In order for a Catholic writer to reach a wide audience with his Catholic message, he must rarely mention the faith. There are many for whom the mention of religion sends them out of the room, the very ones who may most need the message most. And for those whom religion is a topic of interest, they only want something light and moving. Thus, The Loved One meets both of these obstacles: it is Catholic without saying it is Catholic and carries messages of deep religious meaning. Evelyn Waugh was invited to Hollywood to negotiate the making of Brideshead Revisited into a movie. The talks failed. While there he was taken to visit Forest Lawn Cemetery, the famous final resting place of the movie industries brightest stars. It told him everything he needed to know about Tinsel Town. It inspired the book. He sets out to make five points: Over excitement (exaggeration), the Anglo American impasse (we have nothing in common), no such thing as an American (we are all foreigners), the European raiders, and memento morte (thought of death.) He warns his readers in the beginning of the book not to read the book. Do not take his advice. Read the book.
Artists are the first in a culture to sense change. They see the small hints of coming storms long before they appear over the horizon. His first inclinations of changes in the Catholic Church began with the changes to the Holy Week rites under Pius XII. His deep faith and artistic sensibilities gave him pause. During the years of the Second Vatican Council (1962-1965) his suspicions turned into fear. He saw the rock begin to shake. It shook him too. He stopped writing. When asked why he no longer wrote, he replied that Vatican II knocked it out of him. If there was ever a clear link between the inspiration that the beauty and truth of the Catholic Faith provides to the artist, it was the loss of the great writer Evelyn Waugh and the deformity of the Catholic Church in the wake of the Council. He loathed the changes being made to the Latin Mass, years before the rise of the Novus Ordo Mass. He began to drink. He prayed that he would not fall into apostasy. He prayed to be spared witnessing the scourging of the Church. He died Easter Sunday 1966 after Mass and lunch with his family.
The world into which Evelyn Waugh was born was in turmoil. Born in 1903, he was a child during WWI. England after the war was changed markedly by the abandonment of God and replaced with materialism. Civilization had become bankrupt. His artistic sense compelled him to search for understanding, a deeper meaning. School, work, marriage, painting, writing were helps and distractions. His intellectual pursuit continued. In 1930 at the age of 26 he completed his intellectual search with the aid of a patient priest, and became a Catholic. He now could make sense of the world and write about it with clarity. Waugh wrote: “Civilization, and by this I do not mean talking cinemas and tinned food, nor even surgery and hygienic houses, but the whole moral and artistic organization of Europe has not in its self the power of survival. It came into being through Christianity and without it has no significance or power to command allegiance. It is no longer possible as it was in the time of Gibbon to accept the benefits of civilization, and at the same time to deny the supernatural basis on which it rests. Christianity is in greater need of combative strength than it has been for centuries.”
Whispering Glades is the mock cemetery created by Waugh to show how the make- believe world of Hollywood plays out in the business of death. It is a false religion in the business of making money. Death is treated as just another stage of life except without animation, without movement, and most importantly, without a soul. The corpses look alive. The dead are not dead, just peacefully resting. The property is more amusement park than cemetery. The subject of death is treated with such delicacy that one is not sure what they are talking about. Everything is upside down. The Loved One is a horrifying vision of fact that is shaped into a work that tells a great truth. This bizarre and macabre and unusual work of art with a profound religious point of view is a vision of what happens to a society that denies its God, attacks nature and forgets that death is the moment of agony when soul and body separate and a human being stands before a judge. That fact hovers behind this book from the first page to the last. Eternity stands before us.
Dr. White opens part one of his commentary by declaring his love for Waugh’s Brideshead Revisited as one of his three favorite literary works. He goes on to describe how he used it as an apologetic for God’s truth among young men seeking to learn more about the Catholic faith. But White sees potential disaster in the modern decline of the proper use of our language, and the movement away from words and toward images, particularly movies and what White regards as the demonic evils of television.
In part two of his introductory comments on Wagh’s Brideshead Revisited, Dr. White continues his criticism of the electronic media (including computers) characterizing it as a false god: an unreal image that falsely represents reality. White stresses how Jesus taught not in images but in stories –– in parables. And he emphasizes the importance of “plot” as the most essential element in literature, and defined by Aristotle as narrative with a beginning, middle, and end. An outstanding example of which, in Dr. White’s view, is Brideshead Revisited.
