Catholic Sci-fi

I've just come across Walter M. Miller Jr's Crucifixus Etiam, a short story about a labourer on Mars, in a fascinating anthology of Catholic short stories, The Substance of Things Hoped For, edited by John B. Breslin S.J.

It's an interesting story not just because it contains a short account of a mass on Mars but also because it depicts the quasi-redemptive nature of labour in the harsh Martian environment. However, although it's worth reading, I can't honestly say that it's anything more than interesting. The problem with sci-fi is that it dates so quickly; this particular story is ultimately unconvincing largely because science and technology moved on so much more quickly than Miller envisaged they would in 1953.

A better bet is Miller's best-known work, A Canticle for Leibowitz, which I remember being (surprisingly) very popular in evangelical circles during my student years. Miller wrote the book after being involved in bombing raids on the great Benedictine abbey at Monte Cassino during World War II. His own relationship with the Church - and, indeed, his own life - was complicated but this is one science-fiction novel that has stood the test of time. (Though see this interesting comparison with Cormac McCarthy's The Road.)

I'm not a great sci-fi expert so I can't write with great assurance but Gene Wolfe (who is a great fan of G. K. Chesterton) is often held out as the greatest Catholic writer of science fiction. His The Book of the New Sun is recommended in particular.

There's also an interview with Sandra Miesel at Ignatius Insight here which provides a list of other authors worth looking out for.

Ernest Hemingway, Cormac McCarthy and 'The Road'

It is perilous to attempt to analyse too specifically what any author gains from those who have gone before but I can't help but wonder whether light cannot be shed on the final enigmatic paragraph in Cormac McCarthy's The Road through reading one of Hemingway's fine short stories. [Incidentally, for more on (what I've written about) Hemingway click here and here.]

Many have commented on The Road's unexpected ending:

"Once there were brook trout in the streams in the mountains. You could see them standing in the amber current where the white edges of their fins wimpled softly in the flow. They smelled of moss in your hand. Polished and muscular and torsional. On their backs were vermiculate patterns that were maps of the world in its becoming. Maps and mazes. Of a thing which could not be put back. Not be made right again. In the deep glens where they lived all things were older than man and they hummed of mystery."

But few have compared it with the opening of Hemingway's 'Big Two-Hearted River' which also deals with a dead landscape and trout that live on in the streams:

"The train went on up the track out of sight, around one of the hills of burnt timber. Nick sat down on the bundle of canvas and bedding the baggage man has pitched out of the door of the baggage car. There was no town, nothing but the rails and the burned-over country. The thirteen saloons that has lined the one street of Seney had not left a trace. The foundations of the Mansion House hotel stuck up above the ground. The stone was chipped and split by the fire. It was all that was left of the town of Seney. Even the surface had been burned off the ground."

So far so apocalyptic, one might think. But the story continues:

"Nick looked at the burned-over stretch of hillside, where he had expected to find the scattered houses of the town and then walked down the railroad track to the bridge over the river. The river was there. It swirled against the log piles of the bridge. Nick looked down into the clear, brown water, coloured from the pebbly bottom, and watched the trout keeping themselves steady in the current with wavering fins. As he watched them they changed their positions by quick angles, only to hold steady in the fast water again. Nick watched them a long time."

There are plenty of differences between the two stories, of course. Nick is a solitary character whereas The Road is a novel about relationships; Hemingway's trout survive the fire storm: McCarthy's are only a memory. But I don't think it's too fanciful to see in McCarthy's novel a trace of the Hemingway story.

So what reason could there be for this literary recollection? One possibility, I think, can be found a few paragraphs on in Hemingway's story. "Seney was burned," the narrator tells us, "the country was burned over and changed, but it did not matter. It could not all be burned."

As I've argued before, The Road is a strangely hopeful novel but it is an open-ended one. Does the boy survive? Is the destruction total? What the final paragraph in its literary context may suggest is that the answers to those two questions are 'Yes' and 'No'. There is a place where the fire has not burned. Survival is possible. And with survival may come love, the deep mystery that hums at the heart of this great novel.

