Worth Reading: 15 Works of Literature Under 200 Pages

Listers, there are few things as pleasurable as a good book. The following list is a collection of short classic literary works that generally fall under two hundred pages – sometimes depending on the publication.

Listers, there are few things as pleasurable as a good book. The following list is a collection of short classic literary works that generally fall under two hundred pages – sometimes depending on the publication. Each description is taken directly from the publisher’s online description.1

Literary Works on SPL

 

15 Short Literary Works Worth Reading

 

1. Lord of the Flies by William Golding

Lord of the Flies CoverLord of the Flies remains as provocative today as when it was first published in 1954, igniting passionate debate with its startling, brutal portrait of human nature. Though critically acclaimed, it was largely ignored upon its initial publication. Yet soon it became a cult favorite among both students and literary critics who compared it to J.D. Salinger’s The Catcher in the Rye in its influence on modern thought and literature. William Golding’s compelling story about a group of very ordinary small boys marooned on a coral island has become a modern classic. At first it seems as though it is all going to be great fun; but the fun before long becomes furious and life on the island turns into a nightmare of panic and death. As ordinary standards of behaviour collapse, the whole world the boys know collapses with them—the world of cricket and homework and adventure stories—and another world is revealed beneath, primitive and terrible.Labeled a parable, an allegory, a myth, a morality tale, a parody, a political treatise, even a vision of the apocalypse, Lord of the Flies has established itself as a true classic.

 

2. Utopia by St. Thomas More

Utopia More CoverFirst published in Latin in 1516, Utopia was the work of Sir Thomas More (1477–1535), the brilliant humanist, scholar, and churchman executed by Henry VIII for his refusal to accept the king as the supreme head of the Church of England. In this work, which gave its name to the whole genre of books and movements hypothesizing an ideal society, More envisioned a patriarchal island kingdom that practiced religious tolerance, in which everybody worked, no one has more than his fellows, all goods were community-owned, and violence, bloodshed, and vice nonexistent. Based to some extent on the writings of Plato and other earlier authors, Utopia nevertheless contained much that was original with More. In the nearly 500 years since the book’s publication, there have been many attempts at establishing “Utopias” both in theory and in practice. All of them, however, seem to embody ideas already present in More’s classic treatise: optimistic faith in human nature, emphasis on the environment and proper education, nostalgia for a lost innocence, and other positive elements. In this new, inexpensive edition, readers can study for themselves the essentials of More’s utopian vision and how, although the ideal society he envisioned is still unrealized, at least some of his proposals have come to pass in today’s world.

 

3. Animal Farm by George Orwell

Animal Farm is the most famous by far of all twentieth-century political allegories. Its account of a group of barnyard animals who revolt against their vicious human master, only to submit to a tyranny erected by their own kind, can fairly be said to have become a universal drama. Orwell is one of the very few modern satirists comparable to Jonathan Swift in power, artistry, and moral authority; in animal farm his spare prose and the logic of his dark comedy brilliantly highlight his stark message. Taking as his starting point the betrayed promise of the Russian Revolution, Orwell lays out a vision that, in its bitter wisdom, gives us the clearest understanding we possess of the possible consequences of our social and political acts.

 

4. Of Mice & Men by John Steinbeck

They are an unlikely pair: George is “small and quick and dark of face”; Lennie, a man of tremendous size, has the mind of a young child. Yet they have formed a “family,” clinging together in the face of loneliness and alienation.Laborers in California’s dusty vegetable fields, they hustle work when they can, living a hand-to-mouth existence. For George and Lennie have a plan: to own an acre of land and a shack they can call their own. When they land jobs on a ranch in the Salinas Valley, the fulfillment of their dream seems to be within their grasp. But even George cannot guard Lennie from the provocations of a flirtatious woman, nor predict the consequences of Lennie’s unswerving obedience to the things George taught him.

