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{{cquote|[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.|author=Norman Mailer|source=''Harlot's Ghost''{{sfn|Mailer|1991|p=1287-8}}}} | {{cquote|[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.|author=Norman Mailer|source=''Harlot's Ghost''{{sfn|Mailer|1991|p=1287-8}}}} | ||
{{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so, why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are they rumors of grace? How does God-language function in the work of Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)? | {{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so, why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are they rumors of grace? How does God-language function in the work of Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)? | ||
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''Harlot’s Ghost''{{sfn|Mailer|1991}} has myriad themes: betrayals ideological and sexual, haunting of sons by fathers, the “compartmentalization of the heart.”{{sfn|Mailer|1991|p=13}} Using the CIA as a ''synecdoche'' for a world of modernity, Mailer shows the boundary between fiction and non-fiction to be extraordinarily indeterminate. That indeterminacy applies to language but also to the ''realpolitic'' world of intelligence. But perhaps the most fascinating example of God-language appears in the last few pages of ''Harlot’s Ghost.'' It comes from Hugh Montague, codename “Harlot”—a mysterious protagonist loosely based on a real person, the enigmatic onetime poet and chief of CIA Counter-intelligence, James Jesus Angleton (1917–1987).{{efn|There is no consensus on Angleton. Was he the greatest practitioner of counter-intelligence, or, like Kim Philby in British Intelligence, was he a Russian mole? Mailer describes him as “a most complex and convoluted gentleman."{{sfn|Mailer|1991|p=1132}}}} Harlot speculates that the whole cosmos revealed in modernity fossils, evolution, solar system—to be God’s “‘majestic cover story,’”{{sfn|Mailer|1991|p=1280}} an exercise in ''disinformation'' and misdirection from the Lord of Spies, Jehovah. | ''Harlot’s Ghost''{{sfn|Mailer|1991}} has myriad themes: betrayals ideological and sexual, haunting of sons by fathers, the “compartmentalization of the heart.”{{sfn|Mailer|1991|p=13}} Using the CIA as a ''synecdoche'' for a world of modernity, Mailer shows the boundary between fiction and non-fiction to be extraordinarily indeterminate. That indeterminacy applies to language but also to the ''realpolitic'' world of intelligence. But perhaps the most fascinating example of God-language appears in the last few pages of ''Harlot’s Ghost.'' It comes from Hugh Montague, codename “Harlot”—a mysterious protagonist loosely based on a real person, the enigmatic onetime poet and chief of CIA Counter-intelligence, James Jesus Angleton (1917–1987).{{efn|There is no consensus on Angleton. Was he the greatest practitioner of counter-intelligence, or, like Kim Philby in British Intelligence, was he a Russian mole? Mailer describes him as “a most complex and convoluted gentleman."{{sfn|Mailer|1991|p=1132}}}} Harlot speculates that the whole cosmos revealed in modernity fossils, evolution, solar system—to be God’s “‘majestic cover story,’”{{sfn|Mailer|1991|p=1280}} an exercise in ''disinformation'' and misdirection from the Lord of Spies, Jehovah. | ||
