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Appreciation J.F. Powers plain, elegant
art
By MICHAEL TRUE
Anyone who appreciates J.F.
Powers stories and novels must regard the authors death June 14 at
81 as a loss to the literary and Catholic culture of the United States. Having
met him over 40 years ago, and having been with him on various occasions, I
felt a deep sense of personal loss. Among other qualities, he was perhaps the
wittiest man I have every known.
We became friends more than 20 years ago, when he, his wife Betty
Wahl -- a splendid prose writer herself -- and their five children returned to
the United States from Ireland. They could live there more economically than at
home on advances for his next book, usually short stories that appeared
initially in The New Yorker magazine.
By the late 1970s, Powers had settled in as resident writer, later
regents professor, at St. Johns University in Collegeville, Minn., having
taught briefly at Smith College and Marquette University.
On one occasion a visit I made to Collegeville coincided with the
arrival of Powers close friend Gordon Zahn, the distinguished
sociologist, pioneer in Catholic social thought and cofounder of Pax Christi.
Both men were conscientious objectors during World War II, fellow
travelers of the Catholic Worker movement and contributors to its monthly
newspaper. Their deep affection for the Catholic church did not prevent them
from making sardonic remarks about its peculiarities. Powers once told an
interviewer, for example, Theres nothing bigger, cruder, more
vulgar in the world than the institutional church.
Powers other close friends included George Garrelts,
national Newman Club chaplain in the late 1950s and later professor of religion
at Mercyhurst College, Erie, Pa., and Fr. Harvey F.X. Egan, pastor of St. Joan
of Arc Parish in Minneapolis. Both men were rumored to be models for the
central character in Powers first novel, Morte dUrban
(1962), winner of the National Book Award. Powers and Garrelts first met as
eighth grade students at a Franciscan academy in Illinois, not far from where
Powers was born, and remained close friends.
All four men -- Powers, Zahn, Garrelts and Egan -- have made
significant contributions to American Catholicism, especially prior to and just
after the Second Vatican Council. They were associated with communities such as
the Catholic Worker and with Worship magazine at St. Johns
University, and indebted to artists and writers of the period such as Eric
Gill, Jacques Maritain, Evelyn Waugh, Allen Tate and others of extraordinary
talent.
In the 1980s, a quarter century after the appearance of Morte
dUrban, Powers published a second novel Wheat That Springeth
Green (1988), which takes place in that turbulent year, 1968. The central
figure is, again, a priest, a good man worried about his soul, who must endure
the loud music and hippie manner of a young curate and his friends, some with
rather casually defined sexual partnerships.
Powers had an uncanny ear for the slightest nuance in speech of a
particular era. His was a comedy of manners, rendered with an attention to
detail that is almost unknown in contemporary American fiction, with its heavy
dependence upon psychological and at times self-indulgent commentary. He had no
patience with the journal-writing school of letters, having been shaped by the
standards of early Modernism, almost neoclassical by comparison.
A remarkable human being, Powers could, nonetheless, be just plain
ornery in his responses and wiseacre remarks. He read poetry and respected T.S.
Eliot and Robert Lowell, whom he knew, but admitted that he was somewhat
ignorant about that subject. He enjoyed making fun of Walt Whitman --
Isnt he the one who wrote, As I went bowling, bowling,
bowling?
As with Allen Tate, Caroline Gordon and Flannery OConnor,
who praised Powers stories, he belonged to the tradition in American
writing that looks back to Hawthorne and Poe, rather than Emerson and Whitman.
He admired Irish storytellers such as James Joyce, Frank OConnor and Sean
OFaolain. In a Powers story, as with theirs, action carries the story
line. All commentary (dross) is stripped away. One might describe
his style as OConnor described the central figure in one of her stories:
She was plain, plain.
There is, at the same time, an elegance about his art, along with
precision of detail. Powers best-known story, The Valiant
Woman, for example, recounts the repartee and intricate dance between the
housekeeper for a small parish rectory and the pastor. Their nightly
battle, a game of honeymoon bridge, is conveyed with a skill equal
to Alexander Popes in The Rape of the Lock. Although they
respect one another, the housekeeper and the priest grate on one another and
vie with one another, in minor power plays. Powers religious sense gave
perspective to the carefully crafted stories. The characters elicit the
readers affection as the author pokes gentle fun at his characters
foibles.
Powers satirized the culture he loved, Midwest Catholicism, and
made great art out of its idiosyncrasies and its real, if unexpected aesthetic
sense. That culture possesses energy and considerable adaptability, grounded in
a kind of modesty and understated moral strength that are foreign to or at
least different from the ecclesiastical politics and upper-middle class
clubbiness of New York or New England Catholicism.
In the mid-1980s, my family and several in-laws -- 13 strong --
arrived at the Powers home in a heavy summer rainstorm, to be welcomed
with generous servings of scotch, chicken tetrazzini and fresh raspberry pie.
Their rather small two-story quarters were simply but elegantly appointed, with
a few antiques and choice pieces of art by Joseph OConnell, a longtime
friend. Betty grew much of their food in a garden just back of the house, which
formerly was servants quarters on the grounds of the Benedictine monastery and
college campus.
A genuine hospitality and communal feeling permeated their modest
home. Books by their favorite authors -- Waugh, OFaolain, Frank
OConnor and Anthony Trollope, as well as first editions of Jims
short story collections, Prince of Darkness (1956), The Presence of
Grace (1956), and Look How the Fish Live (1975) filled the few
bookshelves in their living room.
Their home exemplified the traditional values and aesthetic
standard that informed Powers fiction.
Michael True, author of An Energy Field More Intense Than
War: The Nonviolent Tradition in American Literature (1995), lives in
Worcester, Mass.
National Catholic Reporter, July 16,
1999
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