 

5. Dr. Jekyll & Mr. Hide by Robert Louis Stevenson

In September of 1884, Robert Louis Stevenson, then in his mid-thirties, moved with his family to Bournemouth, a resort on the southern coast of England, where in the brief span of 23 months he revised A Child’s Garden of Verses and wrote the novels Kidnapped and The Strange Case of Dr. Jekyll and Mr. Hyde. An intriguing combination of fantasy thriller and moral allegory, The Strange Case of Dr. Jekyll and Mr. Hyde depicts the gripping struggle of two opposing personalities — one essentially good, the other evil — for the soul of one man. Its tingling suspense and intelligent and sensitive portrayal of man’s dual nature reveals Stevenson as a writer of great skill and originality, whose power to terrify and move us remains, over a century later, undiminished.

 

6. Heart of Darkness by Joseph Conrad

Heart of Darkness CoverHeart of Darkness (1899) is a short novel by Polish novelist Joseph Conrad, written as a frame narrative, about Charles Marlow’s experience as an ivory transporter down the Congo River in Central Africa. The river is “a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land”. In the course of his travel in central Africa, Marlow becomes obsessed with Mr. Kurtz. The story is a complex exploration of the attitudes people hold on what constitutes a barbarian versus a civilized society and the attitudes on colonialism and racism that were part and parcel of European imperialism. Originally published as a three-part serial story, in Blackwood’s Magazine, the novella Heart of Darkness has been variously published and translated into many languages. In 1998, the Modern Library ranked Heart of Darkness as the sixty-seventh of the hundred best novels in English of the twentieth century.

 

7. Fahrenheit 451 by Ray Bradbury

Fahrenheit 451 CoverRay Bradbury’s internationally acclaimed novel Fahrenheit 451 is a masterwork of twentieth-century literature set in a bleak, dystopian future. Guy Montag is a fireman. In his world, where television rules and literature is on the brink of extinction, firemen start fires rather than put them out. His job is to destroy the most illegal of commodities, the printed book, along with the houses in which they are hidden. Montag never questions the destruction and ruin his actions produce, returning each day to his bland life and wife, Mildred, who spends all day with her television “family.” But then he meets an eccentric young neighbor, Clarisse, who introduces him to a past where people didn’t live in fear and to a present where one sees the world through the ideas in books instead of the mindless chatter of television. When Mildred attempts suicide and Clarisse suddenly disappears, Montag begins to question everything he has ever known. He starts hiding books in his home, and when his pilfering is discovered, the fireman has to run for his life.

 

8. The Old Man and the Sea by Ernest Hemingway

The Old Man and the Sea is one of Hemingway’s most enduring works. Told in language of great simplicity and power, it is the story of an old Cuban fisherman, down on his luck, and his supreme ordeal — a relentless, agonizing battle with a giant marlin far out in the Gulf Stream.

 

9. The Great Gatsby by F. Scott Fitzgerald

The Great Gatsby, F. Scott Fitzgerald’s third book, stands as the supreme achievement of his career. This exemplary novel of the Jazz Age has been acclaimed by generations of readers. The Great Gatsby, F. Scott Fitzgerald’s third book, stands as the supreme achievement of his career. This exemplary novel of the Jazz Age has been acclaimed by generations of readers. The story of the fabulously wealthy Jay Gatsby and his love for the beautiful Daisy Buchanan, of lavish parties on Long Island at a time when The New York Times noted “gin was the national drink and sex the national obsession,” it is an exquisitely crafted tale of America in the 1920s. The Great Gatsby is one of the great classics of twentieth-century literature.

 

10. The Pearl by John Steinbeck

Like his father and grandfather before him, Kino is a poor diver, gathering pearls from the gulf beds that once brought great wealth to the Kings of Spain and now provide Kino, Juana, and their infant son with meager subsistence. Then, on a day like any other, Kino emerges from the sea with a pearl as large as a sea gull’s egg, as “perfect as the moon.” With the pearl comes hope, the promise of comfort and of security…. A story of classic simplicity, based on a Mexican folk tale, The Pearl explores the secrets of man’s nature, the darkest depths of evil, and the luminous possibilities of love.