<blockquote>“‘What would I do if I were Jehovah . . . . I have created him, after all, in My image, so he will wish to discover My nature in order to seize My throne. Would I ever have permitted such a contract in the first place, therefore, if I had not taken the wise precaution to fashion a cover story?’ . . . .“ You can say the universe is a splendidly worked-up system of disinformation calculated to make{{pg| | <blockquote>“‘What would I do if I were Jehovah . . . . I have created him, after all, in My image, so he will wish to discover My nature in order to seize My throne. Would I ever have permitted such a contract in the first place, therefore, if I had not taken the wise precaution to fashion a cover story?’ . . . .“ You can say the universe is a splendidly worked-up system of disinformation calculated to make{{pg|341|342}}us believe in evolution and so divert us away from God. Yes, that is exactly what I would do if I were the Lord and could not trust My own creation.”{{sfn|Mailer|1991|p=1280-1}} </blockquote> | ||
Mailer presents an astonishing degree of humor, irony, and ambiguity, worthy of Nabokov. Can we take Harlot’s speculation seriously? Mailer provides a complex play of ''metaphor, metonymy,'' and ''metaphysics'' in three arenas—character and plot in the modern novel; theology and cosmology in the universe; and the quest for meaning among the contingencies of life. | Mailer presents an astonishing degree of humor, irony, and ambiguity, worthy of Nabokov. Can we take Harlot’s speculation seriously? Mailer provides a complex play of ''metaphor, metonymy,'' and ''metaphysics'' in three arenas—character and plot in the modern novel; theology and cosmology in the universe; and the quest for meaning among the contingencies of life. | ||
Sixteen years later, Mailer returns to these themes in his final book, ''On God.''{{sfn|Mailer|2007}} There, among other topics, he discusses modern science, fundamentalism, and intelligent design, bringing insight into the nature of plot in the novels of Henry James, Hemingway, James Joyce, and others.{{sfn|Mailer|2007|p=143-161}} He suggests, for example, that James and Hemingway were “avatars of Intelligent Design”{{sfn|Mailer|2007|p=150}} whereas Joyce “plays at the very edge of chaos."{{sfn|Mailer|2007|p=151}} It is no coincidence that Mailer moves smoothly between God-language and an analysis of plot in the modern novel—for two reasons. | Sixteen years later, Mailer returns to these themes in his final book, ''On God.''{{sfn|Mailer|2007}} There, among other topics, he discusses modern science, fundamentalism, and intelligent design, bringing insight into the nature of plot in the novels of Henry James, Hemingway, James Joyce, and others.{{sfn|Mailer|2007|p=143-161}} He suggests, for example, that James and Hemingway were “avatars of Intelligent Design”{{sfn|Mailer|2007|p=150}} whereas Joyce “plays at the very edge of chaos."{{sfn|Mailer|2007|p=151}} It is no coincidence that Mailer moves smoothly between God-language and an analysis of plot in the modern novel—for two reasons. | ||
First, his central theological motif is that God is an ''artist''—a limited Creator doing the best he can. At the start of ''On God,'' Mailer says, “I see God, rather, as a Creator, as the greatest artist. I see human beings as His most developed artworks."{{sfn|Mailer|2007|p=5}} He draws, therefore, an analogy between the Creator and the creative artist—like Hemingway, James, Joyce, or himself. Second, Mailer recognizes that literary ''plot'' is a synecdoche for the larger search for meaning, religion being only one manifestation of that search. Just as Mailer is suspicious of a ''plot'' that is too contrived in a novel, so he is also wary of a ''faith'' in God that is too dogmatic, not sufficiently aware of the indeterminacy and chaos of existence.{{efn|“The reason I don’t like plots to prevail is that they don’t allow the figures in the book, the characters, to push their own limits to the point where they make the plot unacceptable and so throw the design into chaos."{{sfn|Mailer|2007|p=151}}}} Such fundamentalism misreads the nature of the world, keeping human beings infantile, even dog-like.{{efn|“The worst to be said about Fundamentalism is that it reduces people to the reflexes of a good dog. . . . No great writer ever came out of Fundamentalism, nor any great scientist."{{sfn|Mailer|2007|p=71-72}}}} | |||
