The humorous 1963 National Book Award winning novel of a charming aging priest and his morally ambiguous exploits when banished to a Minnesota retreat house The hero of J.F. Powers’s comic masterpiece is Father Urban, a man of the cloth who is also a man of the world. Charming, with an expansive vision of the spiritual life and a high tolerance for moral ambiguity, Urban enjoys a national reputation as a speaker on the religious circuit and has big plans for the future. But then the provincial head of his dowdy religious order banishes him to a retreat house in the Minnesota hinterlands. Father Urban soon bounces back, carrying God’s word with undaunted enthusiasm through the golf courses, fishing lodges, and backyard barbecues of his new turf. Yet even as he triumphs his tribulations mount, and in the end his greatest success proves a setback from which he cannot recover. First published in 1962, Morte D’Urban has been praised by writers as various as Gore Vidal, William Gass, Mary Gordon, and Philip Roth. This beautifully observed, often hilarious tale of a most unlikely Knight of Faith is among the finest achievements of an author whose singular vision assures him a permanent place in American literature.

Winner of The 1963 National Book Award for Fiction. The hero of J.F. Powers's comic masterpiece is Father Urban, a man of the cloth who is also a man of the world. Charming, with an expansive vision of the spiritual life and a high tolerance for moral ambiguity, Urban enjoys a national reputation as a speaker on the religious circuit and has big plans for the future. But then the provincial head of his dowdy religious order banishes him to a retreat house in the Minnesota hinterlands. Father Urban soon bounces back, carrying God's word with undaunted enthusiasm through the golf courses, fishing lodges, and backyard barbecues of his new turf. Yet even as he triumphs his tribulations mount, and in the end his greatest success proves a setback from which he cannot recover. First published in 1962, Morte D'Urban has been praised by writers as various as Gore Vidal, William Gass, Mary Gordon, and Philip Roth. This beautifully observed, often hilarious tale of a most unlikely Knight of Faith is among the finest achievements of an author whose singular vision assures him a permanent place in American literature.

Discusses Blake, Joyce, Pasternak, Faulkner, Styron, O'Connor, Camus, symbolism, creativity, alienation, contemplation, and freedom.

Richard Sipe, himself a former monk and priest, has made a lifelong venture of determining the reality and meaning of religious celibacy. Even an adequate operational definition of religious celibacy, he says, has been avoided by Catholic hierarchy and scholars to preserve the celibate myth. Having spent 25 years conducting a study of celibacy and sexual behavior in Roman Catholic priests, Sipe concluded that at any one time no more than 50 percent of priests were practicing celibacy. To more fully understand what celibacy is, how it is practiced, the affect it has on the humanness of men of women, and the social effects it presents, Sipe says we can use the approach presented in this book. Specifically, we can analyze historic men who presented themselves or were perceived as living examples of celibacy and also focus on the most profound truths of celibacy found in literary accounts. Psychology, religion, and literary criticism interface and are woven together in this book with minimal jargon. The Serpent and the Dove was written in the hope of exciting honest analysis of the essence of religious celibacy and to foster a recrudescence of authentic sexual vigor with all of its evolutionary potential. Human sexuality is not going away; nor is it irrelevant to the wellbeing, progress and happiness of the human community, says Sipe. And the practice of genuine celibacy is not going to disappear either. No question, the Catholic Church needs profound reformation. But in all my work I have chosen not to throw any babies out with the horrendously dirty 'holy water' the church continues to treasure and disseminate. Here, as in all my work, I try to foster dialogue between religion and science, such as literary criticism. The Catholic Church (and religion) is at a Copernican Moment when it has to cede to science the nature of sexuality. The Serpent and the Dove is one more work among Sipe's many books and articles making the need for that clear.

These seven critical essays, each on a twentieth-century novelist, are disparate in content, but all are concerned with the problem of evil and inhumanity and with the paradoxes of human existence. Each essay discusses a different author, but this independence of subject is resolved into a central theme through the interpretive approach followed by the seven critics. Each of the contributors presents his subject against the background of the current disillusionment and frustration of our age. Underlying each essay are undertones of the "absurdity" of life today for those who consider it thoughtfully, and the contrast between what men would like reality to be and what they actually find. This unity of theme—the problem of evil, of inhumanity, of meaninglessness, the concern for the human being and his future—is developed in an interesting manner. It was exploited in different ways by the seven modern novelists discussed in the essays, and it is presented with different analytical techniques by the seven critics. Yet the reader senses the unity of feeling and purpose amid the diversity of fictional content and critical evaluation. Besdies the interpretive Introduction by Thomas B. Whitbread, the book contains the following essays: R. W. Lewis, "The Conflicts of Reality: Cozzens' The Last Adam" Alan Friedman, "The Pitching of Love's Mansion in the Tropics of Henry Miller" Roger D. Abrahams, "Androgynes Bound: Nathanael West's Miss Lonelyhearts" George Clark, "An Illiberal Education: William Golding's Pedagogy" Vance Ramsey, "From Here to Absurdity: Heller's Catch-22" Anthony Channell Hilfer, "George and Martha: Sad, Sad, Sad" Robert G. Twombly, "Hubris, Health, and Holiness: The Despair of J. F. Powers"

The Pulitzer Prize–winning book critic shares recollections and reviews from his career at the Washington Post. In this book, Jonathan Yardley considers lesser-known works from renowned authors and underappreciated talents, and offers fresh takes on old favorites. Yardley’s reviews of sixty titles include fiction by Gabriel García Márquez, John Cheever, and Henry Fielding; the autobiography of Louis Armstrong; essays by Nora Ephron; and Margaret Leech’s history of Washington during the Civil War. Second Reading is also the memoir of a passionate and lifelong reader told through the books that have meant the most to him. Playing the part of both reviewer and bibliophile, Yardley takes on Steinbeck and Salinger, explores the southern fiction of Shirley Ann Grau and Eudora Welty, looks into a darker side of Roald Dahl, and praises the pulp fiction of William Bradford Huie and the crime novels of John D. MacDonald. Collected from a popular Washington Post column of the same name, Second Reading is an incisive and entertaining look at the career and times of an esteemed critic and the venerable books that shaped him. This delightful consideration reminds readers that thoughtful criticism and a lively sense of fun can exist side by side.

Startling Figures is about Catholic fiction in a secular age and the rhetorical strategies Catholic writers employ to reach a skeptical, indifferent, or even hostile audience. Although characters in contemporary Catholic fiction frequently struggle with doubt and fear, these works retain a belief in the possibility for transcendent meaning and value beyond the limits of the purely secular. Individual chapters include close readings of some of the best works of contemporary American Catholic fiction, which shed light on the narrative techniques that Catholic writers use to point their characters, and their readers, beyond the horizon of secularity and toward an idea of transcendence while also making connections between the widely acknowledged twentieth-century masters of the form and their twenty-first-century counterparts. This book is focused both on the aspects of craft that Catholic writers employ to shape the reader’s experience of the story and on the effect the story has on the reader. One recurring theme that is central to both is how often Catholic writers use narrative violence and other, similar disorienting techniques in order to unsettle the reader. These moments can leave both characters within the stories and the readers themselves shaken and unmoored, and this, O’Connell argues, is often a first step toward the recognition, and even possibly the acceptance, of grace. Individual chapters look at these themes in the works of Flannery O’Connor, J. F. Powers, Walker Percy, Tim Gautreaux, Alice McDermott, George Saunders, and Phil Klay and Kirstin Valdez Quade.