 

11. The Stranger by Albert Camus

The Stranger CoverThe Stranger is not merely one of the most widely read novels of the 20th century, but one of the books likely to outlive it. Written in 1946, Camus’s compelling and troubling tale of a disaffected, apparently amoral young man has earned a durable popularity (and remains a staple of U.S. high school literature courses) in part because it reveals so vividly the anxieties of its time. Alienation, the fear of anonymity, spiritual doubt–all could have been given a purely modern inflection in the hands of a lesser talent than Camus, who won the Nobel Prize in 1957 and was noted for his existentialist aesthetic. The remarkable trick of The Stranger, however, is that it’s not mired in period philosophy. The plot is simple. A young Algerian, Meursault, afflicted with a sort of aimless inertia, becomes embroiled in the petty intrigues of a local pimp and, somewhat inexplicably, ends up killing a man. Once he’s imprisoned and eventually brought to trial, his crime, it becomes apparent, is not so much the arguably defensible murder he has committed as it is his deficient character. The trial’s proceedings are absurd, a parsing of incidental trivialities–that Meursault, for instance, seemed unmoved by his own mother’s death and then attended a comic movie the evening after her funeral are two ostensibly damning facts–so that the eventual sentence the jury issues is both ridiculous and inevitable. Meursault remains a cipher nearly to the story’s end–dispassionate, clinical, disengaged from his own emotions. “She wanted to know if I loved her,” he says of his girlfriend. “I answered the same way I had the last time, that it didn’t mean anything but that I probably didn’t.” There’s a latent ominousness in such observations, a sense that devotion is nothing more than self-delusion. It’s undoubtedly true that Meursault exhibits an extreme of resignation; however, his confrontation with “the gentle indifference of the world” remains as compelling as it was when Camus first recounted it.2

 

12. Frankenstein by Mary Shelley

Frankenstein CoverFew creatures of horror have seized readers’ imaginations and held them for so long as the anguished monster of Mary Shelley’s Frankenstein. The story of Victor Frankenstein’s terrible creation and the havoc it caused has enthralled generations of readers and inspired countless writers of horror and suspense. Considering the novel’s enduring success, it is remarkable that it began merely as a whim of Lord Byron’s. “We will each write a story,” Byron announced to his next-door neighbors, Mary Wollstonecraft Godwin and her lover Percy Bysshe Shelley. The friends were summering on the shores of Lake Geneva in Switzerland in 1816, Shelley still unknown as a poet and Byron writing the third canto of Childe Harold. When continued rains kept them confined indoors, all agreed to Byron’s proposal. The illustrious poets failed to complete their ghost stories, but Mary Shelley rose supremely to the challenge. With Frankenstein, she succeeded admirably in the task she set for herself: to create a story that, in her own words, “would speak to the mysterious fears of our nature and awaken thrilling horror — one to make the reader dread to look round, to curdle the blood, and quicken the beatings of the heart.”

 

13. The Metamorphosis by Franz Kafka

“The Metamorphosis” (original German title: “Die Verwandlung”) is a short novel by Franz Kafka, first published in 1915. It is often cited as one of the seminal works of fiction of the 20th century and is widely studied in colleges and universities across the western world. The story begins with a traveling salesman, Gregor Samsa, waking to find himself transformed into an insect.

 

14. The Sorrows of Young Werther by Johann Wolfgang von Goethe

Celebrated as a leading figure of the German literary movement known as Sturm und Drang (“storm and stress”), Goethe made his reputation with this short novel, originally published in 1774. Its tale of a sensitive young man’s self-destructive passion for a lover who ultimately rejects him was based in part on the author’s own experiences, and the story’s tragic resolution inspired a wave of suicides among young romantics throughout Europe. Goethe’s portrayal of Zerrissenheit, “the state of being torn apart,” in which a character struggles to reconcile his artistic sensibilities with the demands of the objective world, proved tremendously influential to subsequent writers, and The Sorrows of Young Werther continues to speak to modern readers.

