This book examines the engagement of interwar Catholic writers and artists both with modernity and with the political and economic upheavals in England and continental Europe.

This volume probes and deciphers the tensions and contradictions that underlie modern European Liberal Catholicism. Beginning with the French revolution and looking at dialogues between European 'public moralists', the book discusses the ways in which liberal Catholics loosened their bonds with religion, all the while relying on it. It reflects on how and why they promoted a post-revolutionary state and society based on religious dogma and morality, and what new liberal order and socio-political and religious models they proposed. Beyond the analysis of the work of these Catholic intellectuals, the question of their conceiving a specific liberal approach through Catholicism is also investigated. More generally, it prompts a vital reappraisal of the political, ideological and philosophical pressures that the religious question caused in the redefinition of Western European post-revolutionary liberalism.

The English historian Christopher Dawson (1889-1970) was the first Catholic Studies professor at Harvard University and has been described as one of the foremost Catholic thinkers of modern times. His focus on culture prefigured its importance in Catholicism since Vatican Council II and in the rise of mainstream cultural history in the late twentieth century. How did Dawson think about culture and why does it matter? Joseph T. Stuart argues that through Dawson’s study of world cultures, he acquired a “cultural mind” by which he attempted to integrate knowledge according to four implicit rules: intellectual architecture, boundary thinking, intellectual asceticism, and intellectual bridges. Dawson’s multilayered approach to culture, instantiating John Henry Newman’s philosophical habit of mind, is key to his work and its relevance. By it, he responded to the cultural fragmentation he sensed after the Great War (1914-1918). Stuart supports these claims by demonstrating how Dawson formed his cultural mind practicing an interdisciplinary science of culture involving anthropology, sociology, history, and comparative religion. Stuart shows how Dawson applied his cultural thinking to problems in politics and education. This book establishes how Dawson’s simple definition of culture as a “common way of life” reconciles intellectualist and behavioral approaches to culture. In addition, Dawson’s cultural mind provides a synthesis helpful for recognizing the importance of Christian culture in education. It demonstrates principles which construct a more meaningful cultural history. Anyone interested in the idea of culture, the connection of religion to the social sciences, Catholic Studies, or Dawson studies will find this book an engaging and insightful intellectual history.

Taking a fresh look at the roots and implications of the enduring major historic fissure in Western Christianity, this book presents new insights into the historical dynamics of Protestant-Catholic conflict while illuminating present-day contexts and suggesting comparisons for approaching other entrenched conflicts in which religion is implicated.

This first volume of Eliot's correspondence covers his childhood in St. Louis, Missouri, through 1922, when he married and settled in England. The contents have been assembled by his widow, Valerie, from collections, libraries, and private sources worldwide. Published on the centenary of Eliot's birth. Eliot's correspondence from his childhood in St. Louis until he had settled in England and published The Waste Land. Edited and with an Introduction by Valerie Eliot; Index; photographs.

Drawing substantially on the thoughts and words of Catholic writers and cultural commentators, Villis sheds new light on religious identity and political extremism in early twentieth-century Britain. The book constitutes a comprehensive study of the way in which British Catholic communities reacted to fascism both at home and abroad.

This study constitutes the first-ever definitive account of the life and work of Irish modernist poets Thomas MacGreevy, Brian Coffey, and Denis Devlin. Apprenticed to the likes of W.B. Yeats, T.S. Eliot, James Joyce, and Samuel Beckett, all three writers worked at the center of modernist letters in England, France, and the United States, but did so from a distinctive perspective. All three writers wrote with a deep commitment to the intellectual life of Catholicism and saw the new movement in the arts as making possible for the first time a rich sacramental expression of the divine beauty in aesthetic form. MacGreevy spent his life trying to voice the Augustinian vision he found in The City of God. Coffey, a student of neo-Thomist philosopher Jacques Maritain, married scholastic thought and a densely wrought poetics to give form and solution to the alienation of modern life. Devlin contemplated the world with the eyes of Montaigne and the heart of Pascal as he searched for a poetry that could realize the divine presence in the experience of the modern person. Taken together, MacGreevy, Coffey, and Devlin exemplify the modern Catholic intellectual seeking to engage the modern world on its own terms while drawing the age toward fulfillment within the mystery and splendor of the Church. They stand apart from their Irish contemporaries for their religious seriousness and cosmopolitan openness to European modernism. They lay bare the theological potencies of modern art and do so with a sophistication and insight distinctive to themselves. Although MacGreevy, Coffey, and Devlin have received considerable critical attention in the past, this is the first book to study their work comprehensively, from MacGreevy's early poems and essays on Joyce and Eliot to Coffey's essays in the neo-scholastic philosophy of science, and on to Devlin's late poetic attempts to realize Dante's divine vision in a Europe shattered by war and modern doubt.

Evelyn Waugh at war is an irresistibly fascinating subject, as are his war novels and diaries. Drawn to units offering the greatest danger, but often frustrated in his search for action, Waugh served in multiple regiments, saw battle on Crete and worked behind the lines in occupied Croatia. In the Picture traces Waugh’s experiences, both vivid and mundane, with a completeness never before attempted and shows how they come alive in Sword of Honour. It also illuminates the brief hints within the narrative of key events of the war, while highlighting its strategic direction. Waugh’s individualistic relationships with superiors, subordinates and public opinion led to blame and controversy. Working mainly from archival sources, In the Picture examines Waugh’s fitness to be an officer, his conduct on Crete, his being sacked from the Special Service Brigade, and his service in Croatia. New, very surprising discoveries dispel entrenched myths.

Despairing of his volatile, unstable wife, T. S. Eliot, at 44, resolves to put an end to the torture of his eighteen-year marriage.He breaks free from September 1932 by becoming Norton Lecturer at Harvard. His lectures will be published as The Use of Poetry and the Use of Criticism (1933). He also delivers the Page-Barbour Lectures at Virginia (After Strange Gods, 1934). At Christmas he visits Emily Hale, to whom he is 'obviously devoted'. He gives talks all over - New York, California, Missouri, Minnesota, Chicago - and the letters describing encounters with F. Scott Fitzgerald, Edmund Wilson and Marianne Moore ('a real Gillette blade') brim with gossip. High points include the première at Vassar College of his comic melodrama Sweeney Agonistes (1932). The year 'was the happiest I can ever remember in my life . . . successful and amusing.'Returning home, he hides out in the country while making known to Vivien his decision to leave her. But he is exasperated when she buries herself in denial: she will not accept a Deed of Separation. The close of 1933 is lifted when Eliot 'breaks into Show Business'. He is commissioned to write a 'mammoth Pageant': The Rock. This collaborative enterprise will be the proving-ground for the choric triumph of Murder in the Cathedral (1935).