The novel next in line in my series on fictional clergy, and the churches they work in, is a relative rarity. ‘Few indeed are the novels set in the new churches … built after 1945, or in warm and well-lit buildings with every chair full.’ My words, from a piece for the Church Times a couple of years ago, and these fictional churches are few indeed, but there are at least some. One such church appears in Angus Wilson’s 1964 novel Late Call.
Wilson’s novel is one of the tension between old and new, ‘progressive’ and traditional, dramatised through the mutual incomprehension of three generations of the same family. And the setting is important: Carshall, a fictional post-war New Town somewhere in England. The two churches in the novel, and the two clergymen found in them, are not at all central to the plot. But the two pairings, of oldness and newness in their different ways, are part of the framing of the novel’s central theme.
Take the two churches, one in the New Town centre, and the other in the historic old town. The church in Old Carshall sits serenely by the village green and the stone cross, the timbered houses and the preserved ducking stool. The only concession to the twentieth century is a window, showing the tommies and nurses of the First World War. It is in these village churches that one of the characters finds ‘such a real sense of order and tradition’ in their worship (chapter 5). Wilson tells us little more of it, and does not need to.
With time on her hands, the novel’s main character Sylvia shops and wanders in the New Town, taking in the self-conscious gestures of its architecture (chapter 4). The public library is well set out, clean, lit by large glass windows. And the church of St Saviour too, like the library and the bowling alley too, is light and simple inside, lit with a ‘lovely sky-blue light’ by its windows of thin slotted glass. In fact, apart from the long thin silver crucifix ‘you’d hardly know it for a church’ so much as a lecture hall, with wooden chairs with tie-on cushions in a jade green cloth. In the atrium there are racks of pamphlets with clever, eye-catching photographs on their covers.
Outside in the town centure the gestures are more explicit. There is a fountain with mechanical metal arms; a twisted bronze sculpture called the ‘Watcher’, ‘difficult and modern’; a mural in pink and lilac, of the naked young in bucolic freedom, by some ‘name’ artist the Corporation had sought out. And St Saviour’s is quite a famous ‘modern’ church, she understands, with its ‘odd metal steeple more like a piece of children’s Meccano and the funny slots in the side of the building’; it is its strangeness that draws her inside into its simplicity and quiet.
We never meet the Reverend Mr Marchant, rector of St Saviour’s, though he is the kind of man that the pragmatic and progressive folk of the New Town appreciate (chapter 5). He is controversial, we are to understand, a preacher from whom one never hears ‘any of this dry-as-dust theological stuff’. His piety is much more this-worldly, upsetting the grammar school people with his sermon on the eleven-plus. And to the church on Easter Sunday come ‘women in smart hats and men in their best lounge suits… everyone was dressed up to the nines’; it looks even more like a meeting room than when empty.
But Mr Marchant has slipped a disc, and the parish must accept whoever the archdeacon can supply to preach at short notice. And the substitute, Mr Carpenter, is far from what the neat and ostentatious congregation expect. Very old, with a long red nose and a dirty-looking beard, he seems like ‘some bedraggled, mangy old goat’. And his voice is one that reduces the flighty young to fits of stifled giggles: first strange, trembling and drawn out, then ‘the refined squeak of an Edinburgh Judy in a Punch and Judy show’. But grotesque though he appears, it is his words that provoke consternation; no gospel of good works from this holy fool. To be a ‘bustling, hustling busybody – that’s not life, or no more life than the frugal ant or the hoppitty flea…. Good works’ll not save your soul alive… This Grace, Lord, impart!’
But this is no Calvinistic straitjacket; there is much one can do to meet God. ‘Go out to mind who you are. Go out, not into the busy clamour of getting and spending, not even into the soothing clamour of good works. No, go out into the dreadful silence, the dark nothingness… then indeed may the Lord send the light of his face to shine upon you, then indeed may you be visited by that Grace which will save your soul alive.’
While the busy headmaster is apoplectic at such ‘vicious nonsense’ – this ‘barbaric doctrine’ of grace – and resolves to inform the church authorities, it is his mother Sylvia who alone troubles to thank the old man: ‘I shan’t forget what you said.’ ‘Ah’ he replies; ‘it’s all old stuff, I’m afraid.’ Into the sleek project of human perfectibility that the New Town represents, Wilson intrudes an older, more troublesome, more exacting faith.