Tag: Susan Howatch

Posted on

Reading as a Creative Act

I recently posted some epigraphs from the novel Absolute Truths by Susan Howatch. In that novel most of the epigraphs come from the Anglican theologian Austin Farrer whose theology provides a historical backdrop for the novel itself. Farrer’s words also serve as a foil and as a guide for the narrator in the novel. In this post, I wanted to look at a passage in the novel where the narrator, Charles Ashworth, picks up one of Farrer’s book of sermons. His reading of Farrer sets off a series of connections and insights for him, and Howatch masterfully shows us how reading itself can be a creative process.

In the scene Charles begins to ruminate on a profound encounter he had recently had with a sculpture. When he was looking at the sculpture, he and the artist began to discuss the intimacy of creating, the deep emotional investment the artist makes in order to create. Later, as he remembers the scene, his mind turns to a sermon he had recently read, so he picks up a copy of Austin Farrer’s sermons Said or Sung and turns to this passage on the divine creator:

“The skill of the divine potter is an infinite patience of improvisation. No sooner has one work gone awry than his fingers are pressing it into the form of another. There is never a moment for the clay, when the potter is not doing something with it. God is never standing back and watching us; his fingers are on us all the time.”

After reading the passage, he begins to think of his own life, the loss of his wife and the ensuing catastrophe, and he remembers the way in which the artist had caressed her own sculpture: “When I remembered how she had caressed her sculpture, I knew I was being called to believe in a creator who never gave up, a creator who suffered alongside his creation, a creator who was driven by “an indestructible sort of fidelity,” by an “insane sort of hope” and above all by the most powerful form of creative love to bring order out of chais and “make everything come right.”

I love this scene because beyond being a lovely meditation on the beauty of art and the redemptive love of God, it is striking representation of the process of reading itself, of thinking along with a book. Charles has a thought that leads him to pick up Farrer’s book. As he reads the sermon, he imagines himself as the ball of clay being sculpted and re-sculpted by God, which then turns his mind again to the artist and the sculpture he had recently seen. And then he ruminates more, reflects, and as he does more of Farrer’s words begin to interweave with his own thoughts. What he had seen in the studio, what he now reads on the page, all interweave to affect a profound thought which helps him see his own circumstances in a new light.

By showing us the connections in Charles’ own mind, Howatch invites us to reflect on the power of art and of reading itself. It’s a masterful scene in a profound novel.

Posted on

More Austin Farrer or Nice Epigraphs

I recently finished the sixth novel in the Starbridge series by Susan Howatch, Absolute Truths. I ‘ve very much enjoyed the entire series, and I commended the first novel, Glittering Images, as my favorite novel from last year. I was eager to read this closing volume because it is narrated by the same priest, now bishop, who narrated Glittering Images, and he was the character I personally most identified with in the whole series, both in terms of theology and temperament.

I’ll post some quotes from the novel in a different post, but here I wanted to point out Howatch’s masterful use of epigraphs. In each novel of the six novels, Howatch opens each chapter and section with a quote from a theologian or prominent figure from the Church of England. The figures she selects typically reflect the theology and spirituality of the narrator, but they also reflect the larger Church of England within the time frame of each of the novels. The epigraphs are interesting on their own, and they never distract from and often illuminate the scene that will follow in terms of character motivations. They also offer a broader sense of the Church of England at the time. I found her use of epigraphs to be masterful precisely because of this mutual informing quality, namely that I learned more about the characters through the epigraphs, but I also learned more about the Church of England through the thoughts and actions of the characters, especially the narrators.

I was especially delighted to find that Howatch selected Austin Farrer for her epigraphs in Absolute Truths. Farrer is someone I’ve blogged about here, and he is a figure I’m increasingly fascinated with. His lectures on scripture, metaphysics, and poetry collected in The Glass of Vision are extremely stimulating, and I hope to post some thoughts on his account of revelation in the future.

For now, here are a few epigraphic gems from Farrer:

“No doubt it would be more suitable for a theologian to be absolutely pickled in devout reflection and immune from all external influences; but wrap ourselves round as we may in the cocoon of ecclesiastical cobwebs, we cannot altogether seal ourselves off from the surrounding atmosphere.” Austin Farrer, Said or Sung

“The universal misuse of human power has the sad effect that power, however lovingly used, is hated.” Austin Farrer, Said or Sung

“Temptation is what distracts us, beguiles us or bullies us off the path. Temptation is what makes real life different from the world of our dreams is what makes real life different from the world of our dreams. We dream a world which is wax under the moulding of our ambitions or of our aspirations; we meet a world which faces us with trials we have not the character to surmount, and with seductions we have not the virtue to resist.” Austin Farrer, A Celebration of Faith

Posted on

What does Jerusalem have to do with Vienna?

Paweł Czerwiński

What does Jerusalem have to do with Athens? Since Tertullian posed this question, it has become a short hand way to frame the relationship between philosophy and theology. But as this extended quote from the novel Mystical Paths illustrates, the better question for our age might be, what does Jerusalem have to do with Vienna? In other words, what is the relationship between theology and psychology?

“My father had long ago since grasped that the language of Christianity and psychology could form two ways of expressing one truth, but I longed for a detailed synthesis which would make Christianity blaze across the minds of unchurched mid-twentieth century masses and render its message meaningful. It’s no good performing the classic academic exercise of expressing Christianity in term of the latest fashionable philosophy. That appeals to no one outside the universities. For the mid-twentieth century you’ve got to express Christianity psychologically because even the average moron at a cocktail party has heard of the Oedipus complex. Or in other words, psychology’s the grass-roots intellectual language of our time, and if you can translate Christianity into that, everyone will finally understand what the preachers are whittering on about in the pulpit—and then with understanding will come spiritual enlightenment…”

Though the novel is set in the mid-1960’s, Nick’s insistence that “psychology’s the grass-roots intellectual language of our time” could be said for our day as well. In the context of pastoral ministry, I have seen that people have not only absorbed a lot of pop psychology and readily speak its language. They are also hungry to understand things in psychology terms. As an example, the explosion of interest in the Enneagram within Christian circles shows the deep hunger for both self-understanding and the ease with which people begin to speak a new language.

So on one level, I resonate with the quote and see the value in learning to speak in these terms and to look to psychology for resources in translating the faith within given context. I see this as related to the question of mission and contextualize, a topic I hope to pick up in earnest in the new year as I continue to work through David Kettle’s Western Culture in Gospel Context.

However, just as expressing Christianity in terms of a fashionable philosophy can have have a distorting effect, so that the theology comes to serve the philosophy rather than the other way around, so too can expressing Christianity in terms of psychology go awry. On the most basic level, psychological models change and certain models are uneasy bed fellows with classically Christian understandings of the human person. More fundamentally though, the great temptation in translating the faith into the language of psychology is that such translation becomes a reduction, so that the faith is reduced to nothing more than a kind of therapy. If faith is therapeutic then the driving question becomes how does this make me feel rather than is this true. If faith is merely therapeutic it is all the more easily abandoned for something else that “just works better.”

The deep irony, as Darrow himself comes to learn in the novel, is that the Christian tradition itself has deep reservoirs for psychological self-understanding. Augustine and The Confessions famously comes to mind, and one only needs to spend time reading John Cassian or almost any passage chosen at random from the Philokalia to see that Christianity has long had an interest in plumbing the depths of human motivation.