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Two bishops of African dioceses met recently in the offices
of the Sacred Congregation for the Propagation of the Faith
in Rome. They are the first negro Prince of the Church*
-Tis Eminence Laurian Cardinal Rugambwa, Bishop of Ru~
:abo, Tanganyika and Most Rev. Denis Eugene Hurley,
Archbishop of Durban, Union of South Africa, a na
tive of Capetown. (NC Photos)
¥/, hTbAILEY
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BOOK REVIEWS"
EDITED BY EILEEN HALL
3087 Old Jonesboro Road., Hapeville. Georgia
Each issue of this Book Page
is confided to the patronage of
Mary, Mediatrix of All graces,
with the hope that every reader
and every contributor may be
specially favored by her and her
Divine Son.
TESTAMENT AND OTHER
POEMS, by John Fandel, Sheed
& Ward, 95c.
(Reviewed by Cecilia L. Hines)
It is rather a presumptious
effort for this reviewer who has
such a limited knowledge of
the norms and techniques of
modern poetry to review a book
of this kind, but so much com
petent and interesting verse is
being written today it would be
derelict to neglect any oppor
tunity to call attention to this
awakening in America on the
part of young writers. A large
percentage of this promising
talent is among young Catholic
authors many of whom have
been awarded prizes and scholar
ships! such as the Lamont
prize, the Elinor Frost Poetry
Scholarship, and the Reynolds
Lyric Award of the Poetry So
ciety of America) by national
foundations.
To get any reaction to the
beauty and value of poetic liter
ature all verse should be read
aloud. Only when words can be
heard, tasted and felt can their
nuances come alive to either
dance or drag across the page
they are printed on. Cadence
and rhythm create interest, im
portance and influence in all
human beings. Little children
feel this keenly—they love the
sound of words even if the
meaning is obsecure. “In the be
ginning was the rhythm,” said
a wise old German sage.
An increasing number of
poems, some good and some not
so good, is being published in
secular and religious journals—
many in magazines not devoted
to poetry alone. Hoping to at
tract more interest in this trend
Sheed & Ward, early last year,
put out a slim volume of poems
by John Fandel whose work has
appeared consistently in over
forty American magazines and
anthologies since 1943 and who
is now teaching English in
Manhatten. This little paper
back called Testament and Oth
er Poems has a delightful lyric
quality ’ which reminds me of
the lovely haunting beauty of
Maggie Teyte’s singing voice.
The poems are printed in two
sections: (1) consisting of short
poems on everyday subjects
which carry a modern report-
orial tone and (2) under the
caption Testament, more philo
sophical in content. The form,
feeling and thought in both sec
tions are sound and enriched
here and there with symbol and
imagery. One of the most de
lightful poems describes Nuns
on a Windy Morning as:
“Black dimensions of wind
The peek-a-boo nuns
Scurry like birds . . .
. . . silhouettes
Of silence who wear
Rosaries, quick refrains
Like castanets.”
Other Catholic poets who have
had hooks of verse published in
the last year of two are Daniel
Berrigan, S. J., Phyllis McGinley,
Sister Therese, S.D.T., and Ned
O’Gorman who won the Lamont
award in 1958.
PAPERBACK BOOKS
A GIRL AND HER TEENS,
by Peter-T h o m a s Rohrbach,
O.C.D., Bruce, $1.25.
(Reviewed by Elaine Hoffman)
Of the many books published
concerning teen-age girls, Fa
ther Rohrbach’s answers com
pletely the numerous questions
of a high school girl. Dating,
going steady and marriage —
three sensitive topics among all
teen-age girls — are discussed
frankly and clearly, leaving no
doubt in the reader’s mind as to
the correct procedures. Certain
ly this is an inspiring book for
the groping mind of the teen
age girl.
THE COMPLETE PRAYERS
OF HIS HOLINESS PIUS XII,
translated from the original
texts by Alastair Guinan, Des-
clee, $1.50. Almost one hundred
prayers composed by the late
Holy Father f o r various oc
casions and various classes of
people, from 1931 when he was
Cardinal Pacelli until his death
in 1958. All are beautiful and
eloquent, of course. Particularly
noticable is the tone of anguish
in those composed during the
war years. Beautiful and elo
quent also are the two full-page
photographs of His Holiness!,
one in color, the other in black-
and-white; as well as the fac
simile of his own handwritten
(in Italian) prayer to the Holy
Family, with corrections and
deletions as he made them.
THE BIBLE IN THE
CHURCH, by Bruce Vawter,
C.M., Sheed & Ward, 75c. The
story of what the Bible’ has
meant within the framework of
the teaching Church throughout
the centuries, presented in pop
ular form by one of America’s
most competent biblical scho
lars. The subject is treated with
precision, clearness and good
humor.
THE PATTERN OF SCRIP
TURE, by Vincent Rochford,
Cecily Hastings and Alexander
Jones, Sheed & Ward, 75c. Each
of the three authors contributes
an essay. The first, “God’s Rec
ord of God’s Work,” explains
attitudes which should be cul
tivated for reading the Bible.
The second, “The Plan of God,”
traces the history of that plan
as begun in the Old Testament
and completed in the New Tes
tament. The third, “The Tool of
God,” is an unusual study of
Mary as found in the Scrip
tures, “the Lady whom every
careful reader of the Scriptures
may come to know.”
GOD'S FRONTIER, by J. L.
M. Descalzo, S.J., Knopf $3.97.
(Reviewed by Flannery
O’Connor)
The most interesting part of
God's Frontier is the short in
troduction by its Jesuit author
in which he reminds us that
edifying literature is made with
heavy “blocks of stone and
painful blows of the pick.” A
translator’s note informs the
reader that in Spanish the word
edification has not lost the
meaning of “act of building, of
raising an edifice.” The author
reminds us that edifying litera
ture can only be the work of
mature beings and asks if he
shall be blamed if some of the
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pages of his work bleed or siz
zle.