Mailer’s ''The Gospel According to the Son''{{sfn|Mailer|1997}} is an intriguing work. Rewriting the gospel in first person, he retells the story of Jesus, ''focalizing'' the inner thoughts of the Son of God. To call this narrative bold is an understatement, but the book is more successful than many critics allow. Here, implicitly comparing gospel and story, Jesus compares his account with the canonical gospels: | |||
<blockquote>While I would not say that Mark’s gospel is false, it has much exaggeration. And I would offer less for Matthew, and for Luke and {{pg|342|343}}John, who gave me words I never uttered and described me as gentle when I was pale with rage. Their words were written many years after I was gone and only repeat what old men told them. Very old men. Such tales are to be leaned upon no more than a bush that tears free from its roots and blows about in the wind.{{sfn|Mailer|1997|p=3-4}}</blockquote> | |||
A kind of mirror image to Gospel is Mailer’s ''The Castle in the Forest.''{{sfn|Mailer|2007}} In reconstructing the beginning of Hitler, Mailer explores two opposing entities—God and the Devil—and their cosmic struggle. Like ''Gospel,'' this work questions the boundaries of language, plumbing deep realms of cosmology. Mailer is writing literature, but he is also writing theology. Not all theology arises in seminary, church, or synagogue: God-language may emerge even in the world of modernity. | |||
But here we may find a cognitive divide on the nature of language. Theological fundamentalists believe language to be essentially literal, ''determined'' for all time, even restricted to the letters of the King James Bible of 1611. Theological liberals, on the other hand, will see language as metaphorical, ''indeterminate,'' always in flux. As with Hemingway, Mailer’s God language would seem incompatible with that fundamentalist perspective, but compatible with a more liberal viewpoint. | |||
Mailer asks hard questions. In ''Gospel,'' he asks if there is a God who is more than nostalgia enshrined in ancient words. In ''Castle,'' he asks if we shall avoid the lure of Fascism and another Hitler. Is there a God who speaks to modernity and the evils of the Holocaust? With D.T. as narrator in ''Castle,'' we encounter a Nazi officer in the SS. Then we discover he is also “an officer of the Evil One.”{{sfn|Mailer|2007|p=71}} Mailer recognizes the risk that he runs, “Given the present authority of the scientific world, most well-educated people are ready to bridle at the notion of such an entity as the Devil.”{{sfn|Mailer|2007|p=71}} Robert Begiebing comments, “The suspension of disbelief required is audacious.”{{sfn|Begiebing|2007|p=216}} But Mailer reminds us that our modern world has little understanding of Hitler, “the most mysterious human being of the century.”{{sfn|Mailer|2007|p=72}} | |||
As in ''Gospel'' ten years earlier, ''The Castle'' in the Forest operates in two distinct realms, “the metaphysical and the mundane.”{{sfn|Begiebing|2007|p=216}} Metaphysical language is hard to decode. In fact, in the 1920s Logical Positivists denied ''any'' meaning to such metaphysical language, a view later modified by{{pg|343|344}} Karl Popper. God and Satan “appear” in a strange No Man’s Land, at the frontiers of human experience. But thinkers from Augustine to Einstein have recognized that strangeness, using tropes of analogy and metaphor. | |||
