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 assumption 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 pass 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 embarrassment 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 assume 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 circumvent 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 circumstance 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 circumstances, 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 assume 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 God, 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 attitude, 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.”
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ere 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 circumstances 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 assumes 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 prone to evil, but as redeemable when his own efforts are assisted 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 assumptions form its skeleton.
But you don’t write fiction with assumptions. 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 circumstances of the particular writer’s imagination, with circumstances 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 identity 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 class, 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 God and its descent. In the Protestant South, the Scriptures fill this role.
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p; 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 Mass, 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.
Mystery and Manners Page 13