The Heart of the Matter – Graham Greene
It ought to be a source of
satisfaction to British Christians that our two greatest poets of the last
century, T S Eliot and W H Auden, were both Anglicans, while our two greatest
novelists were Catholics – Evelyn Waugh and Graham Greene. Why this should be
so might offer a fruitful research project for someone. Is it because meaning
is still a significant issue for us? Words after all demand meaning, don't
they? Is it because we avoid the deadness cast over language by the positivist
and materialistic epistemologies of the last era, with their hatred of
metaphor, which for us is like the fingerprints of God left over his world? Is
it because we see human beings as infinitely valuable to the God who created us
in His image – and therefore novels about the inner workings of human beings actually
matter? Is it because our awareness of transcendent values means that real
tragedy, as opposed to sad and painful circumstances, is still possible?
The Heart of the Matter is a
tragedy constructed along Greek lines. The protagonist Scobie shares with
Othello that most ultimate of tragic dooms, his own damnation. He is spurred on
to it, like Oedipus, by a fatal character flaw which compels him step by step
closer to that doom. In his case that flaw is his fundamental decency. He hates
letting anybody down, ultimately to the point where he would sooner damn
himself eternally than cause hurt to another. The bitter irony is that this
decency is itself a version of the love of the Cross, that God lays down his
own life in order to save us from sin and death. For Scobie is a convinced
Catholic, deeply committed to his church, its values, its theology and to his
God. Scobie even debates with himself, as the option of suicide becomes
gradually clearer to him, whether the cross was not itself an act of self-destruction.
The act that will condemn him forever is parallel to the act that God meant to
save him forever.
The two people he wants to avoid
letting down are his wife Louise and his lover Helen. His love for Louise died
with the loss of their young daughter soon after her first communion –
presumably the daughter is in a state of grace in Catholic terms and a citizen
of heaven. It gradually becomes apparent as the novel progresses that Scobie
was on duty in Africa at the time of her death and could not be there in
England for her or for Louise. Greene never states that the grief of this loss
is the source of Scobie's deep-seated unwillingness to let anyone down ever
again, but it's all the more powerful because he lets us draw our own
conclusion. So this sorrow, with its overwhelming sense of the duty of
protecting others from pain, has invaded the marriage and choked the love that
once formed its heart. Real communication and real intimacy are no longer
possible, as a series of stilted exchanges between Louise and Scobie makes
clear.
His lover Helen has also just
endured a deeply painful loss: the ship she was sailing on was torpedoed by the
Nazis, her husband of only a few weeks was killed in the shipwreck, and she was
afloat in a boat on the open sea for many weeks with others dying all around
her. She is washed up with the few other survivors on the shore of the colony
where Scobie is a police officer. She is vulnerable, she has lost everything,
she knows no-one, there are predatory men circling… Scobie wants to protect
her. She is a lot younger than he is – does he see her as the daughter he
failed to protect? Or does he seem them both as comfortless victims of
bereavement? Against his best intentions he finds himself in bed with her, and
then he cannot pull away from the relationship without letting her down as
well.
All this happens while Louise is
away, no longer able to stand the morale-sapping climate of the colony and the
deadness of Scobie's relationship with her. But just as Scobie's relationship
with Helen is beginning to develop, there comes the news that Louise is coming
back, determined to re-affirm her love and support for Scobie. Now he is
cruelly caught. He cannot move forward without damaging either Louise or Helen,
and he cannot live with himself if he does this.
When Louise actually returns the
dilemma becomes unbearable. Louise insists they go to Mass - Scobie tries to
avoid this because he is not in a state of grace, he is living with unrepented
sin, and therefore to take the body of Christ is to ingest his own
condemnation. Scobie tries confession, but it's hopeless. The priest points out
that the sacrament is invalid if he does not repent, and repentance here means
being prepared to stop sinning, not the modern version where you just feel bad
about it. Scobie can't repent because that means letting Helen down. The only
way out is to kill himself, but Scobie is aware of the terrible damage suicide
does to everyone left behind. He has to make it look like an illness so that
neither Louise nor Helen will blame themselves with the terrible guilt that
attaches to everyone who is close to a suicide. So his plan takes shape…
But surely the one who will be most
hurt by Scobie's suicide, the one most painfully let down, is God Himself – the
One who loves him to the uttermost and has given everything to have his love
forever. Greene reveals the Saviour's agony in a couple of extraordinary
dialogues - or interior monologues? Does it all happen in Scobie's oppressed
imagination? Or is Jesus really speaking to his soul, trying to woo him away
from his destruction? These passages are extraordinary, without parallel in any
other literature except possibly Dostoevsky, and acutely vivid and painful for
a Christian reader. Christ is portrayed as going through his agony all over
again for love of Scobie, who horrifically sees himself in the crowd
surrounding Jesus on the road to the Cross, mocking and beating him.