However, boundaries are always problematic, be they political, racial, or metaphysical. God-language is found at the ''liminal'' places of life, border regions of indeterminacy and danger. Such language is disturbing, even dangerous. It disturbs our expectations, confusing our maps of modernity. Max Born the physicist said, “We have sought for firm ground and found none. The deeper we penetrate, the more restless becomes the universe, and the vaguer and cloudier.”{{sfn|Born|1951|p=277}} If that be true of physics, other disciplines certainly share that mystery. If all human language exhibits indeterminacy, then religious language will have it in spades. | |||
Since the days of the Puritans, the place of Satan in American culture has become drastically attenuated, the current strength of Fundamentalism notwithstanding. A survey of this trend in American Literature is Andrew Delbanco’s ''The Death of Satan: How Americans Have Lost their Sense of Evil.'' {{sfn|Delbanco|1995}} He speaks of a dialectic in our culture “between the dispossession of Satan under the pressure of modernity and the hunger to get him back."{{sfn|Delbanco|1995|p=234}} Whatever our beliefs on his ''being,'' Satan’s ''function'' in society is fairly easily charted, as America moved from belief to irony. Mailer is a protagonist in this cosmic struggle between God and the Devil, but using the metaphors of modernity.{{efn|Delbanco suggests that modernity “has doomed us to see the world through metaphors that cannot be ratified by any appeal to transcendence.”{{sfn|Delbanco|1995|p=224}}}} However, Mailer leaves us with indeterminacy. We learn that what “enables devils to survive is that we are wise enough to understand that there are no answers—there are only questions.”{{sfn|Mailer|2007|p=467}} | |||
== BELOW NOT YET PASTED TO REAL PAGE, INCLUDING WORKS CITED == | |||
=== Conclusions: The Sacred, Indeterminacy, and Grace === | |||
There is still much left to explore. Both men redefine the realm of the ''sacred'' outside the boundaries of the Church. They also redefine the profane, in language and belief. There are theological precedents, but much of organized religion finds such redefinition problematic, particularly fundamentalists. For Hemingway, the sacred is found particularly in the natural world—rumors maybe of the original Garden? In Mailer, I am not sure: maybe the sacred is found in the moral struggle—the eternal battle between God and the Devil. | |||
''Indeterminacy'' and suspicion of rigid dogma are also at the heart of both men’s writing, as in Modernity itself. ''Grace,'' however, is a problem within{{pg|344|345}} modernity: “The world starves for grace,” says Yancey.{{sfn|Yancey|2002|p=40}} But grace is a problem also for contemporary religion, as Bawer and Yancey demonstrate. Grace may have its antonym in Hemingway's ''nada'' or Mailer’s “absurdity” of life. Grace may be implicit in Mailer’s belief that, “stories bring order to the absurdity."{{sfn|Mailer|2003|p=156-157}} Good fiction, says Mailer, is “nourishing to our sense of reality.”{{sfn|Mailer|1991|p=1299}} Stories, after all, have always been part of our lives. Novelist and theologian Fred Buechner has said, “Listen to your life . . . in the last analysis all moments are key moments, and life itself is grace.”{{sfn|Buechner|1983|p=87}} In this world of modernity, maybe it is through fiction and narrative that we still hear rumors of grace. | |||
=== Notes === | === Notes === | ||
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{{Refbegin}} | {{Refbegin}} | ||
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* {{cite | * {{cite book |last=Baker |first=Carlos |date=1972 |title=Hemingway: The Writer as Artist |location=4th ed. Princeton |publisher= Princeton University Press |ref=harv }} | ||
* {{cite book |last=Bawer |first=Bruce |date=1998 |title=Stealing Jesus: How Fundamentalism Betrays Christianity |location=New York |publisher= Three Rivers |ref=harv }} | |||
