those politer elements for whom the supernatural is an embarra.s.sment and for whom religion has become a department of sociology or culture or personality development. His interest and sympathy may very well go-as I know my own does-directly to those aspects of Southern life where the religious feeling is most intense and where its outward forms are farthest from the Catholic, and most revealing of a need that only the Church can fill. This is not because, in the felt superiority of orthodoxy, he wishes to subtract one theology from another, but because, descending within himself to find his region, he discovers that it is with these aspects of Southern life that he has a feeling of kinship strong enough to spur him to write.

The result of these underground religious affinities will be a strange and, to many, perverse fiction, one which serves no felt need, which gives us no picture of Catholic life, or the religious experiences that are usual with us, but I believe that it will be Catholic fiction. These people in the invisible Church make discoveries that have meaning for us who are better protected from the vicissitudes of our own natures, and who are often too lazy and satisfied to make any discoveries at all. I believe that the Catholic fiction writer is free to find his subject in the invisible Church and that this will be the vocation of many of us brought up in the South. In a literature that tends naturally to extremes, as Southern literature does, we need something to protect us against the merely extreme, the merely personal, the merely grotesque, and here the Catholic, with his older tradition and his ability to resist the dissolution of belief, can make his contribution to Southern literature, but only if he realizes first that he has as much to learn from it as to give it. The Catholic novelist in the South will bolster the South's best traditions, for they are the same as his own. And the South will perhaps lead him to be less timid as a novelist, more respectful of the concrete, more trustful of the blind imagination.

The opportunities for the potential Catholic writer in the South are so great as to be intimidating. He lives in a region where there is a thriving literary tradition, and this is always an advantage to the writer, who is initially inspired less by life than by the work of his predecessors. He lives in a region which is struggling, in both good ways and bad, to preserve its ident.i.ty, and this is an advantage, for his dramatic need is to know manners under stress. He lives in the Bible Belt, where belief can be made believable. He has also here a good view of the modern world. A half-hour's ride in this region will take him from places where the life has a distinctly Old Testament flavor to places where the life might be considered post-Christian. Yet all these varied situations can be seen in one glance and heard in one conversation.

I think that Catholic novelists in the future will be able to reinforce the vital strength of Southern literature, for they will know that what has given the South her ident.i.ty are those beliefs and qualities which she has absorbed from the Scriptures and from her own history of defeat and violation: a distrust of the abstract, a sense of human dependence on the grace of G.o.d, and a knowledge that evil is not simply a problem to be solved, but a mystery to be endured.

If all that is missing in this scene is the practical influence of the visible Catholic Church, the writer will find that he has to supply the lack, as best he can, out of himself; and he will do this by the way he uses his eyes. If he uses them in the confidence of his Faith, and according to the needs of what he is making, there will be nothing in life too grotesque, or too "un-Catholic," to supply the materials of his work. Certainly in a secular world, he is in a particular position to appreciate and cherish the Protestant South, to remind us of what we have and what we must keep.

VI.

Introduction to A Memoir of Mary Ann.

Stories of pious children tend to be false. This may be because they are told by adults, who see virtue where their subjects would see only a practical course of action; or it may be because such stories are written to edify and what is written to edify usually ends by amusing. For my part, I have never cared to read about little boys who build altars and play they are priests, or about little girls who dress up as nuns, or about those pious Protestant children who lack this equipment but brighten the corners where they are.

In the spring of 1960 I received a letter from Sister Evangelist, the Sister Superior of Our Lady of Perpetual Help Free Cancer Home in Atlanta. "This is a strange request," the letter read, "but we will try to tell our story as briefly as possible. In 1949, a little three-year-old girl, Mary Ann, was admitted to our Home as a patient. She proved to be a remarkable child and lived until she was twelve. Of those nine years, much is to be told. Patients, visitors, Sisters, all were influenced in some way by this afflicted child. Yet one never thought of her as afflicted. True she had been born with a tumor on the side of her face; one eye had been removed, but the other eye sparkled, twinkled, danced mischievously, and after one meeting one never was conscious of her physical defect but recognized only the beautiful brave spirit and felt the joy of such contact. Now Mary Ann's story should be written but who to write it?"

Not me, I said to myself.

"We have had offers from nuns and others but we don't want a pious little recital. We want a story with a real impact on other lives just as Mary Ann herself had that impact on each life she touched.... This wouldn't have to be a factual story. It could be a novel with many other characters but the outstanding character, Mary Ann."