Andrew Krivak - The Sojourn

Last November I mentioned not only Siegfried Sassoon but also the former Augustinian friar, William Brodrick, whose novel, A Whispered Name, was a welcome addition to the ranks of First World War novels. This year it's the turn of a former Jesuit, Andrew Krivak, whose novel, The Sojourn, is a National Book Award finalist.

By writing about a soldier in the Austro-Hungarian army fighting on the Italian front, Krivak gives us an insight into an aspect of the Great War which is too little known (nothwithstanding Hemingway's Farewell to Arms). But this is more than a war novel. The narrative is framed by two stories about children who are rescued, the narrator by his mother and another child (but I won't give too much away) by the narrator. This is a novel which is as much about families and migration as it is about the war.

Having said that, the sections which deal with the war are among the best in the book. The part of the novel where Krivak writes about the sharpshooters in action is, I think, particularly fine, although the final post-war sections are also both moving and harrowing.

However, I did have some reservations about the novel. In particular I found Krivak's prose style hard to cope with at times. To put it simply, I thought his sentences were sometimes just too long. Take this paragraph, for instance:

All this time, we spoke in English. The first day he hoisted me into that saddle and we led the herd away from Pastvina, the last he spoke of any Slavic language was to those same Rusyn peasants who greeted him as they took to the fields in Lent with "Slava isusu Khristu," to which he responded "Slava na viki," and then ceased to say a word comprehensible to me, until, by the end of the summer, I knew - and could respond to - the language that was to become our own there in the mountains, and which he insisted that I never speak when we went back to the village, where everyone spoke Slovak, or Rusyn, or Hungarian to outsiders.

I felt like I was being swept away by a flood of subordinate clauses. There were also moments when the language jarred. Take the penultimate sentence in this extract, for instance.

     After a time, I asked, "What is left to be afraid of?"
    And he said, "The possibility that a life itself may prove to be the most worthy struggle. Not the whole sweeping vale of tears that Rome and her priests want us to sacrifice ourselves to daily so that she lives in splendor, but one single moment in which we die so that someone else lives. That's it, and it is fearful because it cannot be seen, planned, or even known. It is simply lived. If there be purpose, it happens of a moment within us, and lasts a lifetime without us, like water opening and closing in a wake. Perhaps your brother Marian knows this."

Krivak reminds Sebastian Smee of The Boston Globe of Cormac McCarthy, among other writers, so let's compare Krivak's paragraph with one of McCarthy's.

When it was light enough to use the binoculars he glassed the valley below. Everything paling away into the murk. The soft ash blowing in loose swirls over the blacktop. He studied what he could see. The segments of road down there among the dead trees. Looking for anything of color. Any movement. Any trace of standing smoke. He lowered the glasses and pulled down the cotton mask from his face and wiped his nose on the back of his wrist and then glassed the country again. Then he just sat there holding the binoculars and watching the ashen daylight congeal over the land. He knew only that the child was his warrant. He said: If he is not the word of God God never spoke.

Of course it's invidious to quote authors out of context but I think the essential difference between the writers is clear even from these two passages. 

Journeys and Pilgrimages

One A Level coursework option currently on offer is 'Journeys and Pilgrimages'. Teachers and students are given a free choice of texts so I have been wondering which books might be worth studying. It's hard to think of much literature that doesn't contain a journey of some kind, so what makes this option intriguing is the reference to pilgrimages.


There are some fairly obvious choices, like The Canterbury Tales, but there are other pilgrimages which don't stand out so readily. H.R. Stoneback, for example, has pointed out that:


"Pilgrimage, the notion and motion of spiritualized travel, is at the center of Hemingway's religious vision and his work from his earliest stories to the final, unfinished and posthumously published novels and memoirs. Pilgrimage variations in his work range from individualized quests to places that are sacralized by the achieved journey, to traditional pilgrimages long held sacred by centuries of pilgrims. Most notable in the latter category of pilgrimage is Hemingway's longstanding devotion to the specifically Catholic Pilgrimage of Santiago de Compostela." 