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* {{cite book |last=Berger |first=Peter L. |date=1969 |title=A Rumor of Angels: Modern Society and the Rediscovery of the Supernatural |location=Garden City |publisher= Doubleday |ref=harv }} | * {{cite book |last=Berger |first=Peter L. |date=1969 |title=A Rumor of Angels: Modern Society and the Rediscovery of the Supernatural |location=Garden City |publisher= Doubleday |ref=harv }} | ||
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* {{cite journal |last=Bernstein |first=Mashey |title=Jewish Values in the Fiction of Norman Mailer |journal=The Mailer Review |volume=2.1 |date=2008 |pages=376-384 |ref=harv }} | * {{cite journal |last=Bernstein |first=Mashey |title=Jewish Values in the Fiction of Norman Mailer |journal=The Mailer Review |volume=2.1 |date=2008 |pages=376-384 |ref=harv }} | ||
* {{cite book |last=Born |first=Max |date=1951 |title=The Restless Universe |location=New York |publisher=Dover |ref=harv }} | |||
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* {{cite book |last=Brown |first=Colin |date=1969 |title=Philosophy and the Christian Faith |location=London |publisher=Tyndale Press |ref=harv }} | * {{cite book |last=Brown |first=Colin |date=1969 |title=Philosophy and the Christian Faith |location=London |publisher=Tyndale Press |ref=harv }} | ||
* {{cite book |last=Buechner |first=Frederick |date=1983 |title=Now and Then |location=San Francisco |publisher=Harper |ref=harv }} | |||
* {{cite book |last=Bultmann |first=Rudolf |date=1984 |title=New Testament & Mythology and Other Basic Writings |location= Ed. Schubert M. Ogden. Philadelphia |publisher=Fortress Press |ref=harv }} | |||
* {{cite journal |last=Buske |first=Morris |title=Hemingway Faces God |journal=The Hemingway Review |volume=22.1 |issue= |date=2002 |pages=72-87 |ref=harv }} | * {{cite journal |last=Buske |first=Morris |title=Hemingway Faces God |journal=The Hemingway Review |volume=22.1 |issue= |date=2002 |pages=72-87 |ref=harv }} | ||
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* {{cite book |last=Chadwick |first=Owen |date=1975 |title=The Secularization of the European Mind in the Nineteenth Century|location=Cambridge |publisher= Cambridge University Press |ref=harv }} | * {{cite book |last=Chadwick |first=Owen |date=1975 |title=The Secularization of the European Mind in the Nineteenth Century|location=Cambridge |publisher= Cambridge University Press |ref=harv }} | ||
* {{cite book |last=Civello |first=Paul |date=1994 |title=American Literary Naturalism and its Twentieth-Century Transformation |location=Athens |publisher=University of | * {{cite book |last=Civello |first=Paul |date=1994 |title=American Literary Naturalism and its Twentieth-Century Transformation |location=Athens |publisher=University of Georgia Press |ref=harv }} | ||
* {{cite book |last=Conrad |first=Joseph |date=2008 |title=Heart of Darkness and Other Tales |location=Ed. Cedric Watts. Oxford |publisher= Oxford University Press |ref=harv }} | * {{cite book |last=Conrad |first=Joseph |date=2008 |title=Heart of Darkness and Other Tales |location=Ed. Cedric Watts. Oxford |publisher= Oxford University Press |ref=harv }} | ||
* {{cite book |last=Delbanco |first=Andrew |date=1995 |title=The Death of Satan: How Americans Have Lost their Sense of Evil |location=New York |publisher= Farrar, Stauss and Giroux |ref=harv }} | |||
* {{cite book |last=Donne |first=John |date=2003 |title=John Donne's Sermons on the Psalms and Gospels |location=Ed. Evelyn M. Simpson. Berkeley |publisher= University of California Press |ref=harv }} | * {{cite book |last=Donne |first=John |date=2003 |title=John Donne's Sermons on the Psalms and Gospels |location=Ed. Evelyn M. Simpson. Berkeley |publisher= University of California Press |ref=harv }} | ||
* {{cite book |last=Fussell |first=Paul |date= | * {{cite book |last=Fussell |first=Paul |date=1975 |title=The Great War and Modern Memory |location=Oxford |publisher=Oxford University Press, 2000|ref=harv }} | ||