A novel, I thought. Horrors.

Sister Evangelist ended by inviting me to write Mary Ann's story and to come up and spend a few days at the Home in Atlanta and "imbibe the atmosphere" where the little girl had lived for nine years.

It is always difficult to get across to people who are not professional writers that a talent to write does not mean a talent to write anything at all. I did not wish to imbibe Mary Ann's atmosphere. I was not capable of writing her story. Sister Evangelist had enclosed a picture of the child. I had glanced at it when I first opened the letter, and had put it quickly aside. Now I picked it up to give it a last cursory look before returning it to the Sisters. It showed a little girl in her First Communion dress and veil. She was sitting on a bench, holding something I could not make out. Her small face was straight and bright on one side. The other side was protuberant, the eye was bandaged, the nose and mouth crowded slightly out of place. The child looked out at her observer with an obvious happiness and composure. I continued to gaze at the picture long after I had thought to be finished with it.

After a while I got up and went to the bookcase and took out a volume of Nathaniel Hawthorne's stories. The Dominican Congregation to which the nuns belong who had taken care of Mary Ann had been founded by Hawthorne's daughter, Rose. The child's picture had brought to mind his story, The Birthmark. I found the story and opened it at that wonderful section of dialogue where Alymer first mentions his wife's defect to her.

One day Alymer sat gazing at his wife with a trouble in his countenance that grew stronger until he spoke.

"Georgiana," said he, "has it never occurred to you that the mark upon your cheek might be removed?"

"No, indeed," said she, smiling; but perceiving the seriousness of his manner, she blushed deeply. "To tell you the truth it has been so often called a charm that I was simple enough to imagine it might be so."

"Ah, upon another face perhaps it might," replied her husband, "but never on yours. No, dearest Georgiana, you came so nearly perfect from the hand of Nature that this slightest defect, which we hesitate whether to term a defect or a beauty, shocks me, as being the visible mark of earthly imperfection."

"Shocks you, my husband!" cried Georgiana, deeply hurt, at first reddening with momentary anger, but then bursting into tears. "Then why did you take me from my mother's side? You cannot love what shocks you!"

The defect on Mary Ann's cheek could not have been mistaken for a charm. It was plainly grotesque. She belonged to fact and not to fancy. I conceived it my duty to write Sister Evangelist that if anything were written about this child, it should indeed be a "factual story," and I went on to say that if anyone should write these facts, it should be the Sisters themselves, who had known and nursed her. I felt this strongly. At the same time I wanted to make it plain that I was not the one to write the factual story, and there is no quicker way to get out of a job than to prescribe it for those who have prescribed it for you. I added that should they decide to take my advice, I would be glad to help them with the preparation of their ma.n.u.script and do any small editing that proved necessary. I had no doubt that this was safe generosity. I did not expect to hear from them again.

In Our Old Home, Hawthorne tells about a fastidious gentleman who, while going through a Liverpool workhouse, was followed by a wretched and rheumy child, so awful-looking that he could not decide what s.e.x it was. The child followed him about until it decided to put itself in front of him in a mute appeal to be held. The fastidious gentleman, after a pause that was significant for himself, picked it up and held it. Hawthorne comments upon this: Nevertheless, it could be no easy thing for him to do, he being a person burdened with more than an Englishman's customary reserve, shy of actual contact with human beings, afflicted with a peculiar distaste for whatever was ugly, and, furthermore, accustomed to that habit of observation from an insulated standpoint which is said (but I hope erroneously) to have the tendency of putting ice into the blood.

So I watched the struggle in his mind with a good deal of interest, and am seriously of the opinion that he did a heroic act and effected more than he dreamed of toward his final salvation when he took up the loathsome child and caressed it as tenderly as if he had been its father.

