A Reflection on the Novel by Brian Moore
By Tony Equale
Brian Moore’s novel, Catholics, was published in 1972. It was made into a movie for TV starring Martin Sheen and Trevor Howard and aired in the US and Canada in the seventies; it was reissued in VHF and DVD in 2004 and is now called “The Conflict.” The book was reprinted in 2006 by Loyola Press and sports a hefty introduction by Robert Ellsberg, the editor of Orbis books.
The tale is set in some unspecified time in the future after two more Ecumenical Councils have been held and the Catholic Church has solidified the changes initiated by Vatican II and even gone beyond them in the same progressive direction. At the current moment Catholic dialog with Buddhists about beliefs they share has reached such a point that any regression into pre-Vatican II practices would adversely affect the efforts of the Vatican to proceed toward unity.
But word has come to the General of the Albanesian Order in Rome that members of his congregation living in a monastery on a remote island three miles off the coast of Kerry in Ireland, have not only been making a Tridentine Liturgy available to the people on the mainland, but that Catholics have been coming by the thousands, some in charter flights from far off lands, to participate in the traditional rituals. Additionally, the monks recently changed the location to nearby Coom mountain on an historic landmark of resistance to the British called “Mass rock;” it evoked a sense of rebellion and added to the interpretation that this was a massive conservative protest against the modernizing policies of the Official Church.
A priest of the order, Father James Kinsella, played by Martin Sheen, is sent to the Island to order the monks to stop. Kinsella is a young Irish-American who dresses in military surplus clothing that evokes the Latin American revolutionary priests whom he openly admires. He carries a letter from the Father General in Rome addressed to the abbot, directing that the liturgical rituals are to return to the form mandated by the Official Church. Ultimately, after hours of exchange on the Island with all concerned — the bulk of the novel — the abbot submits and enjoins obedience on all.
The novel is obviously dated. Its publication in 1972 is a clue to the prevailing attitudes at the time of its writing which was certainly earlier. Vatican II was barely finished. The Papal Encyclical of 1968 upholding the ban on contraceptives may not even have been issued when Moore conceived his story.
At the time, there was an anguished backlash against the liturgical reforms which many believed significantly changed the focus of Catholic piety. The Council had de-emphasized the worship of “God” in the Eucharistic species in favor of the formation of Christian communities of love as the real locus of God’s presence. The Eucharistic meal became a sign of family rather than a memorial of Christ’s death on the cross. 500 years of closed, anti-Protestant, Catholic insistence on the “real presence” was abandoned for an open-armed invitational posture toward Catholicism’s “separated brothers” which included an acknowledgement of the symbolic nature of the sacraments. To those unfamiliar with theological nuances, it was not a mere shift in emphasis as claimed, but a complete reversal of direction.
If the changes clearly laid down by the Council had continued to develop along the lines initially established, perhaps the long-range aftermath would have been as Moore anticipated. The openness might have reached out beyond Christianity to “other” traditions, perhaps even contemplating union with Buddhists. But, as we all know, it did not. The Encyclical Human Vitae turned out to be the harbinger of a one-sided Vatican take-over of Conciliar reforms that virtually stopped any progressive development dead in its tracks.
Moore’s futuristic exaggerations, however, should not be dismissed just because they never materialized. I believe the novel is important as an historical landmark, for in fact it represents the mindset at the end of the sixties and accurately depicts the reactionary attitudes that supported the conservative counter offensive by the Vatican apparatus under the leadership of two intransigent popes spanning over forty years. What we have today in the Catholic Church is the result of that backlash driven by the mentality ascribed to Moore’s monks and the people who flocked to their masses. The book in its time represented a trenchant rejection of Vatican II. Reflecting on the issues as the novel explores them gives us the opportunity to analyze matters as if looking at a photographic negative, but one that nevertheless gives an accurate picture of past, and now present, prejudices. For the real future that actually developed out of the Council — the reactionary alternative — is what we are living with today.
Back to the story
In traditional Vatican fashion the novel imagines Kinsella being given plenipotentiary powers authorizing him to assume control of the monastery and coerce compliance in the event of a refusal to cooperate. Refusal to cooperate is exactly what he finds when he gets there. The monks to a man are ready to disobey Rome and continue providing the sacraments “the old way” as before. His sharp confrontation with the community is blunted when he gets support from an unexpected source, the abbot, Tomás O’Malley, played by Trevor Howard.