 

15. War of the Worlds by H.G. Wells

War of the Worlds CoverThe War of the Worlds is a science fiction novel by English author H. G. Wells. It first appeared in serialized form in 1897, published simultaneously in Pearson’s Magazine in the UK and Cosmopolitan magazine in the US. The first appearance in book form was published by William Heinemann of London in 1898. It is the first-person narrative of an unnamed protagonist in Surrey and that of his younger brother in London as Earth is invaded by Martians. Written between 1895 and 1897, it is one of the earliest stories that detail a conflict between mankind and an extraterrestrial race. The novel is one of the most commented-on works in the science fiction canon. The War of the Worlds has two parts, Book One: The Coming of the Martians and Book Two: The Earth under the Martians. The narrator, a philosophically inclined author, struggles to return to his wife while seeing the Martians lay waste to the southern country outside London. Book One also imparts the experience of his brother, also unnamed, who describes events as they deteriorate in the capital, forcing him to escape the Martian onslaught by boarding a paddle steamer near Tillingham, on the Essex coast.

  1. Descriptions taken from Amazon.com – please see title links to visit the page. []
  2. Ben Guterson. []

Beyond Here Be Dragons: 17 Questions with Catholic Author David Athey

Seeing books as a means of entertainment or escape is the common misconception of many people because they fail to acknowledge that a book can be very dangerous (sometimes they are dangerous in a good way and other times dangerous in a bad way).

Listers, seeing books as a means of entertainment or escape is the common misconception of many people because they fail to acknowledge that a book can be very dangerous (sometimes they are dangerous in a good way and other times dangerous in a bad way). All books, no matter if it is either light bubblegum fiction or some great masterpiece, have the potential to leave a lasting impression on the minds and hearts of its readers. For example, I realized this the first time I read the The Silver Chair when I was young girl. I ended up bursting into tears because I began to doubt my own existence, thinking that it was a possible that I was part of someone else’s dream (Clearly I was a gullible child). Having the power to leave such ideas, sensations, fears, and passions on their audience, authors, therefore, have a lot of power.

 It follows, then, that it is the audience’s responsibility for their own sake to know who they are allowing to make a mark on their minds. Discernment is essential. I am not saying that they should boycott every single book that has the potential of leading them astray because then they wouldn’t read anything at all. I believe, however, it is necessary to be vigilant in knowing at least in some part what they are getting into and whether they can handle it or not. A great way to do that is by acquainting themselves with who the author is of any particular book they are reading.

As I have recommended to you all, Listers, the book Christopher (a very dangerous book in all the right ways), I feel that it is incumbent upon me to give a little information about the author, David Athey. He graciously has allowed us to interview him.

David teaches creative writing at Palm Beach Atlantic University. He also happens to be an unabashed Catholic poet and author. He has written and published loads of poems including “Celestialness“, which can be found in my favorite literary journal, Dappled Things. He has also written  two novels, Danny Gospel and Christopher. He has a cool website (davidathey.com) that offers daily writing tips, reasons to love the Church, and mystical quotes. You can also view his writing resume on the website as well.

Now on to the interview:

 

#1 How would you describe yourself?

A quirky writer and professor who drives a black pickup that smells like dark-roast coffee.

 

#2 What inspires your work?

As far as I can tell, a combination of God, nature (including human nature) and coffee.

 

#3 Your novel, Christopher, shows the impact great literature makes on a person’s soul. What is your opinion of the state of modern literature, Catholic, secular, or otherwise?

We have a treasure chest of great works (The Canon of Western Literature) that we can enjoy for the rest of our lives. And many great books were written in the 20th century that should end up in that treasure chest. One thinks of the stories of C.S. Lewis, J.R.R. Tolkien, Flannery O’Connor, Evelyn Waugh, Graham Greene, J.F. Powers, Walker Percy, etc…. There may be some writers today that will rise to that level—I’ve had a few genius students in my classroom—and so I am hopeful about the state of contemporary literature. However, while we wait for the next Flannery O’Connor to arise (it might take a thousand years) we need to support the writers of today who are crafting excellent stories.

