By Michael G. Brennan
During this major rereading of Graham Greene's writing occupation, Michael Brennan explores the influence of significant problems with Catholic religion and doubt on his paintings, rather with regards to his portrayal of secular love and actual wish, and examines the spiritual and secular concerns and plots concerning belief, betrayal, love and depression. even though Greene's woman characters have usually been underestimated, Brennan argues that whereas occasionally summary, symbolic and two-dimensional, those figures usually turn out crucial to an knowing of the ethical, own and religious dilemmas of his male characters. ultimately, he finds how Greene used to be essentially the most generically bold writers of the 20th century, experimenting with proven varieties but additionally believing that the occupation of a winning novelist may still contain an excellent range of different different types of writing. supplying a brand new and unique viewpoint at the interpreting of Greene's literary works and their significance to English twentieth-century fiction, it will be of curiosity to somebody learning Greene. >
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Additional info for Graham Greene: Fictions, Faith and Authorship
166) Two of Greene’s other shorter publications at this period offer further proof of his imaginative range and experimental creativity. ‘The Basement Room’ (1935) again focuses upon childhood perspectives and death. Its action is seen through the eyes of a young boy, Philip, who unintentionally betrays his friend and substitute father-figure, Baines, the butler at his family’s Belgravia home. Baines has been having an affair with a ‘thin and drawn’ young woman called Emmy who (like Coral Musker) wears a ‘white mackintosh’ (101) and is passed off to Philip as his ‘niece’.
As with The Name of Action, Greene’s literary sources remain problematically prominent in the fabric of the novel and he particularly regretted basing his lifeless cipher of a heroine on Conrad’s Doña Rita in The Arrow of Gold. 9 Stirling, a friend of Coleridge, Wordsworth and John Stuart Mill, had written Thoughts on the Foreign Policy of England (1827) in support of a popular uprising in Spain. In 1830, he canvassed support for an expedition to Spain led by General Torrijos – events which became the key source for Greene’s Rumour at Nightfall.
Unlike Crane, who seems before his death to have attained a sense of oneness, via Eulelia, with God and His Mother, Chase can only cynically conclude that worshipping ‘an eternal sacrifice was evil’ and ‘left the individual soul in loneliness’ (236). Chase’s renewed relationship with Eulelia offers some hope for the future in the macabre closing scene of the novel where they reverentially tend the Christ-like corpse of Crane. But any coherent religious message 22 Graham Greene for the novel seems to dissolve into a series of confusing dualities created by the need to confirm Chase and Crane as a ‘divided self’, finally drawn together through their shared love for Eulelia and the possibility of their ‘sad union’ (299) – the last words of the novel.