And while we're on the topic of Santiago de Compostela, I have to mention Neil Curry's sadly out-of-print Walking to Santiago. The good news, though, is that his Other Rooms: new and selected poems does contain a good selection of the Santiago poems.

Another recent book which addresses similar territory is Christopher Howse's A Pilgrim in Spain while a recent movie is Emilio Estevez's The Way.

The focus of much recent literature about Journeys and Pilgrimages - like Cormac McCarthy's The Road - is the journey itself. However, an exhibition that has just opened in London reminds us that the destination was also pretty important, even if that destination then pointed the way to a far greater destination. 


The British Museum's Treasures of Heaven certainly looks as though it will be worth a visit. Some interesting events have been organised by the curators and the associated book looks wonderful. There are some interesting books now available on the topic of relics - such as Holy Bones, Holy Dust - but Evelyn Waugh's Helena remains one of the most fascinating.


That's probably enough to be getting on with but I'm sure there are plenty more texts out there which would fit beautifully into this unit of work. Any thoughts?

Cormac McCarthy's 'The Road'

We can be fairly certain that Joseph Ratzinger was not thinking of Cormac McCarthy when he wrote in 2002 that, in the face of the evil seen in the modern world, "a purely harmonious concept of beauty is not enough. It cannot stand up to the confrontation with the gravity of the questioning about God, truth and beauty." Nonetheless, that stark concept of beauty is precisely what we find in what is arguably McCarthy's greatest and most explicitly religious novel, The Road.

The book is in many ways utterly bleak - an unnamed father and son wander through a dead America in which "the frailty of everything [is] revealed at last", where cannibalism is rife and children are roasted on spits - but it is also shot through with what McCarthy calls in The Sunset Limited "the lingerin scent of divinity".

God seems at first to be utterly absent from this post-apocalyptic world - the father asks, "Are you there? ... Will I see you at the last? Have you a neck by which to throttle you? Have you a heart?  Damn you eternally have you a soul? Oh God ... Oh God" - and yet His scent lingers on in the love the father has for his son and in the son himself.

The boy is in many ways the novel's central character. It is the son who retains his humanity when his father struggles to hold onto it. It is the son who compels his father to feed an old man they pass on the road, and the son who insists on returning clothes to the thief they had robbed in turn. As his father puts it, "If he is not the word of God God never spoke."

Despite the horrors he experiences the boy still "glow[s] in that waste like a tabernacle". The child is not deified - he remains a child who desperately craves reassurance and love - but he does retain a childlike religious sense. When the father stumbles across a stache of food, for example, the boy insists on thanking the (long-dead) owners for it: "Dear people, thank you for all this food and stuff. We know that you saved it for yourself and if you were here we wouldnt eat it no matter how hungry we were and we're sorry that you didn't get to eat it and we hope that you're safe in heaven with God."

The father learns many lessons from his son and the importance of prayer is just one of them. Shortly before he dies he tells his son: "If I'm not here you can still talk to me. You can talk to me and I'll talk to you. You'll see." This may not seem much like prayer as traditionally understood but it is the best he can manage in the post-Christian world they inhabit.

It is surely significant then that, at the very end of the book, when the boy finds refuge with another family, "He tried to talk to God but the best thing was to talk to his father and he did talk to him and he didnt forget. The woman said that was all right. She said that the breath of God was his breath yet though it pass from man to man through all of time."

This is a terribly bleak novel but it is also one which carries a redemptive message about hope and love. It is a novel of great narrative power, a book in which the stark of beauty of the prose style carries as much meaning as the journey itself.

In one of his very rare interviews, Cormac McCarthy disingenuously said that: "it is more important to be good than it is to be smart. That is all I can offer you." He was wrong: in The Road he offered so much more.