What Hawthorne neglected to add is that he was the gentleman who did this. His wife, after his death, published his notebooks in which there was this account of the incident: After this, we went to the ward where the children were kept, and, on entering this, we saw, in the first place, two or three unlovely and unwholesome little imps, who were lazily playing together. One of them (a child about six years old, but I know not whether girl or boy) immediately took the strangest fancy for me. It was a wretched, pale, half-torpid little thing, with a humor in its eye which the Governor said was the scurvy. I never saw, till a few moments afterward, a child that I should feel less inclined to fondle. But this little sickly, humor-eaten fright prowled around me, taking hold of my skirts, following at my heels, and at last held up its hands, smiled in my face, and standing directly before me, insisted on my taking it up! Not that it said a word, for I rather think it was underwitted, and could not talk; but its face expressed such perfect confidence that it was going to be taken up and made much of, that it was impossible not to do it. It was as if G.o.d had promised the child this favor on my behalf, and that I must needs fulfill the contract. I held my undesirable burden a little while, and after setting the child down, it still followed me, holding two of my fingers and playing with them, just as if it were a child of my own. It was a foundling, and out of all human kind it chose me to be its father! We went upstairs into another ward; and on coming down again there was this same child waiting for me, with a sickly smile around its defaced mouth, and in its dim-red eyes ... I should never have forgiven myself if I had repelled its advances.

Rose Hawthorne, Mother Alphonsa in religious life, later wrote that the account of this incident in the Liverpool workhouse seemed to her to contain the greatest words her father ever wrote.

The work of Hawthorne's daughter is perhaps known by few in this country where it should be known by all. She discovered much that he sought, and fulfilled in a practical way the hidden desires of his life. The ice in the blood which he feared, and which this very fear preserved him from, was turned by her into a warmth which initiated action. If he observed, fearfully but truthfully; if he acted, reluctantly but firmly, she charged ahead, secure in the path his truthfulness had outlined for her.

Toward the end of the nineteenth century, she became aware of the plight of the cancerous poor in New York and was stricken by it. Charity patients with incurable cancer were not kept in the city hospitals but were sent to Blackwell's Island or left to find their own place to die. In either case, it was a matter of being left to rot. Rose Hawthorne Lathrop was a woman of great force and energy. A few years earlier she had become a Catholic and had since been seeking the kind of occupation that would be a practical fulfillment of her conversion. With almost no money of her own, she moved into a tenement in the worst section of New York and began to take in incurable cancer patients. She was joined later by a young portrait painter, Alice Huber, whose steady and patient qualities complemented her own forceful and exuberant ones. With their concerted effort, the grueling work prospered. Eventually other women came to help them, and they became a congregation of nuns in the Dominican Order-the Servants of Relief for Incurable Cancer. There are now seven of their free cancer homes over the country.

Mother Alphonsa inherited a fair share of her father's literary gift. Her account of the grandson of her first patient makes fine reading. He was a lad who, for reasons unpreventable, had been brought to live for a while in the tenement apartment with his ailing grandmother and the few other patients there at the time.

The boy was brought by an officer of the inst.i.tution, to remain for a visit. My first glance at his rosy, healthy, clever face struck a warning shiver through my soul. He was a flourishing slip from criminal roots. His eyes had the st.u.r.dy gaze of satanic vigor ... I began to teach him the catechism. With the utmost good nature he sat in front of me as long as I would sit, giving correct answers. "He likes to study it better than to be idle," said his grandmother; "and I taught it to him myself, long ago." His eyes took on a mystic vagueness during these lessons, and I felt certain he would tell the truth in future and be gentle instead of barbaric.

Food was hidden away in dark corners for the cherubic, overfed pet, and his pranks and thefts were shielded and denied, and the nice clothing which I provided him with, out of our stores, with a new suit for Sundays, strangely disappeared when Willie went to call upon his mother.... In a few weeks Willie had become famous in the neighborhood as the worst boy it had ever experienced, although it was lined with little scoundrels. The inmates of the house and adjacent shanties feared him, the scoundrels made circles around him as he flew from one escapade to another on the diabolical street which was never free from some sort of outrages perpetrated by young or old. Willie built fires upon the shed roofs, threw bricks that guardian angels alone averted from our heads, and actually hit several little boys at sundry times, whom we mended in the Relief Room. He uttered exclamations that hideously rang in the ears of the profane themselves.... He delighted in the pictures of the saints which I gave him, stole those I did not give, and sold them all. I preached affectionately, and he listened tenderly, and promised to "remember," and was very sorry for his sins when he had been forced by an iron grasp to accept their revelation. He made a very favorable impression upon an experienced priest who was summoned to rescue his soul; and he built a particularly large bonfire on our woodshed when let go. The poor grandmother began to have severe hemorrhages, because of the shocks she received and the scoldings she gave. Before he came she used to call him "that little angel." Now she wisely declared that he was good-hearted.

