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The Absence of Goodness by Isaac Morris

reviewed by Christy Isinger

The Absence of Goodness is a page-turner crime novel written by Catholic Isaac Morris. The solving of an awful crime propels the plot, as does the conversion of its main character, a nun, who seeks the killer. It is a mystery that takes the unique approach of a nun as its main character and detective. The mystery genre has been peopled with priest and monk detectives in the past and I found a nun in the main role refreshing and modern as well as faithfully Catholic. The story reveals many layers as the mystery unfolds and although not perfectly written, is comparable to most popular mysteries, with the added advantage of a solid Catholic perspective.

The book introduces us to Sister Margaret Donovan, a novice Dominican sister teaching at a high school, but who previously worked as a detective for the local sheriff’s department. She is straightforward, honest, and kind with an obvious gift for theology and working with students. As the story flashes back to her life before taking the veil, however, we discover someone who was living a life very far from holiness. Her affair with a married coworker ends in tragedy when he is shot while on duty and her life falls into a downward spiral before she finds hope in the faith given to her as a child. As the book progresses, Margaret displays deep compassion and faith as well as determination in finding a murderer. She does make some damaging choices that bring realism to the character and the life of a religious. It can be argued that these choices make the character more realistic, but also possibly out of character for a woman who has given five years of her life to the Church and is close to taking her final vows. I found that although Margaret is not yet a perfect nun, she gives an adequate example of the difficulty and day-to-day sacrifices that are needed to live a life of holiness in today’s society. Margaret’s journey to her final decision whether or not to take her final vows takes place while she helps solve the terrible crimes occurring within her school. Although I was skeptical at the beginning of the book as to how the author would treat a nun as a main character I found myself pleasantly surprised overall to find a realistic character free from both candy-coating and liberal ideology.

Margaret is called back into service for the sheriff’s department after a student of her high school is found murdered. She is assigned to work alongside an arrogant yet ruggedly handsome detective and the two begin doing solid police work while forming a flirtatious relationship. Another murder occurs while connections to past crimes are discovered and Margaret begins to try to find the common threads which could lead them to the murderer. The plot weaves in and out of different suspects at a good pace while depicting realistic characters. Most of the characters are well drawn, however the character of Bill Templeton, Margaret’s partner, seems a little thin and one-dimensional. The narrative itself changes its focus among different characters, which layers the plot effectively while building suspense. Although definitely not as hard to guess the murderer as in an Agatha Christie novel, the plot does has several twists and the end result was fairly satisfying.

The Absence of Goodness is a serious crime novel even though its main character is a nun. Graphic crimes are depicted, foul language is found throughout, and some sex scenes occur. I found the crime descriptions fairly realistic and disturbing, which I’m sure was the author’s intent and which lends credibility to the book itself as a crime novel. However, plain bad writing is found in the sex scenes, which sometimes made me cringe in the sheer lewdness. Some critical editing would have greatly helped the book as a whole and may possibly have saved us more than one painfully awkward intimate moment.

The value of a crime novel being written by a Catholic is the theological basis with which crime and its consequences are seen. Many times throughout The Absence of Goodness the relationship between sin, crime, and its results is presented. But alongside of the darkness of crime hope in faith is also seen which is seldom present in today’s crime fiction. The detective turned nun, Margaret, makes a good main character and I would look forward to a series based on her cases. Catholics who enjoy crime novels would be satisfied, and even refreshed with The Absence of Goodness.

The Atlantic Monthly on “Flannery”

gooch_flanneryJoseph O’Neill, whose novel Netherland is this year’s recipient of the prestigious PEN/Faulkner Award, has written a piece on Flannery O’Connor for the recent issue of The Atlantic Monthly (using Brad Gooch’s biography, Flannery: A Life, as the occasion). O’Neill describes O’Connor’s writing as “unfairly” and “wickedly” good:

The narrating third person hovers in an almost miraculous fusion of proximity and comic distance. With O’Connor, there never seems to be space between the words and their creator’s sensibility. You almost never catch a whiff of authorial self-consciousness. About how many writers can this be said?