O’Malley turns out to be the central figure in this bi-level story that at first seemed to be examining Catholic liturgical reaction but quickly turns to the more agonizing topic of the abbot’s state of soul. For we soon learn that O’Malley has lost his faith. The overarching theme of the novel then morphs into a conflict of impossible and terrifying choices: Can a monk be an atheist? … can there be Christianity without God? We learn from the private conversation between O’Malley and Kinsella, that the abbot’s support for the regressive practices of his monks is ironically driven by a guilty compassion: he does not want to deny the people the consolations of the Catholicism that his atheism rejects. The irony is profound. An abbot who does not believe in God feels compelled to promote an archaic, superstitious ritual that educated Christians and the Vatican no longer accept as valid, simply to protect the uneducated from disillusionment.
How did this impossible anomaly ever come to be? O’Malley admits he lost his faith when he visited Lourdes forty five years earlier as a young priest. He was appalled at the delusional devotion of the people who came to Lourdes in droves hungry for miracles. “There are no miracles,” says O’Malley emphatically. The eagerness of the Church to capitalize on the peoples’ misery sent him reeling. “It took me a year to come out of it.” You can palpably feel his support for his monks’ efforts wane when Kinsella suggests that the great crowds coming to Coom mountain were precisely like the pilgrimages to Lourdes. “No,” insists O’Malley in a rare show of defensiveness, “not Lourdes. Never Lourdes. We are not offering miracles. There are no miracles!”
Later, Kinsella having gone to bed, O’Malley finds his monks gathered in the chapel and has a heated exchange with them over the Eucharist. The abbot’s rejection of miracles is directly challenged. The transformation of the bread and wine into the body and blood of Christ is repeatedly called a “miracle” by the monks and any other position “heresy.” Thus the dilemma: the abbot who would put the consolation of the people above all else, including the truth, is now forced to confront this deception in the case of the monks in his care. The monks think he believes and would be devastated to learn that he did not. But he cannot feign belief without shattering his own integrity. He avoids making any declaration about the matter and peremptorily sends them to bed.
The next day as Kinsella prepares to leave, O’Malley admits that in his own personal life he had forestalled such a cataclysm by personally refusing to pray. We learn that this is an idiosyncrasy of the old priest, his own personal equation. It is the act of prayer that stands at the very center of the conflict for him. He knows if he attempts to pray he will disintegrate; for O’Malley, prayer implies belief in the God of miracles.
Enter Robert Ellsberg
Robert Ellsberg, in a singularly obtuse introduction blurred by his own atavistic ideological preferences, misses the point entirely. While he is busy sympathizing with the monks by quoting a 1988 statement of Cardinal Ratzinger (later Benedict XVI) about peoples’ need for “the Sacred” (meaning precincts and rituals set off from the “profane”), he seems unaware that the “atheist-priest” and “Christianity-without-God” question raised by Moore’s Catholics is the truly significant issue. The question had been asked before by other novelists like Dostoyevsky indirectly in The Legend of the Grand Inquisitor, but it was asked directly and in exactly the same form by Miguel de Unamuno in his short novel San Manuel Bueno, Martyr, written in 1930. Ellsberg doesn’t refer to it.
Unamuno’s Don Manuel is the parish priest of a small village in Spain; like O’Malley he is an atheist. But he recognizes the power of the religious myths to assuage the anguish of the poor whose desperate struggles to live are destined to be frustrated at every turn. Their only hope for happiness is heaven. The parish priest no longer believes the myths of the afterlife but encourages his people to believe in them and enjoins his assistants to accompany him in the deception for the sake of the people. His love and compassion for the people become legendary. At his death the bishop initiates procedures to have him canonized.