* {{cite book |last=Gellner |first=Ernest |date=1975 |title=Legitimation of Belief |location=Cambridge |publisher=Cambridge University Press |ref=harv }} | * {{cite book |last=Gellner |first=Ernest |date=1975 |title=Legitimation of Belief |location=Cambridge |publisher=Cambridge University Press |ref=harv }} | ||
* {{cite book |last=Gribbin |first=John |date=1995 |title=Schrödinger's Kittens and the Search for Reality: Solving the Quantum Mysteries |location=Boston |publisher=Little, Brown & Co |ref=harv }} | |||
* {{cite journal |last=Hassan |first=Ihab |date=1987 |title=Hemingway: Valor against the Void |journal=American Fiction 1915-1945 |location=Ed. Harold Bloom. New York |publisher= Chelsea House |pages=285-299 |ref=harv }} | * {{cite journal |last=Hassan |first=Ihab |date=1987 |title=Hemingway: Valor against the Void |journal=American Fiction 1915-1945 |location=Ed. Harold Bloom. New York |publisher= Chelsea House |pages=285-299 |ref=harv }} | ||
* {{cite journal |last=Hemingway |first=Ernest |date=1991 |title=A Clean, Well-Lighted Place |journal=The Snows of Kilimanjaro and Other Stories |location=New York |publisher= Scribner |pages=29-33 |ref=harv }} | * {{cite journal |last=Hemingway |first=Ernest |date=1991 |title=A Clean, Well-Lighted Place |journal=The Snows of Kilimanjaro and Other Stories |location=New York |publisher= Scribner |pages=29-33 |ref=harv }} | ||
* {{cite book |last=Hemingway |first=Ernest |author-mask=1|date=2003 |title=The Complete Short Stories of Ernest Hemingway|location=Finca Vigia ed. New York |publisher= Scribner |ref=harv }} | |||
* {{cite book |last=Hemingway |first=Ernest |date= | * {{cite book |last=Hemingway |first=Ernest |author-mask=1|date=1984 |title=Ernest Hemingway on Writing|location=Ed. Larry W. Phillips. New York |publisher= Touchstone |ref=harv }} | ||
* {{cite book |last=Hemingway |first=Ernest |date= | * {{cite book |last=Hemingway |first=Ernest |author-mask=1|date=1929 |title=A Farewell to Arms|location=New York |publisher= Scribner, 2003 |ref=harv }} | ||
* {{cite book |last=Hemingway |first=Ernest |date= | * {{cite book |last=Hemingway |first=Ernest |author-mask=1|date=1940 |title=For Whom the Bell Tolls|location=New York |publisher= Scribner, 2003 |ref=harv }} | ||
* {{cite book |last=Hemingway |first=Ernest |date= | * {{cite book |last=Hemingway |first=Ernest |author-mask=1|date=1986 |title=The Garden of Eden|location=New York |publisher= Scribner |ref=harv }} | ||
* {{cite book |last=Hemingway |first=Ernest |date=1925 |title=In Our Time|location=New York |publisher=Scribner, | * {{cite book |last=Hemingway |first=Ernest |author-mask=1|date=1925 |title=In Our Time|location=New York |publisher=Scribner, 1995 |ref=harv }} | ||
* {{cite book |last=Hemingway |first=Ernest |date=2009 |title=A Moveable Feast|location=Ed. Sean Hemingway. Restored ed. New York |publisher=Scribner |ref=harv }} | * {{cite book |last=Hemingway |first=Ernest |author-mask=1|date=2009 |title=A Moveable Feast|location=Ed. Sean Hemingway. Restored ed. New York |publisher=Scribner |ref=harv }} | ||
* {{cite journal |last=Hemingway |first=Ernest |date=1991 |title=The Snows of Kilimanjaro |journal=The Snows of Kilimanjaro and Other Stories |location=New York |publisher= Scribner |pages=3-28 |ref=harv }} | * {{cite journal |last=Hemingway |first=Ernest |author-mask=1 |date=1991 |title=The Snows of Kilimanjaro |journal=The Snows of Kilimanjaro and Other Stories |location=New York |publisher= Scribner |pages=3-28 |ref=harv }} | ||
* {{cite book |last=Hemingway |first=Ernest |date=1926 |title=The Sun Also Rises |location=New York |publisher=Scribner, 2006 |ref=harv }} | * {{cite book |last=Hemingway |first=Ernest |author-mask=1|date=1926 |title=The Sun Also Rises |location=New York |publisher=Scribner, 2006 |ref=harv }} | ||