 

#4 How do you think Catholic literature can be improved?

Catholic writers have their metaphysics right, and that is crucial to the making of the highest art. Along with that, the trick is to master the various techniques of fiction so that our stories are enlightening, unique, and entertaining.

 

#5 What do you mean by “mastering the various techniques of fiction”?

Christian writers need to spend less time feeling inspired and more time sweating over the details of setting, character development, plot, dialogue, and overall creativity. There are dozens of good books about the craft of fiction writing. My favorite is The Art of Fiction by John Gardner.

 

#6 Can you give us an example of how modern literature has frequent bouts of flawed metaphysics? How do they get it wrong?

They seem to get it wrong in every way. Look at the New York Times list of bestselling novels. It is rare to find anything that reflects the fact that God has visited this earth, founded a Church, and is with us until the end. Again, we’re not asking for sermons, but merely a sense of reality as taught by the Incarnation.

 

#7 What other reasons are there to supporting good Catholic writers? 

I don’t think there are many patrons out there, willing to donate money to writers because they believe in a certain vision. However, if we can write stories that enlighten and entertain, I believe the audience for that is enormous. The best thing a person can do for a writer, after buying and enjoying a book, is to shout it from the rooftops. And I think rooftops today are blogs. God bless the bloggers. They have the power to change the culture.

 

#8 Do you think it is necessary or even possible for an author to separate himself from work? In other words, can and should he separate his religious inclinations from his work?

I don’t understand how a person can be a Christian in every area of his life, but not when it comes to writing. That doesn’t mean every story needs to be a catechism, but there should be a sense in every story of correct metaphysics. I live in sunny Florida, one of the darkest places on earth when it comes to sin and crime. Authors are free to write about those sins and crimes, and yet I think we are obligated to include, somehow, the fact that God is here, the Church is here, and millions of people are trying to love God and neighbor. Some artists seem to think that holding up a mirror to the world means showing only the shadows. That is not the whole picture. A mirror to the world will include beauty, grace, and glory.

 

#9 The chapters in Christopher are very short compared to the average book. Why did you choose this approach to writing Christopher?

The short chapters are like snapshots, or stepping stones, or perhaps poems that all add up to a partial interpretation of a spiritual journey. We live in a fragmented time, and yet, with eyes to see, we can visualize connections along the path.

 

#10 What specifically inspired you to write Christopher?

The landscape was the first character in the story. The area around Duluth, Minnesota, always inspires me to write. And so my wife and I went on adventures one summer, including going on a harbor cruise, climbing rocky trails, washing clothes in a laundromat that doubled as a bird sanctuary, etc… and I simply gave many of my experiences to Christopher, yet in a way that became his own. I must say, however, that Christopher was not his original name. Through the many drafts, he went from David to Augustine to Dylan to Christopher.

 

#11 You also write poetry. What do you think of the present state of poetry?

As in any form of the arts, there is good and bad in contemporary poetry. I still enjoy reading through various literary journals, seeing what people are doing with syllables and images. Many of the poems should have been merely confessed (to an actual priest) instead of confessed and written. Like the rest of modern society, the shocking is taking precedence over the sublime. And yet I am always impressed by the work of my students. They’ve read the Bible, and I show them Hopkins and the other masters, and so they have a real passion for the sublime. We publish a literary journal at Palm Beach Atlantic University (Living Waters Review) that is as good, I believe, as any campus journal in the country.

 

#12 Do you have any favorite journals besides Living Waters Review? Can you give us a couple examples?

Image has earned its due respect through the years, but I think Dappled Things is just as strong. I like how Dappled Things is overtly Christian while maintaining the highest artistic standards. The poems and stories are theological without being preachy.

 

#13 What role does or should the Catholic Church have in the improvement of secular and Catholic art, literature, and music?