Nonetheless, O’Neill has problems with O’Connor the “exegesist.” In other words, O’Connor the Catholic:

To decode her fiction for its doctrinal or supernatural content is to render it dreary, even false, because whatever her private purposes, O’Connor was above all faithful to a baleful comic vision derived, surely, from an ancient, artistically wholesome tradition of misanthropy. Nonetheless, a spiritual drama is playing out. Only it is not the one put forward by the self-explaining author, in which she figures as an onlooker occupying the high ground of piety. On the contrary, Flannery O’Connor’s criticism reveals her as scarily belonging to the low world she evokes. She was touched by evil and no doubt knew it. That is what makes her so wickedly good.

O’Neill fears that reading O’Connor in light of her Catholicism reduces her artistic achievement, rendering it “dreary, even false.” This is common for current critics who find her writing rapturous, but her self-proclaimed “thirteenth century” Catholicism distasteful. Yet his own summation of O’Connor as nothing more than a deep-seated misanthropist, “belonging to the low world she evokes,” rather than a faithful Catholic looking into the heart of human mystery, strikes me as far drearier and less convincing than O’Connor’s own conviction that her faith was the driving force behind her art.

She wrote: “Because I am a Catholic I an afford to be nothing less than an artist.” O’Connor’s concentrated vision of the Fall is “baleful,” to be sure, but not without hope, as it would be in the work of a genuine misanthrope (Philip Roth, perhaps?). O’Connor’s stories feature characters unquestionably “touched by evil,” but O’Neill misses the larger point entirely. That they are also, and more importantly, “touched by grace.” That grace may be darkly comic, shocking, or violent, but it’s there. And it’s a mystery. O’Neill’s reading of O’Connor may reveal more about him than it does about his subject.

Graham Greene: A Life in Letters

greeneMichael Dirda, Washington Post’s perspicacious literary critic, sets his sights on a new collection of correspondence by Graham Greene, the great Catholic novelist. He writes: 

His men and women are murderers, traitors, unhappy adulterous lovers, sinners of every stripe–and he doesn’t glamorize their seediness, their misery, or their desperation. Evelyn Waugh bluntly called them “charmless.” Nearly all of them dwell in a shadowy fictive world of hunter and hunted, where love itself leads mainly to anguish and loss. Nonetheless, even Greene’s “entertainments,” such as This Gun for Hire and The Third Man, are more than just tautly written thrillers of revenge or pursuit: In the distance one can usually make out the baying of Francis Thompson’s Hound of Heaven: I fled Him, down the nights and down the days; / I fled Him, down the arches of the years; / I fled Him, down the labyrinthine ways / Of my own mind …

After the death of Henry James, according to Greene, “the religious sense was lost to the English novel, and with the religious sense went the sense of the importance of the human act.” Consequently, Greene’s own work–especially the major books of what one might call his middle period: Brighton Rock, The Power and the GloryThe Heart of the Matter, and The End of the Affair–sought to reinvest contemporary fiction with moral seriousness, to depict solid and real people trapped in life-or-death ethical dilemmas and racked by guilt and despair.

Guardian blog on O’Connor’s Catholicism

bigoconnorThe Guardian book blog has a short but illuminating piece on the importance of Flannery O’Connor’s deeply-felt Catholicism on her work. O’Connor is on a shortlist of the best short-story writers of the twentieth century, and though her “Christ-haunted” South is peopled with Protestants, there is no question that Catholicism was her writing’s wellspring. For some this seems a contradiction because her stories are often violent, grotesque, and bleakly humorous. But O’Connor herself said: “I write the way I do because (not though) I am a Catholic.” [Read more...]

Rivals of Dracula, edited by Robert Weinberg, Stefan Djiemianowicz & Martin H. Greenberg.

order from Amazonreviewed by Rae Stabosz

This morning, for the umpteenth time, I looked on the Internet for reviews of the excellent collection of vampire stories Rivals of Dracula. I love this short story collection and want to see what others think.

But today, as usual, I found nothing. As close to Nada as it gets. A single short review on amazon.com.

