Graham Greene and the Holy Spirit

Pentecost, commemorating the Holy Spirit and the ability to “speak in tongues”, recalls Greene’s Mon

This Sunday is Pentecost, a day on which Christians commemorate the descent of the Holy Spirit on the Apostles while they were celebrating the Jewish festival of Shavuot.

As the gift of tongues suddenly enabled them to speak in many different languages, malicious observers said it was just drunken babbling (a claim that St Peter answered, saying that in fact it was the fulfilment of a prophecy from the Book of Joel).

This made me think of how Graham Greene dealt with the Holy Spirit, a rather tricky and elusive entity, and, indeed, the subject of wine, in his 1982 novel Monsignor Quixote. Some readers may remember the charming Thames Television film adaptation, in which Alec Guinness played the innocent, other-worldly Monsignor Quixote and Leo McKern the communist ex-mayor of their little village who travels across Spain with him to buy the purple bib and socks that go with the rank to which the priest has just been elevated.

The pair stop for the evening at an abandoned farm, and sit by a wall eating sausage and drinking rather a lot of Manchegan wine. Sancho, the ex-mayor, asks his friend to explain the mystery of the Trinity to him. I'm going to quote the passage at length, as Greene is often thought of as being tormented by his Catholicism, but this shows his playful side.

"You see these bottles?" [says Monsignor Quixote.] "Two bottles equal in size. The wine they contained was of the same substance and was born at the same time. There you have God the Father and God the Son and there, in the half-bottle, God the Holy Ghost. Same substance. Same birth. They're inseparable. Whoever partakes of one partakes of all three."

"I was never even in Salamanca able to see the point of the Holy Ghost," [says Sancho.] "He has always seemed to me a bit redundant."

"We were not satisfied with two bottles, were we? That half-bottle gave us the extra spark of life we both needed. We wouldn't have been so happy without it. Perhaps we wouldn't have had the courage to continue our journey. Even our friendship might have ceased without the Holy Spirit."

"You are very ingenious, friend. I begin at least to understand what you mean by the Trinity. Not to believe in it, mind you. That will never do."

Father Quixote sat in silence looking at the bottles. When the Mayor struck a match to light a cigarette he saw the bowed head of his companion. It was as though he had been deserted by the Spirit he had praised. "What is the matter, father?" he asked.

"May God forgive me," Father Quixote said, "for I have sinned."

"It was only a joke, father. Surely your God can understand a joke."

"I have been guilty of heresy," Father Quixote replied. "I think -- perhaps -- I am unworthy to be a priest."

"What have you done?"

"I have given wrong instruction. The Holy Ghost is equal in all respects to the Father and the Son, and I have represented Him by this half-bottle."

"Is that a serious error, father?"

"It is anathema. It was condemned expressly at I forget which Council. A very early Council. Perhaps it was Nicaea."

"Don't worry, father. The matter is easily put right. We will throw away and forget this half-bottle and I will bring a whole bottle from the car."

"I have drunk more than I should. If I hadn't drunk so much I would never, never have made that mistake. There is no sin worse than the sin against the Holy Ghost."

"Forget it. We will put the matter right at once."

So it was they drank another bottle . . .

Perfect. And if you get the chance to see the film version you'll see both Guinness and McKern make the most of Greene's gentle meditation on bewilderment and faith. Not one of his most celebrated books, for sure, but still a latter-day reflection "of the master's long-standing preoccupation with doom, pity and the inscrutability of God's will", as the New York Times put it.

Sholto Byrnes is a Contributing Editor to the New Statesman
Another Man
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Harry Styles’ starring role in Another Man magazine proves he is the perfect teen idol

Nostalgic, androgynous and fresh – One Direction’s most famous face is as traditional a heartthrob as it gets. Music critics should know better than to write him off.

In As You Like It’s famous “seven ages of man” speech, Shakespeare splits the everyman’s life into seven parts. Three central, youthful ages stand out. The schoolboy, “with his satchel / And shining morning face, creeping like a snail / Unwillingly to school.” The lover, “sighing like a furnace, with a woeful ballad / Made to his mistress’ eyebrow”. And the soldier, “full of strange oaths,” with a patchy beard, brimming with ambition.