The Church should spend less time condemning bad books and more time promoting good books. Who is that guy on TV who is always yelling at people about anti-Catholic art? He needs to show as much enthusiasm for good art. I really believe that is how the culture can be transformed: by simply putting your money where your heart is. Do you love the True, the Good, and the Beautiful? Then buy books that promote those ideals. And shout your positive reviews from the housetops. That way, the books will get made into TV shows and movies, and we all know the power of TV and film, especially on the minds and souls of young people. I think we need about ten thousand Christian writers, making great poems, songs, novels, scripts, internet content, everything. And then the culture will have more light. I don’t think we can take over the arts and the media, but we can certainly infuse a good amount of truth and beauty.

 

#14 What are your top five favorite books?

What a great and terrible question. I think my answer would change every day of the week, but here is my answer today. And to make it easier, I’m going with five novels, and not in any order.1

Don Quixote by Cervantes
The Second Coming by Walker Percy
All Hallows’ Eve by Charles Williams
Staggerford by Jon Hassler
The Brothers Karamazov by Dostoevsky

 

#15 Is there another novel coming?

I have two more finished, and a third that is nearly complete. I’m looking for a literary agent who is willing to work with a quirky writer and professor who drives a black pickup that smells like dark-roast coffee.

 

#16 Who is your favorite theologian of all time? Why?

One of the things I love about Catholicism is that we can have someone as logical as St. Thomas Aquinas and someone as creative as St. Hildegard of Bingen both considered Doctors of the Church. Some days I love the rational theologians, and some days I love the mystics. St. Augustine is perhaps my favorite theologian, but ask me again tomorrow.

 

#17 Who is your favorite Saint? Why?

Today it’s St. Philip Neri. I love how he took God so seriously that he played the fool and won people over with creative charm.

St. Philip Neri, pray for us

  1. Favorite Books: Links to David Athey’s top favorite books are provided by St. Peter’s List and may not reflect Athey’s choice of translation or edition. []

Et Vidit Deus Quod Esset Bonum: 5 Reasons to Read the New Novel “Christopher”

Listers, the crisis of contemporary literature can only be alleviated by the united effort of the Catholic community. One of my proposed remedies to this grievous situation is by encouraging (nay, beseeching) Catholic media outlets like blogs, television, and radio to give Catholic writers and artists the exposure they deserve. Today I am going to put my money where my mouth is. I am going to review a novel I recently finished called Christopher by Catholic writer, David Athey. This is book is an example of the artistic and literary potential that Catholic Church has within its pews. I hope that SPL will become a place where authors like David Athey have an opportunity to exhibit their work. Now on to my analysis of his most recent book Christopher.

#1 Realistic Plot

Christopher follows the life of a boy named Christopher Lagorio who lives in Minnesota on the shores of Lake Superior. Through his spiritually tumultuous journey from prepubescence to adulthood, he encounters three different young ladies who somehow impact his fledgling spiritual formation. With each girl he discovers some new and different aspect about God that sets him on mission for self-discovery and fulfillment. Although this may sound like the typical coming-of-age novel, the plot is bent on maintaining the gritty realism of prepubescence while attempting not to coddle or rationalize poor decisions and bad behavior. Christopher weaves a genuinely realistic tale of faith mixed with lifelike characters, worshipful imagery, glimpses of the Devil, and visions of the Divine without sacrificing the honesty of the hard truths and lessons of life.

#2 Lifelike Characters

One the main elements that makes a story real is if the characters develop in natural way, which is what annoys me about much of contemporary literature, secular or otherwise. Why should we care about a character if there is either nothing much to change or if the character hasn’t a bit of redeeming qualities whatsoever? There are many books in which I honestly hoped that such-and-such character would just be swallowed up by the earth because they were either too good or too bad (I fully acknowledge the wickedness of this thought). In Christopher, many of characters are likable and yet mysteriously flawed. As you read, you desire to understand what motivated them to do a particular set of actions. Just when you think you got one character pegged they do something subtly and yet naturally unexpected. In other words, the characters are wonderfully human, which is refreshingly odd for contemporary Christian fiction.