Bad children are harder to endure than good ones, but they are easier to read about, and I congratulated myself on having minimized the possibility of a book about Mary Ann by suggesting that the Sisters do it themselves. Although I heard from Sister Evangelist that they were about it, I felt that a few attempts to capture Mary Ann in writing would lead them to think better of the project. It was doubtful that any of them had the literary gifts of their foundress. Moreover, they were busy nurses and had their hands full following a strenuous vocation.

Their ma.n.u.script arrived the first of August. After I had gathered myself together, I sat down and began to read it. There was everything about the writing to make the professional writer groan. Most of it was reported, very little was rendered; at the dramatic moment-where there was one-the observer seemed to fade away, and where an exact word or phrase was needed, a vague one was usually supplied. Yet when I had finished reading, I remained for some time, the imperfections of the writing forgotten, thinking about the mystery of Mary Ann. They had managed to convey it.

The story was as unfinished as the child's face. Both seemed to have been left, like creation on the seventh day, to be finished by others. The reader would have to make something of the story as Mary Ann had made something of her face.

She and the Sisters who had taught her had fashioned from her unfinished face the material of her death. The creative action of the Christian's life is to prepare his death in Christ. It is a continuous action in which this world's goods are utilized to the fullest, both positive gifts and what Pere Teilhard de Char-din calls "pa.s.sive diminishments." Mary Ann's diminishment was extreme, but she was equipped by natural intelligence and by a suitable education, not simply to endure it, but to build upon it. She was an extraordinarily rich little girl.

Death is the theme of much modern literature. There is Death in Venice, Death of a Salesman, Death in the Afternoon, Death of a Man. Mary Ann's was the death of a child. It was simpler than any of these, yet infinitely more knowing. When she entered the door of Our Lady of Perpetual Help Home in Atlanta, she fell into the hands of women who were shocked at nothing and who love life so much that they spend their own lives making comfortable those who have been p.r.o.nounced incurable of cancer. Her own prognosis was six months, but she lived twelve years, long enough for the Sisters to teach her what alone could have been of importance to her. Hers was an education for death, but not one carried on obtrusively. Her days were full of dogs and party dresses, of Sisters and sisters, of Coca-Colas and Dagwood sandwiches, and of her many and varied friends-from Mr. Slack and Mr. Connolly to Lucius, the yard man; from patients afflicted the way she was to children who were brought to the Home to visit her and were perhaps told when they left to think how thankful they should be that G.o.d had made their faces straight. It is doubtful if any of them were as fortunate as Mary Ann.

The Sisters had set all this down artlessly and had devoted a good deal of their s.p.a.ce to detailing Mary Ann's many pious deeds. I was tempted to edit away a good many of these. They had willingly given me the right to cut, and I could have laid about me with satisfaction but for the fact that there was nothing with which to fill in any gaps I created. I felt too that while their style had been affected by traditional hagiography and even a little by Parson Weems, what they had set down was what had happened and there was no way to get around it. This was a child brought up by seventeen nuns; she was what she was, and the itchy hand of the fiction writer would have to be stayed. I was only capable of dealing with another Willie.

I later suggested to Sister Evangelist, on an occasion when some of the Sisters came down to spend the afternoon with me to discuss the ma.n.u.script, that Mary Ann could not have been much but good, considering her environment. Sister Evangelist leaned over the arm of her chair and gave me a look. Her eyes were blue and unpredictable behind spectacles that unmoored them slightly. "We've had some demons!" she said, and a gesture of her hand dismissed my ignorance.

After an afternoon with them, I decided that they had had about everything and flinched before nothing, even though one of them asked me during the course of the visit why I wrote about such grotesque characters, why the grotesque (of all things) was my vocation. They had in the meantime inspected some of my writing. I was struggling to get off the hook she had me on when another of our guests supplied the one answer that would make it immediately plain to all of them. "It's your vocation too," he said to her.

This opened up for me also a new perspective on the grotesque. Most of us have learned to be dispa.s.sionate about evil, to look it in the face and find, as often as not, our own grinning reflections with which we do not argue, but good is another matter. Few have stared at that long enough to accept the fact that its face too is grotesque, that in us the good is something under construction. The modes of evil usually receive worthy expression. The modes of good have to be satisfied with a cliche or a smoothing-down that will soften their real look. When we look into the face of good, we are liable to see a face like Mary Ann's, full of promise.