Today, an equally significant work made its way into the world – the most recent issue of Another Man magazine, which stars Harry Styles in three separate editorial shoots, as well as interviews between him and Paul McCartney and Chelsea Handler, and an essay on his youth written by his sister, Gemma Styles. In each shoot, Styles bears a resemblance with each of these three Shakespearean stages – in one, he sports a boyish bowl cut outside his old school, another casts him as a wistful, long-haired lover decked out in red, the third sees Styles with a new, short crop (done for the upcoming film Dunkirk, in which he plays a soldier), more masculine tailoring and barely-there facial hair.

The photoshoot marks something of a milestone in Styles’ career – something he seemed to confirm himself when he preceded sharing the magazine’s three covers on his Instagram feed with three blank posts (now, when you click on Styles’ Instagram page, there is a clear white line between his pre and post- Another Man pictures). This is his first interview and photoshoot since he left One Direction, and cut off all his hair for an acting role, and aside from the odd grainy fan picture or long-lens pap shot, fans have hardly had a glimpse of him since.

So, if this is a statement about a decisive moment in Styles’ trajectory, what does it actually say? Do the three different styles of shoot represent the ghosts of Harry’s past, present and future? Is his sheer versatility a way of presenting the former boyband star as a full-blown actor? In terms of the magazine’s written content, we don’t really discover anything about Styles we didn’t know before.

In his short phone interview with McCartney, Styles’ questions (“When you first went from being in a band to being on your own, what was the creative side of that like?” and “How did you find going from touring with so many people around you, to going out doing songs you’d written every word of?”) suggest he plans to write and perform solo music, and he briefly discusses his acting work with Chelsea Handler (“It’s a challenge, but it feels good to be out of my comfort zone”).

But the rest of the issue feels firmly nostalgic. Styles reiterates how much he loves returning home to Holmes Chapel (“that’s one of the places for me where I feel like I disappear the most […] I go back to Cheshire a lot and walk around the same fields”), the rush he had performing with his former bandmates (“there’s no drug you can take that gives you that same high”), while his sister reflects on his moments spent boiling pasta, playing with the family dog, and running baths for their mum. “It’s cool to have such specific moments in your mind to look back on,” Styles tells Handler.

The three shoots are nostalgic, too. This latest issue of Another Man follows one themed around Mick Jagger, the Rolling Stones and the “heirs to his throne”. As Styles is his most obvious successor (often compared to Mick Jagger in both looks and charisma), two of these shoots feel almost as though they were intended for that previous issue. Both the boyish, Sixties Beatles and Stones-inspired shoot – “Tomorrow is a Long Time”, shot by Alasdair McLellan – and the ragged rockstar story, “Anything That’s Part Of You”, shot by Willy Vanderperre – reference specific Jagger photographs and his general vibe.

On seeing the new covers, the Guardian proclaimed: “Harry Styles proves the heartthrob is dead: long live the artthrob”. It saw the shoots, with their high fashion aesthetic, and placement in a niche fashion magazine, as well as Styles’ ability to move from boyband star to actor to potentially authentic singer/songwriter as proof that the old concept of a heartthrob has died. The article says he is “not just a teen dream any more”, “revelling in a context that couldn’t be further from his One Direction past”, and adds: “To win hearts in 2016, you now have to offer artistic value. And you have to hustle.”

But what these visual callbacks to Jagger emphasise is that Styles is, in fact, a very traditional heartthrob – his very appeal may be due to the fact that he is the most traditional heartthrob we’ve had in years. Like McCartney, John Lennon, David Bowie, Jagger, Marc Bolan, or Kurt Cobain, Styles is creative, interested in fashion, androgynous, boyish and followed around the world by a stream of enthusiastic fans, who are mostly young women. And, perhaps in no small part due to that last detail, like all of them, he has been dismissed as a cheap fad by music writers who should probably know better.

In “Tradition and the Individual Talent”, TS Eliot said that a truly “traditional” writer is that which has “a sense of the timeless, as well as of the temporal, and of the timeless and of the temporal together”. This is also what makes that writer contemporary, and aware of his own specific moment in time. “No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists.”

If we apply that logic to the long list of teen idols, Harry Styles ticks all the boxes. Nostalgic, androgynous and fresh – Styles is as traditional as it gets. May he retain his place in the canon for centuries to come.

Anna Leszkiewicz is a pop culture writer at the New Statesman.