#3 Worshipful Imagery

In addition to excellent character development, the exquisite and intricate descriptions of Christopher‘s world is certainly a delight to read. The setting is particularly breathtaking. It is centered around the northeast corner of Minnesota near Duluth, which is on the shore of Lake Superior. David Athey’s familiarity of the native landscape is certainly brought to the forefront. The idyllic imagery brings forth the whimsy and wonder of God’s creation in full detail. Christopher is a celebration of God’s creation with all the emphasis on beauty, glory, and grace.

#4 Glimpses of the Devil

Unlike the many modern Judeo-Christian novels, Christopher is a honest portrayal of a teenager who has questions in which answers are hard to find and even harder to accept. The story starts around the age when Christopher can branch out from the beliefs of his upbringing and begin forming his own conclusions about life, love, and faith. None of these three main issues are in my opinion really well depicted in most contemporary Christian literature; however, David Athey manages to describe the contest between God and the Devil for the attention of our young people rather well. He manages not to gloss over the struggles of teenage development for the sake of propriety but addresses the issue directly and in no uncertain terms. The realism may make the more squeamish readers a little hot around the collar with the outright honesty of the hormonal battle between chastity and instant gratification; however, I do not believe that this is a fault, rather I firmly believe that the explicit acknowledgement of the main peril that teens grapple with is what sets this book apart from the rest. Quite simply its acknowledgement of the devil using God’s great gift of sexuality against creation is something that Christian readers need to hear. Sometimes glimpses of the devil is all we need to flee to comforting arms of the Divine. With its heartbreaking realism, Christopher certainly will challenge you with its stark honesty that is uncharacteristic to the average contemporary Catholic novel (I recommend that only high school aged persons or older should read this book).

#5 Visions of the Divine

David Athey has managed to depict the twisted handiwork of the devil; however, that isn’t what makes my favorite part of the book (fortunately for my soul). What makes this story so outrageously beautiful is the constant presence of God in His Creation, His people, and His Sacraments. Throughout this book, God’s presence is certainly evident on every page. While at first this may sound like it would be a bit preachy to a non-Catholic, it is in truth not. God is presented in a different way than the average Christian novel. Instead of having the main character constantly talking about their certainty in “Buddy Jesus” without having an ounce of doubt, in Christopher God is present in spite of overwhelming trials. His presence is subtle and yet deeply moving. The book reminded me time again of what an amazing God we have who makes himself available to us in different ways throughout the stages in our lives. It reminded me of our Catholic belief that God is omnipresent, omniscient, and omnipotent. Christopher captivated my imagination with the visions of the Divine. Obviously, I highly recommend this book and encourage you all to check it out when you get the chance.

Et vidit Deus quod esset bonum!!

*Athey, David. Christopher. Manchester, NH: Sophia Institute Press, 2011 **If you don’t recall or if you haven’t read my thoughts on this Catholic community’s role, you can read my recent list entitled “The Crisis of Contemporary Catholic Culture: 4 Reasons Why You Should Care.

8 Quotes from Christian Authors about the Importance of Good Fiction

Many people undervalue the genre of fiction because fiction is often misconstrued as purely a method of entertainment.

Listers, many people undervalue the genre of fiction because fiction is often misconstrued as purely a method of entertainment. Although this common use is by no means wrong, the exclusive reason why someone chooses to read a book should not be because they want to escape the doldrums of human existence. Fiction, however, should be another way of gaining a new perception on reality without the abstractions of philosophical debate (although fiction may perhaps precipitate philosophical discussion). The following list contains quotes from authors, some Catholic and some not, about the importance and value of the genre of fiction:

1. Flannery O’Connor on the Reality in Fiction

“People are always complaining that the modern novelist has no hope and that the picture he paints of the world is unbearable. The only answer to this is that people without hope do not write novels. Writing a novel is a terrible experience, during which the hair often falls out and the teeth decay. I’m always highly irritated by people who imply that writing fiction is an escape from reality. It is a plunge into reality and it’s very shocking to the system. If the novelist is not sustained by a hope of money, then he must be sustained by a hope of salvation, or he simply won’t survive the ordeal.” –“The Nature and Aim of Fiction,” Mystery and Manners: Occasional Prose, (New York: Farrar, Strauss, and Giroux, 1969), 77-78.

