Unspoken Sermons": Christian Preaching in British Fiction, 1979-2004

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Unspoken Sermons "Unspoken Sermons": Christian Preaching in British Fiction, 1979-2004. David Dickinson Oxford Brookes University. Submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy. March 2007. Dedicatiot» In appreciation of George MacDonald, the nineteenth century preacher, who found that fiction was a better pulpit than any provided by a Scottish church, in memory of Jacqueline Dickinson, with whom I shared my plans for this thesis on a walk around Buttermere, which will be an abiding memory for as long as I am able to control what I can recall, and with love for Yvette, who encourages me in all things. "Unspoken Sermons": Christian Preaching in British Fiction, 1979-2004. David Dickinson. 99,509 words . ••• Abstract Declining church attendance in pluralist Britain indicates that the Christian sermon, once a vibrant literary genre, has become an increasingly unfamiliar formto most readers and writers of fiction. Yet, as this thesis will argue, fictional sermons are still successfully used by novelists. The thesis examines sermons in three genres, and representing three Christian traditions, the Roman Catholic, Anglican and Free Church. The genres discussed are chronicles, as represented by Antonia Byatt and David Lodge, historical novels written by Geraldine Brooks and Jane Rogers and fiction by John Murray and Michael Arditti sited in specific religious, spiritual or ecclesiastical environments. The thesis develops an analytical toolkit, based mainly on rhetorical narratology and cognitive poetics, to examine the current status of fictional sermons. Five case studies follow. The first discusses issues of authority and inspiration in texts, preachers and preaching. The second considers how novelists communicate religious experience, particularly experiences of epiphany and conversion. The third describes contemporary novels' portraits of the troubled preacher. The fourth analyses the language used by novelists in their sermons and the fifth studies how sermons construct discourse communities and religious community. The thesis concludes with a discussion of the significance of memory, imagination and embodiment as agents by which readers - and hearers of actual sermons- are enabled to respond to suasory speech and engage with its proposedalternative world. The thesis is intended as a contribution to the study of religion and literature, to discourse analysis, to homiletical theory and practice and to criticism of contemporaryliterature. ii Acknowledgements Although my name stands alone on the title page and years of work on this thesis have included many solitary hours in the study, I am conscious of my indebtedness to many people without whose collaboration I would not have completed this research. Some have been with me throughout; others have made a singular contribution. From the point of view of those I am thanking, uniformgratitude must seem unfair - they must feel like vineyard labourersin the Matthean parable - but, from my point of view, the fact is that I am equally gratefulto anyone who has helpedme in whatever way. Thank you to ... - the men and women who wrote the novels on my reading list, especially John Murrayand Michael Arditti who discussed their work with me. - Miriam Morgan who transcribedmy interview with John Murray. - librariansand other staffat Oxford Brookes University whose willingness to seek books from other libraries, to track and copy articles and to advise on practical matters has made being a part-time research student living and working more than fifty miles from the university a much less frustratingexperience than I had expected. - the Methodist Church whose Continuing Development in Ministry scheme has awardeda small grant to assist with fees since 2004. It might be possibleto discerna Methodist perspectiveto this thesis: this is partly in acknowledgement of the Church's support, but it is also because I cannot avoid writing about the church I know best. I hope non­ Methodistsdo not findthis perspectivean irritatingbias. - the preachers - ordained and lay - of both the London (Harrow) Circuit and the St Albans and Welwyn Circuit, whom I consulted both formally and informallyat various stages of my research. - members of the International Society for Religion, Literature and Culture with whom, at three conferences I attended while working on this research, I enjoyed many usefuland stimulating conversations. jjj - Elisabeth Jay, my Director of Studies, who, as I encountered the ups and downs of research, gently showed me a clear path through the wilderness and made the rough ways smooth, and Rob Pope for his guidance as I worked on chapter 2. - friends and family whom I may have bored with accounts of fictional sermons on many occasions, some of which were intended to be parties! - and the congregations to whom I have preached. These - and others I have inadvertently failed to mention - are the people who deserve any credit for anything that is good in this work, whilst I am responsible for its inadequacies. iv Contents