For Scobie is resolute. It is not
just Louise and Helen he is letting down, it is Christ Himself. Since he cannot
let himself hurt them, he cannot avoid hurting Christ either. Surely then,
Christ is better off without him too? Isn't it his duty to separate himself
from Jesus finally and forever, so that Jesus' pain can stop? Scobie is hunted
to death by his own remorseless logic.
Pity and terror are the accounted
the hallmarks of tragedy, the wellsprings of its cathartic power. The Heart of the Matter has them in
spades. An utterly compelling book but desperately painful. Just because the author is a fellow Christian doesn't mean we can expect an undemanding read.
A few
final observations before I go away and try to recover.
It is painful to see grace offered
in such mechanical terms – upon these conditions, with these rules and
exceptions, and with these inexorable consequences. Somehow grace seems to have
become a new legalism of its own. Is this what Catholicism looks like from the
inside? Or is it Scobie's own flaws that make it look like this to him? Is it
because he is a policeman? Or is it the negative logic of Scobie's depression,
that makes everything look so clear yet so cold and hopeless?
Sin is disturbingly portrayed as an
atmosphere that clings to the entire West African colony. Scobie at one point
even gives this as his reason for wanting to live there: at least the
soul-destroying climate makes people more honest, their sins are out in the
open, not politely brushed away as they are back in England. You see sin as an
atmosphere creeping into the relationship between Scobie and Louise. Every time
they touch each other a film of sweat forms disgustingly between them. Yet
surely the sin is not in their bodily contact but in their emotional distance.
Then, horribly, the same slippery sweat starts to form between Scobie and Helen
too…
Silence has a huge part to play in
Scobie's tragedy, to point where you feel it could have been averted if only
people could have talked to each other. Three key points are:-
After his
death it turns out that Louise returned to Scobie, not ignorant of his liaison
with Helen but because of it, and not to rebuke him for his unfaithfulness but
because she realises how lonely, grief stricken and in need of support he is.
She is far more generous to him than he has imagined – she really loves him and
puts his needs before his own. If only she had said, "I know about Helen,
and I forgive you." But she was silent, perhaps taking her lead from his
own inability to talk about it.
After the
confessional Scobie goes away, not helped, but convinced that there is no way
out. If only the priest had made an arrangement to meet him and talk it
through, or to send him to someone who could help him. But neither of them can
escape the formulaic structure that has been imposed upon grace.
Scobie's
plan to kill himself depends on complete secrecy. If either Helen or Louise
suspected that it was a case of suicide they would have to bear the agony of
responsibility for his despair, either because of their words and actions or at
least for not having been able to save him, for having loved him in vain. This
would have been a worse letting down than any other. So when Scobie is at his
most despairing he is least able to confide his true intentions and feelings to
those closest to him. Unfortunately it is the spy Wilson, who would like to be
Louise's lover, who detects Scobie's deception after he is dead, so Scobie's
repressed silence turns out to have been for nothing.
In these respects then we see some
advantage in our own age over Greene's – we're allowed to talk to each other
nowadays, even if in practice millions have no opportunity. That openness
brings its own set of problems of course, but how many tragedies must it avert.
Fourth observation is that Scobie
has an after life, just as Oedipus had, albeit a half-life as a blinded exile
in Oedipus at Colonnos. For Scobie that
half life is in the speculations of his priest, who tells Louise after Scobie's
death that Scobie really loved God and that the church may be wrong in its
teaching about suicide:
Father Rank… said furiously, "For goodness'
sake, Mrs Scobie, don't imagine that you – or I – know a thing about God's
mercy."
"The Church says…"
"I know what the
Church says. The Church knows all the rules. But it doesn't know what goes on
in a single human heart."
A final acknowledgement then that
God's grace is greater than law or than anything we know.