2. Blessed John Paul II on the Gospel’s Ability to Inspire Art

“Every genuine art form in its own way is a path to the inmost reality of man and of the world. It is therefore a wholly valid approach to the realm of faith, which gives human experience its ultimate meaning. That is why the Gospel fullness of truth was bound from the beginning to stir the interest of artists, who by their very nature are alert to every “epiphany” of the inner beauty of things” –-“Letter of His Holiness Pope John Paul II to Artists”

3. G.K. Chesterton on the Underlying Morality in Fiction

“This great idea, then, is the backbone of all folk-lore — the idea that all happiness hangs on one thin veto; all positive joy depends on one negative. Now, it is obvious that there are many philosophical and religious ideas akin to or symbolised by this; but it is not with them I wish to deal here. It is surely obvious that all ethics ought to be taught to this fairy-tale tune; that, if one does the thing forbidden, one imperils all the things provided[…]This is the profound morality of fairy-tales; which, so far from the being lawless, go to the root of all law. Instead of finding (like common books of ethics) a rationalistic basis for each Commandment, they find the great mystical basis for all Commandments.” –“Fairy Tales”, All Things Considered, (New York, Feather Trail Press, 2009), 87.

4. C.S. Lewis on What Makes Good Fiction

“I never wrote down to anyone; and whether the opinion condemns or acquits my own work, it certainly in my opinion that a book worth reading only in childhood is not worth reading even then.” — C.S. Lewis, “Sometimes Fairy Stories May Say Best What’s to Be Said,” The New York Times November 18, 1956.

5. G.K. Chesterton on Teaching Children Fairy Tales

“We all know the people who think it is wicked to tell children fairy tales which they are not required to believe, though of course not wicked to teach them false doctrines or false news why they are required to believe. They hold that the child must be guarded from the danger of supposing that all frogs turn into princesses or that any pumpkin will at any minute turn into a coach and six and that he must rather reserve his faith for the sober truth told in newspapers, which will tell him that all Socialists are Satanists or that the Act of Parliament will mean work and wealth for all. We ourselves have generally found that children were quite sufficiently intelligent to question the first and that grown-up people were quite sufficiently stupid to swallow the second.” –“Dragooning the Dragon” As I was Saying (Grand Rapids: W. B. Eerdmans, 1985)

6. Flannery O’Connor on the Levels of Meaning in Fiction

“We all write at our own level of understanding, but it is the peculiar characteristic of fiction that its literal surface can be made to yield entertainment on an obvious physical place to one sort of reader while the selfsame surface can be made to yield meaning to the person equipped to experience it there.” — Flannery O’Connor “Writing Short Stories,” Mystery and Manners: Occasional Prose, (New York: Farrar, Strauss, and Giroux, 1969), 95.

7. Blessed Pope John Paul II on the Necessity of Fiction Conveying the Message of the Gospel

“In order to communicate the message entrusted to her by Christ, the Church needs art. Art must make perceptible, and as far as possible attractive, the world of the spirit, of the invisible, of God. It must therefore translate into meaningful terms that which is in itself ineffable. Art has a unique capacity to take one or other facet of the message and translate it into colours, shapes and sounds which nourish the intuition of those who look or listen. It does so without emptying the message itself of its transcendent value and its aura of mystery.” — “Letter of His Holiness Pope John Paul II to Artists”

8. Flannery O’Connor on the Necessity of the Supernatural in the Heart of the Author

“Where there is no belief in the soul there is very little drama. The Christian novelist is distinguished from his pagan colleagues by recognizing sin as sin. According to his heritage he sees it not as sickness or an accident of environment, but as a responsible choice of offense against God which involves his eternal future.” –Flannery O’Connor, “Novelist and Believer” Mystery and Manners: Occasional Prose, (New York: Farrar, Strauss, and Giroux, 1969), 167.