HighBeam Research

Title: Jazz Age Catholicism: Mystic

Modernism in Postwar Paris, 1919-
1933.(Book review)
Date: June 1, 2007 Publication: Theological Studies Author:
Steinfels, Peter

JAZZ AGE CATHOLICISM: MYSTIC MODERNISM IN POSTWAR PARIS,

1919-1933. By Stephen Schloesser, S.J. Toronto: University of Toronto,
2005. Pp. xi + 449. $85.

This is a remarkable book about a remarkable episode in modern

Catholic history. In the decades before World War I, French Catholicism
had set its face against modernity, doubly so against the modernity of
France's Third Republic. Yet leading figures in this Catholicism
suddenly found themselves operating at the very center of France's
literary and artistic avant-garde.

"After the Great War," Schloesser writes, "Catholicism came to be

imagined by certain cultural and intellectual elites not only as being
thoroughly compatible with 'modernity,' but even more emphatically,
as constituting the truest expression of 'modernity'" (5). The pivotal
figure in this startling development was Jacques Maritain. In 1906, he
and his wife Raissa found refuge in the faith from a despair-inducing
skepticism. By the 1920s, these converts, now armed with a fresh
reading of Aquinas, were reaching out to figures like the composers
Erik Satie and Igor Stravinsky and avant-garde poets, novelists,
dramatists, and essayists, many of them orbiting around the protean
Jean Cocteau. The Maritains' home and its private chapel became the
site of dramatic spiritual scenes: lapsed Catholic writers returning to
the sacraments, non-Catholics seeking instruction and baptism. And
beyond the conversions of individuals was a sympathetic reception of
their art.

From 1925 to 1932, Jacques Maritain and his collaborators published

novels, stories, poems, essays, criticism, and plays in the Roseau D'Or,
a series of volumes featuring Cocteau and his fellow travelers, along
with the Russian Orthodox theologian Nicolas Berdiaeff, the great
Islamic scholar Louis Massignon, and the Catholic poet and playwright
Paul Claudel. Novels by Georges Bernanos, Julien Green, Francois
Mauriac, and the converts Graham Greene and Giovanni Papini
appeared there--all authors who scandalized the pious and upset
church authorities. Undeniably orthodox Catholic thinkers like Romano
Guardini, Chesterton, and Maritain himself were published alongside
the heterodox and the inquiring.

Only in France did Catholicism become "a normal feature of literary life
in the interwar years" (4), S. argues, and he offers a theological
explanation as well as a contextual one. The context of course was the
postwar climate of bereavement. Artists and writers groped for an
antimodernist modernism, trying to turn prewar modernism on itself,
especially insofar as the "modern" presumed a liberal rationalism now
held responsible for the war. For this hybrid of modernism,
antimodernism, and ultramodernism, Catholicism possessed a rich
fund of memory and tradition but also of cultural defiance.

If that was the context, for S. the catalyst was the "retooling,"
especially by the Maritains, "of three traditional Catholic ideas:
hylomorphism, sacramentalism, and transubstantiation" (6). The
Aristotelian-Thomistic concept of matter as potency given actuality by
form, the understanding of sacrament as a visible sign of an invisible
reality, and the Scholastic explanation of the Eucharist in terms of real
substance and superficial accidents--each in its own way exemplified
"a vision of the world as a dialectical composite of two interpenetrating
planes of reality: seen and unseen, created and uncreated, natural and
supernatural" (6).

The result was a "mystical realism" (surrealism was its most notable
secular counterpart) able to overcome dichotomies haunting French
religion and culture--church versus state, science versus religion,
realism versus supernaturalism--and also able to embrace the
transgressive, grotesque, dissonant, or extreme in art, literature, and
music. S. traces this embrace in chapters on the work--and especially
its reception--of the painter and printmaker Georges Rouault, the
novelist Georges Bernanos, and the composer and organist Charles
Tournemire.

The story of Jazz Age Catholicism is one not only of ideas but of people.
More than a few of those to whom the Maritains extended a religious
welcome were homosexual or given to drug addictions or both.
Jacques's solicitude, sensitivity, and tact regarding matters always of
potential or actual scandal were remarkable. The Maritains' own vowed
celibacy adds a dimension to the human drama here that one senses
essential but always elusive. Occasionally I wanted S. to toss aside his
critical apparatus or skim over his painstaking summaries of reviews,
and just concentrate on the fascinating tale.
Jazz Age Catholicism provokes further questions--about the larger map
of French interwar culture and religion, about continuity with the
prewar phase of renouveau catholique represented by Charles Peguy,
Leon Bloy, and Paul Claudel, and especially about whether these
overtures of the 1920s were always doomed to fall short of what they
promised. Was the gap between Catholicism and the cutting-edge
artistic milieus simply too great? Did politics, beginning with the papal
condemnation of Action Francaise in 1926 and continuing with the
great crises of the 1930s and 1940s, simply overwhelm cultural
concerns? I suggest that no Catholicism that hopes to respond
adequately to the largely secular but spiritually hungry culture of our
time or that wishes to garner more than nostalgic pride from the
French Catholic revival can afford to ignore this richly documented and
analyzed study.

PETER STEINFELS

Fordham University, New York