Writing Style and Themes
The literary style of Graham Greene was described by Evelyn Waugh in Commonweal as "not a specifically literary style at all. The words are functional, devoid of sensuous attraction, of ancestry, and of independent life". Commenting on this lean, realistic prose and its readability, Richard Jones wrote in the Virginia Quarterly Review that "nothing deflects Greene from the main business of holding the reader's attention." His novels often have religious themes at the centre. In his literary criticism he attacked the modernist writers Virginia Woolf and E. M. Forster for having lost the religious sense which, he argued, resulted in dull, superficial characters, who "wandered about like cardboard symbols through a world that is paper-thin". Only in recovering the religious element, the awareness of the drama of the struggle in the soul carrying the infinite consequences of salvation and damnation, and of the ultimate metaphysical realities of good and evil, sin and divine grace, could the novel recover its dramatic power. Suffering and unhappiness are omnipresent in the world Greene depicts; and Catholicism is presented against a background of unvarying human evil, sin, and doubt. V. S. Pritchett praised Greene as the first English novelist since Henry James to present, and grapple with, the reality of evil. Greene concentrated on portraying the characters' internal lives – their mental, emotional, and spiritual depths. His stories often occurred in poor, hot, and dusty tropical backwaters, such as Mexico, West Africa, Vietnam, Cuba, Haiti, and Argentina, which led to the coining of the expression "Greeneland" to describe such settings.
A stranger with no shortage of calling cards: devout Catholic, lifelong adulterer, pulpy hack, canonical novelist; self-destructive, meticulously disciplined, deliriously romantic, bitterly cynical; moral relativist, strict theologian, salon communist, closet monarchist; civilized to a stuffy fault and louche to drugged-out distraction, anti-imperialist crusader and postcolonial parasite, self-excoriating and self-aggrandizing, to name just a few.The Nation, describing the many facets of Graham Greene
The novels often powerfully portray the Christian drama of the struggles within the individual soul from the Catholic perspective. Greene was criticised for certain tendencies in an unorthodox direction – in the world, sin is omnipresent to the degree that the vigilant struggle to avoid sinful conduct is doomed to failure, hence not central to holiness. Friend and fellow Catholic Evelyn Waugh attacked that as a revival of the Quietist heresy. This aspect of his work also was criticised by the theologian Hans Urs von Balthasar, as giving sin a mystique. Greene responded that constructing a vision of pure faith and goodness in the novel was beyond his talents. Praise of Greene from an orthodox Catholic point of view by Edward Short is in Crisis Magazine, and a mainstream Catholic critique is presented by Joseph Pearce.
Catholicism's prominence decreased in the later writings. According to Ernest Mandel in his Delightful Murder: a Social History of the Crime Story: "Greene started out as a conservative agent of the British intelligence services, upholding such reactionary causes as the struggle of the Catholic Church against the Mexican revolution (The Power and the Glory, 1940), and arguing the necessary merciful function of religion in a context of human misery (Brighton Rock, 1938; The Heart of the Matter, 1948). The better he came to know the socio-political realities of the third world where he was operating, and the more directly he came to be confronted by the rising tide of revolution in those countries, the more his doubts regarding the imperialist cause grew, and the more his novels shifted away from any identification with the latter." The supernatural realities that haunted the earlier work declined and were replaced by a humanistic perspective, a change reflected in his public criticism of orthodox Catholic teaching. Left-wing political critiques assumed greater importance in his novels: for example, years before the Vietnam War, in The Quiet American he prophetically attacked the naive and counterproductive attitudes that were to characterise American policy in Vietnam. The tormented believers he portrayed were more likely to have faith in communism than in Catholicism.
In his later years Greene was a strong critic of American imperialism, and supported the Cuban leader Fidel Castro, whom he had met. For Greene and politics, see also Anthony Burgess' Politics in the Novels of Graham Greene. In Ways of Escape, reflecting on his Mexican trip, he complained that Mexico's government was insufficiently left-wing compared with Cuba's. In Greene's opinion, "Conservatism and Catholicism should be .... impossible bedfellows".
|style="vertical-align: top; width: 20px; border:none; color:#B2B7F2;font-size:35px;font-family: 'Times New Roman', serif; font-weight: bold; text-align: left; padding: 10px 10px;">“||In human relationships, kindness and lies are worth a thousand truths.||”|
Despite his seriousness, Graham Greene greatly enjoyed parody, even of himself. In 1949, when the New Statesman held a contest for parodies of Greene's writing style, he submitted an entry under the pen name "N. Wilkinson" and won second prize. His entry comprised the first two paragraphs of a novel, apparently set in Italy, The Stranger's Hand: An Entertainment. Greene's friend, Mario Soldati, a Piedmontese novelist and film director, believed that it had the makings of a suspense film about Yugoslav spies in postwar Venice. Upon Soldati's prompting, Greene continued writing the story as the basis for a film script. Apparently he lost interest in the project, leaving it as a substantial fragment that was published posthumously in The Graham Greene Film Reader (1993) and No Man's Land (2005). The script for The Stranger's Hand was penned by veteran screenwriter Guy Elmes on the basis of Greene's unfinished story, and cinematically rendered by Soldati. In 1965 Greene again entered a similar New Statesman competition pseudonymously, and won an honourable mention.
Read more about this topic: Graham Greene
Other articles related to "writing style and themes, writings, styles, writing":
... Terhune's first writings, written under a more masculine pseudonym when she was 14, were evangelical essays for the Watchman and Observer, a weekly religious paper ... With her new domestic writings, she appealed to inexperienced young housewives' need to know how to cook, and to manage their households and staff ... Her recipe books included a range of styles of dishes from around the country, that also responded to the differing resources of her readers ...
... Didion is heavily influenced by Ernest Hemingway, whose writing taught Didion the importance of the way sentences worked within a text ... This happens not during the writing, but rather during the research ... At the end of the day, Didion must take a break from writing to remove herself from the "pages." She feels closeness to her work without a necessary break, she cannot make proper ...
Famous quotes containing the words themes, writing and/or style:
“In economics, we borrowed from the Bourbons; in foreign policy, we drew on themes fashioned by the nomad warriors of the Eurasian steppes. In spiritual matters, we emulated the braying intolerance of our archenemies, the Shiite fundamentalists.”
—Barbara Ehrenreich (b. 1941)
“I write to you out of turn, and believe I must adopt the rule of only writing when I am written to, in hopes that may provoke more frequent letters.”
—Thomas Jefferson (17431826)
“A church that can never have done with excommunicating Christ while it exists! Away with your broad and flat churches, and your narrow and tall churches! Take a step forward, and invent a new style of out-houses. Invent a salt that will save you, and defend our nostrils.”
—Henry David Thoreau (18171862)