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Creator of Heaven and Earth: Catholicism and the “Catholic” in The Power and the Glory and The End of the Affair


 The Power and the Glory (1940) and The End of the Affair (1951) each offer different and shifting approaches to the relationships between form and experience, and theme and dogma. In The Power and the Glory, the whisky priest presents different kinds of beauty, each of which proceeds from significant aspects of the growingly important Catholic theological aesthetics of Hans Urs von Balthasar. Greene places critical emphasis on how The End of the Affair draws attention to itself as a work of fiction, rather than the embodiment of a particular religious belief. Bendrix’s narrative is specific to Sarah’s conflicted sense of religious belief. The contingent ways in which Greene is read means that the exploration of novelistic context is worthy, plausible, and necessary, rather than an element of literary critique which should be overlooked.