Chapter 1- Fictional Sermons 1 1.1- Context 3 1.2 - Hybridity 14 1.3- Scope of Study 28 Chapter 2- Analysing Fictional Sermons: A Methodological Toolkit 52 Chapter 3 - Authority in the fictional pulpit: the sermon's warrants, preacher and textual placing 81 3.1 - An authoritative text 85 3.2 - Vir bonus dicendi peritus 102 3.3. - Intratextual authority 111 Chapter 4 - Religious experience: epiphany and magical realism 113 Chapter 5 - Troubled preachers: keeping faith 143 Chapter 6 - "Words, words": the language of fictional sermons 172 Chapter 7 - Religious community as discourse community 202 Chapter 8 - Implications: Mimesis, Poiesis and Incarnation 232 8.1 - Mimesis: a living practice of memory 235 8.2 - Poiesis: Imag(in)ing godly worlds 245 8.3 - Incarnation: embodying the Word 251 References A: Primary Sources 267 B: Other fiction, poetry and plays 267 C: Secondary Criticism 270 v Table of figures Figure 1 - Sermons in Easter 38 Figure 2 - The Narrative Triptych Structure of Easter 39 Figure 3 - Audiences 63 Figure 4 - Schema Employment 65 Figure 5 - Data, warrants and claim 71 Figure 6 - A toolkit for analysing sermons in fiction 80 Figure 7 - Three-fold authority of fictional sermons 85 Figure 8 126 Between pages 67 and 68 there is an illustration of John Millais's Boyhood of Raleigh and between pages 113 and 114 an illustration of Paul Gauguin's Vision of the Sermon: Jacob Wrestling with the Angel. Notes on usage and style Except for Chapter 2 where they indicate sections and sub-sections of the analytical toolkit, bracketed numbers within the text of the thesis indicate page references in primary sources. Byatt's novels are distinguished from each other by using the following abbreviations: - The Virgin in the Garden VG Still Life SL Babel Tower BT A Whistling Woman WW Not a devotee of capital letters in theological writing, I use an initial capital for 'church' and 'bible' only when referring to a particular denomination, such as the Church of England, or version of the Christian scriptures, such as the Revised English Bible. This is not only easier on the eye when reading, but also eases a discussion of authoritative and inspired texts. vi 1: Fictional Sermons In an era of revolution in communications, the ancient art of preaching is in a critical state: its status in Christian culture is lower now than perhaps it ever has been, since its inception when Peter preached his Pentecost sennon to the Jast signs of a golden age when crowds still gathered in London to listen to Free Church preachers such as William Sangster, Leslie Weatherhead, Donald Soper and the American visitor, Billy Graham. This interdisciplinary study offictional preaching addresses the pulpit crisis of late twentieth and early twenty-first century Britain which Christian ministers face as they labour over their Sunday sermons. It touches upon many theological themes including the psychology of religious experience, the nature of religious language, the creation of religious community, the question of authority and the difficulties of religious belief, but its main theological interest is in homiletics, a branch of theological studies much neglected in British seminaries and twenty-first century academia. Its literary and cultural interests are in the representation of preaching in the imagined world of popular novels. This chapter problematises contemporary preaching, describes the genre of fictional sermons and introduces the novels I have used as primary sources. 2 In a recent study of sermons in American fiction and culture Melody Seymour defined a sermon in fiction as: "...a specific utterance, attributed to a particular character within a narrative and delivered tofictive listeners. who hear the discourse as purporting to give moral or religious insight or instruction in a speech formally set offfrom normal dialogue ... I Her thesis surveys sermons in the fiction of Nathaniel Hawthorne, John Updike, Zora Neale Hurston and Herbert Melville, contextualising them with popular preachers such as Harry Emerson Fosdick, Billy Sunday, Billy Graham and Phillips Brooks. She demonstrates that sermons are foregrounded in American literature and, taking a cue for her imagery from Melville's Moby-Dick, says sermons in American fiction are in the prow of the boat. This can hardly be claimed for sermons in contemporary British fiction, where they are encountered as an even stranger genre than Seymour suggests American readers find them to be. Late twentieth century North American novelists, including John Updike, Toni Morrison and Jane Rule, are no less reluctant to write fictional sermons than their early-twentieth-century or nineteenth-century antecedents, such as Zora Neale Hurston, Sinclair Lewis, William Faulkner, Flannery O'Connor, Nathaniel Hawthorne or Herman Melville.2 Because this is an age of global reading, when travellers abroad can purchase novels in international airports before they are published in Britain, the market for a particular book may be less specific than it might once have been and novels have the capacity to cross over between cultures.
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