Moore’s O’Malley is like Don Manuel. Both are priests with responsibility for others; both recognize the consoling power of the myths of Christianity; both are determined to protect their people from disillusionment — by deception, if necessary — but neither believe any part of it. Unamuno grasps the poignancy of it all: he calls Don Manuel, “martyr.” Moore’s Abbot, for his part, confesses to Kinsella that when he tries to pray it puts him in a null state which he describes as “hell.” Therefore he does not pray. “Not for many years,” he says. Given that state of affairs it is O’Malley’s personal martyrdom that ends the book. For in order to keep disillusionment from destroying his little flock of monks, he kneels with them to pray — the ultimate deception — something he knows will destroy him. For O’Malley, to pray is to declare belief in miracles.
I part company with the unstated premises of the writers we have looked at in this reflection. Unamuno and Moore, in my opinion have each drawn a character who turns out to be almost identical despite the differences in geography, language, culture, time. And well they might, because they have both started from the same assumptions and traditions that have ruled universal Catholicism at least since the middle ages. And what they call atheism is only atheism because it rejects those assumptions. I also reject those assumptions, but I am not an atheist.
Both assume the same anthropomorphic “God” whose imagery was first provided by the Hebrew scriptures. This is the God of miracles. Even creation was described in Genesis as a miracle. There was, after all, no natural reason for the universe to arise. It appeared because it was designed by the divine imagination and freely willed to occur outside of the natural order.
Once “God” was established as the polar opposite of the natural void and chaos which “he” transformed into cosmos by his creative action, the separation between “God” and creation — the natural and the supernatural — was set in stone. “God” lived in another world; he worked upon this world the way a Craftsman works ad extram on his materials. Any contact with the world had to be a miracle, an unnatural irruption of the sacred into the profane. Those therefore who sought union with God were asking for a miracle, for they were asking for the natural order of things to be suspended. They wanted “God” to come to where “he” did not belong.
All of the Hebrew “God’s” interventions were miracles: first there were the miracles of the Exodus; then in the NT, the virgin birth, the incarnation, Jesus’ works of healing, and of course the resurrection. Thereafter, as the Church settled into its role in society, its stock-in-trade was miracles: the miracle of incorporation into Christ by baptism, the miraculous forgiveness of sins through the priest’s words in confession, the miracle of transubstantiation at mass, and the daily imprecations for miracles: for healing, for economic security and success, for personal rehabilitation, for national ascendancy; for victory in war, for the release of “souls” from purgatory. To be a Catholic was to live under the protective arch of a “divine” institution that had the ear of the God of miracles. Of course, in such a world, to attempt to even contact “God” was to ask for a miracle. Hence O’Malley could not pray.
For there to be a “sacred” in that universe, there had to be a “profane.” Ellsberg’s introduction reveals his own belief in the sacred / profane dichotomy. His long quote from Ratzinger features the Cardinal’s promotion of “that splendor which brings to mind the sacred,” and his lament that the modernizers “have reduced the liturgy to the language and the gestures of ordinary life.” Ellsberg quotes Flannery O’Connor’s reaction to the liturgical reforms: “if it’s a symbol, to hell with it.” These sentiments in almost the same words are articulated by Moore’s believing monks, though not by the atheist O’Malley whose obvious preference — given the choices available — is to side with Kinsella. And so he orders the monks to stop.
The significance of the novel’s dénouement in the eventual alliance between the atheist abbot and the modernizing American social activist will not be lost on the perceptive observer. These silent narrative equations will lead the unsuspecting reader to conclusions that have never been articulated or analyzed. Given the premises, a black and white conclusion is all we are allowed. You can’t have “God” without miracles.
Ellsberg does not like to be left choosing between black and white. At the end of the introduction, his attempt to wriggle out of the trap he placed himself in by his acceptance of the premises of Moore, Unamuno, Ratzinger and O’Connor, fails, as it has to, because it is a hope built on nothing at all. “Is it not possible,” he asks ingenuously, “to opt for both relevance and sacred mystery? Openness to the world and a passion for truth?”
My answer is no! Not unless you abandon your insistence that “truth” means a God of miracles who paradoxically must break into our world unnaturally because we have decided he does not belong here naturally. The very fact that indeed, as O’Malley accurately observed, there are no miracles, should be enough to prove to anyone not blinded by fairytales, the kind of “God” that there really is, and where our sense of the sacred comes from.
“God” is the material LIFE that evolved us … in which “we live and move and have our being.”
Therefore, the language and gestures of ordinary life are sacred.
July 28, 2017