A New York Times column posed the question “Do moralists make bad novelists?” Two novelists, Alison Gregory and Pankaj Mishra respectively, provided brief responses. Though both writers grapple with the question in a distinctive manner, they are unified on one thought: Morality in the context of a story should be inherent, not explicit. The concrete circumstances of the story ought to allow the reader to draw his or her own conclusions. And, both writers agree, ambiguity is usually a more suitable vehicle for such a task than certainty. Gregory sums up this conclusion well: “It’s not that fiction should be written by amoral authors — in fact, I would argue that novels actively unconcerned with which thoughts and behaviors are worth having are themselves not worth reading — but that their methods ought to be suggestive rather than forthright. Fiction should expose us to a conscience, not a conviction.”(1)
Allowing the circumstances of a story to speak for themselves can lead authors, their characters, and their readers in surprising directions, directions that don’t necessarily fit the assumptions of all three. This is when books get really interesting. When an author’s, a character’s, a reader’s assumptions smack against the hard surfaces of reality this can be a means to an enlarged perspective, an invitation to an outlook that is more subtle, generous, and humane. But this kind of undertaking requires courage. We seldom speak of great writers as brave. We should. Telling the truth flies in the face of fashion, ideology, vanity, and self-interest.
Asked if he is religious, author Jeffrey Eugenides responded, “I don’t think you should be interested in searching for the truth if you don’t think maybe you’ll find the truth.” One of the characters from his latest book, The Marriage Plot, discovers this first-hand. With a last name that is every bit as dramatic as his author’s, Mitchell Grammaticus sets his sights on Calcutta, India, where he plans to volunteer at the Sisters of Charity, Mother Teresa’s home for the sick and the dying. The year is 1982 and Mitchell has just graduated from Brown University. Mitchell boards the Calcutta-bound plane clutching a tattered copy of Malcolm Muggeridge’s Something Beautiful for God, his heart inflated by lofty ideals of charity and sainthood. The trip is a fascinating failure.
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