Unfortunately, none of them
do bleed or sizzle. There is an
excellent mind behind this book
but it is not the mind of a nov
elist. The story is of a young
man who finds that he works
miracles without wanting to —
embarrassing miracles, such as
bringing a canary back to life
when the miracle the communi
ty wants is rain to alleviate a
persistent drought. This makes
good allegory but genuine edifi
cation in the sense defined is
lacking because there are not
enough blows of the axe, very
little even of the spade work
required to make fiction. The
characters remain too easily
good or bad. too puppet-like to
sustain belief in them for long.
Allegory is all that remains and
edification in the less interest
ing, diluted and abstract sense.
This novel won the Eugenio
Nadal Prize in Spain, which in
dicates that it must have had
something in Spanish that it
lacks in English — perhaps a
poetic quality — or that there
was no better novel to choose
from, or that critical literary
values were not uppermost in
the minds of the judges.
THE MODERNITY OF ST.
AUGUSTINE, by Jean Guitton,
Helicon, $2.50.
(Reviewed by
Flannery O'Connor)
This is a brief but illuminat
ing. essay on the relevance of St.
Augustine to the modern age,
particularly as regards his con
ception of existence in time.
Before Augustine the sense of
personal sin and its connection
with time had had no literary
expression. For the Greek, sin
was error; for the Stoic acci
dent. The Jews had experienced
sin and its relation to history
collectively but St. Augustine
is the first man of the West to
have attained in personal fash
ion this Jewish experience and
to have written it for the ages.
M. Guitton traces aspects of
Augustinian thought in Freud,
Sartre, Proust, Gide and Hegel,
indicating the further step into
profundity that the saint took
which these modern thinkers
stop short of. This essay was
delivered in Paris on the 16th
centenary of St. Augustine’s
birth and in Geneva, before the
Faculty of Protestant theology.
It is full of profound suggestions
which deserve extension into a
longer book.
THE DIVIDED LADY, by
Bruce Marshall, Houghton Mif
flin, $3.50.
(Reviewed by Elizabeth Hester)
This is a novel about the
potency of kindliness. Following
the theme, it is a lauding of the
Italians set against a criticism
of the English; Mr. Marshall
implies that the Italians are kind
because they are Catholics and
the English are relatively insen
sitive and cruel because they are
Protestants. To keep this theme
from being too pat, the author
loads his Italians with sins—
emphasis being on those of the
flesh—but these, it is shown,
may be readily outflown by the
true capacity for warm affection
with which the Catholic faith
endows its adherents. This is a
dangerously simplified theory
of an exceedingly complex ques
tion, a fact that Mr. Marshall
perhaps obliquely acknowledges
by never flatly stating his
theory as such.
Mr. Marshall is witty and
sometimes charming. However,
in The Divided Lady he has
employed techniques which
only questionably serve their
purpose. Commendably, he la
bors no point, but he effects, his
witticisms with a super-abund
ance of British slang and
French and Italian phrases that,
for all their becoming brevity,
are so much meaningless tedium
to the unilingual American
reader. He also employs an un
fortunate device in the first half
of the book, where he jumps
hectically back and forth over
a fifteen year span; ultimately
it is seen that this is done to
illustrate the unpleasant English
—and also a sort of Scotch saint
—who are brought back on the
scene at the end of the book.
The device works, hut it costs
more of the reader’s patience
than the product it turns out is
worth.
NORMS FOR THE NOVEL,
by Harold C. Gardiner, S.J.,
Hanover House, $2.95.
“The creative reader,” says
Father Gardiner,, “will ap
proach the novel that has any
thing serious to offer . . . with
a certain sort of reverence, with
a willingness to have his
thoughts challenged in a proper
way. He will come away from
such a novel with some small
(at least) realization that he has
faced, for the time of his read
ing experience, the mystery
that is human nature. If he has
THE BULLETIN, May 14, 1960—PAGE 7
faced that, then he has grown
in intellectual, and very likely
in moral, stature . .
As literary editor of America,
Father Gardiner has for many
years been evaluating the con
temporary novel and developing
his statement of principles by
which “the creative reader,”
that discerning reader who
wishes to get more than enter
tainment from this particular
art form, can form his own
judgements of the novels offered
for his consumption. His book,
first published in 1953, is con
sidered a definitive Catholic
study of the bearing of morality
on the novelist’s art. The new
and revised edition includes
examination of books published
since 1953 and the expansion of
certain sections of the original
edition.
The author outlines five prin
ciples for moral evaluation of
literature; discusses the rela
tionship between “realism” and
moral evaluation: studies the
function of literature and its
challenge to the creative reader.
In the recent past, he says in
his foreword, too much criticism
assumed that the novel r
primarily a sociological tract:
but present trends in fiction
take the novelist “behind the
social facade of human be
haviour (where) he is inelucta
bly plunged into the ultimate
’whys’ of human action; once he
strives to give an honest and
convincing answer to these, he
is treading on moral grounds.
Once he treads there, he is in
volved in a religious ‘engage
ment’ . . .”
Father Gardiner concludes
then, that literature “has of its
nature a moral and religious
bent which manifests itself in
that particular inspiration . . .
(which) consists in stirring the
reader’s emotion and imagina
tion to a realization that there is
some heroism in the weakest
of men as well as some weak
ness in the most heroic of men
. . . (and that) God sees men to
love them . . . because He sees
His own infinite perfections
mirrored in every one of them.”
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