So if nobody else will laud this anthology, I will! I love it! Forget the vampire romances & erotica so popular these days (Stephanie Meyer was not the first, and certainly not the worst). Try some real horror! [Read more...]

On the Novel with a Purpose by G.K. Chesterton

G.K. Chesterton by John Murphy(from The Thing: Why I am a Catholic, first published 1929)

I see that Mr. Patrick Braybrooke and others, writing to the CATHOLIC TIMES, have raised the question of Catholic propaganda in novels written by Catholics. The very phrase, which we are all compelled to use, is awkward and even false. A Catholic putting Catholicism into a novel, or a song, or a sonnet, or anything else, is not being a propagandist; he is simply being a Catholic. Everybody understands this about every other enthusiasm in the world. [Read more...]

Inifinite Space, Infinite God, edited by Karina and Robert Fabian

order from Amazon

Reviewed by Tannia Ortiz-Lopes

Infinite Space, Infinite God, edited by Karina and Rob Fabian, is an anthology of Sci-Fi stories organized in seven chapters. Each chapter begins with an explanation of some Catholic issues, with a brief summary of the stories and how the characters deal with them. It is proper to mention that the reader needs to be prepared for a ride into a world beyond their imagination, lead by a group of very crafty writers. Many of the stories have open endings, which makes me think the authors have a sequel or a series of stories in mind.

I have chosen several stories to tease your curiosity and encourage you to get a copy of the book, buckle up, and enjoy these adventures through space as you have never done before! To learn about the rest, go to http://isigsf.tripod.com.

The book cover, created by Kurt Ozinga, merges the concept of infinity between space and God above all. God is inside the Blessed Sacrament, a Catholic form of worship. The cover gives the reader a hint of the book’s content: Sci-Fi with a Catholic twist.

The story “Our Daily Bread,” written by the Fabians, reflects the book cover. In this story the authors explain in a profound and eloquent manner the Catholic practice of Eucharistic Adoration and the blessing that comes with this practice. The miracle of the multiplication of the loaves and fishes is harmoniously woven into the story. It illustrates without a doubt the meaning of the phrase, “God always provides.”

Some stories incorporate futuristics and modern themes, such as human cloning, artificially creating humans for spare parts, colonization, missionary work, and government attitude toward religion. “Hopkins’s Well” is a fine example of military duty, teletransporting, and religious colonies on Mars. The open end makes you hope for a sequel, since it gives you a glance at the afterlife with the Sci-Fi twist!

What do a “construct,” an artificial, a thief, and a detective priest as your ultimate P.I. have in common? A “construct” and an “artificial” are half-animal and half-human creatures created by humans. Curious about it? Then I suggest you jump start your space travel experience and ride aboard the Coventry and join the crew on an intense mystery story on the “Mask of the Ferret.”

The consequences of religious fanaticism is the prime theme of the stories, Host of the Envoy” and “Understanding.” In “Host of the Envoy,” Luke, the main character, finds himself lost in space and encounters a colony ship struggling to return home. He is perceived by the religious leader of the ship as the “One” who will save them and lead them back to Earth. The leader must be ready for a big surprise, and at the end the reader will want more, more, and more!

“Understanding” takes you to the mind of a killer who is desperate and soaked with confusion and anger towards the Church, which once alienated him because he is genetically engineered. The end proclaims God’s unconditional love for all of us.

“Canticle of the Wolf ” is a twist on the status-quo of the big-cunning wolf story. It takes you to a world of time travel and anamorphosis.

The last two stories are a combination of spy work and conviction. “Far Traveler” shows how science experiments could end surprisingly if conducted by the wrong person. How far are we, as a society, willing to go in the name of science? That question is properly addressed and answered in this story.

“A Cruel and Unusual Punishment” is the crown jewel of the book. It is an up-to-date approach to the traditional Stations of the Cross to reflect over the concept of death from the point of view of an inmate on death row. The story begins with the First Station and a quote from other writers and philosophers as a prelude to each situation in this story. It shows how personal conviction, sin, repentance, and redemption are all annulled by God’s unconditional love and forgiveness.

 

 

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