* {{cite book |last=Jones |first=Geraint Vaughan |date=1964 |title=The Art and Truth of the Parables: A Study in Their Literary Form and Modern Interpretation |location=London |publisher=S.P.C.K |ref=harv }} | * {{cite book |last=Jones |first=Geraint Vaughan |date=1964 |title=The Art and Truth of the Parables: A Study in Their Literary Form and Modern Interpretation |location=London |publisher=S.P.C.K |ref=harv }} | ||
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* {{cite journal |last=Kroupi |first=Agori |title=The Religious Implications of Fishing and Bullfighting in Hemingway's Work |journal=The Hemingway Review |volume=28.1 |date=2008 |pages=107-121 |ref=harv }} | * {{cite journal |last=Kroupi |first=Agori |title=The Religious Implications of Fishing and Bullfighting in Hemingway's Work |journal=The Hemingway Review |volume=28.1 |date=2008 |pages=107-121 |ref=harv }} | ||
* {{cite journal |last=Kucich |first=John |title=Intellectual Debate in the Victorian Novel: Religion, Science, and the Professional |journal=The Victorian Novel|date=2001| location=Ed. Deirdre David. Cambridge |publisher=Cambridge University Press |pages=212-233 |ref=harv }} | |||
* {{cite book |last=Küng |first=Hans |date=1980 |title=Does God Exist: An Answer for Today |location=Garden City |publisher=Doubleday |ref=harv }} | * {{cite book |last=Küng |first=Hans |date=1980 |title=Does God Exist: An Answer for Today |location=Garden City |publisher=Doubleday |ref=harv }} | ||
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* {{cite journal |last=Lewis |first=Pericles |title=Churchgoing in the Modern Novel |journal=Modernisn/mondernity |volume=11.4 |date=2004 |pages=669-694 |access-date= |ref=harv }} | * {{cite journal |last=Lewis |first=Pericles |title=Churchgoing in the Modern Novel |journal=Modernisn/mondernity |volume=11.4 |date=2004 |pages=669-694 |access-date= |ref=harv }} | ||
* {{cite book |last=Lucáks |first= | * {{cite book |last=Lucáks |first=Georg |date=1971 |title=The Theory of the Novel: A Historico-Philosophical Essay on the Forms of Great Epic Literature|location=Trans. Anna Bostock. Cambridge |publisher=MIT Press |pages= |ref=harv }} | ||
* {{cite book |last=Mailer |first=Norman |date=2007 |title=The Castle in the Forest |location=New York |publisher=Random House |ref=harv }} | |||
* {{cite book |last=Mailer |first=Norman |date= | * {{cite book |last=Mailer |first=Norman |author-mask=1|date=1997 |title=The Gospel According to the Son |location=New York |publisher=Random House |ref=harv }} | ||
* {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |location=New York |publisher=Rinehart and Co. |ref=harv }} | * {{cite book |last=Mailer |first=Norman |author-mask=1|date=1991 |title=Harlot's Ghost: A Novel |location=New York |publisher=Random House |ref=harv }} | ||
* {{cite book |last=Mailer |first=Norman |author-mask=1|date=1948 |title=The Naked and the Dead |location=New York |publisher=Rinehart and Co. |ref=harv }} | |||
* {{cite book |last=Mailer |first=Norman |author-mask=1|date=2003 |title=The Spooky Art: Some Thoughts on Writing |location=New York |publisher=Random House |ref=harv }} | |||
* {{cite book |last=Mailer |first=Norman and Michael Lennon |date=2007 |title=On God: An Uncommon Conversation |location=New York |publisher=Random House |ref=harv }} | * {{cite book |last=Mailer |first=Norman and Michael Lennon |date=2007 |title=On God: An Uncommon Conversation |location=New York |publisher=Random House |ref=harv }} | ||
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* {{cite book |last=Yancey |first=Philip |date=2002 |title=What's So Amazing About Grace? |location= Grand Rapids|publisher=Zondervan |ref=harv }} | * {{cite book |last=Yancey |first=Philip |date=2002 |title=What's So Amazing About Grace? |location= Grand Rapids|publisher=Zondervan |ref=harv }} | ||
{{Refend}} | {{Refend}} | ||