Mystery and Manners (18 page)

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.

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 circumstances 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 attitudes 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 passion. 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 embarrassment 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 identity, 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 identity 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 God, 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 manuscript 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.