Henry Graham Greene

Novelists.

Several major writers like Graham Green and Charles Percy Snow came to the force in the inter-war period, but their specific manner outlined itself most markedly in the post-war work.

Henry Graham Greene (1904-1991) is the English novelist, short-story writer, playwright, and journalist whose novels treat life's moral ambiguities in the context of contemporary political settings.

His father was the headmaster of Berkhamsted School, which Greene attended for some years. After running away from school, he was sent to London to a psychoanalyst in whose house he lived while under treatment. After studying at Balliol College, Oxford, Greene converted to Roman Catholicism in 1926, partly through the influence of his future wife, Vivien Dayrell-Browning, whom he married in 1927. He moved to London and worked for The Times as a copy editor from 1926 to 1930. His first published work was a book of verse, Babbling April (1925), and upon the modest success of his first novel, The Man Within (1929), he quit The Times and worked as a film critic and literary editor for The Spectator until 1940. He then traveled widely for much of the next three decades as a freelance journalist, searching out locations for his novels in the process.

Green originally divided his fiction in two genres: (i) thrillers (mystery and suspense books), such as Our Man in Havana, that he described as entertainments; often with notable philosophic edges, and (ii) literary works, such as The Power and the Glory, on which he thought his literary reputation was to be based.

As his career lengthened, however, Greene and his readers both found the entertainments of nearly as high literary value as the formal literary writing. His later efforts, such as The Human Factor, The Comedians, Our Man in Havana, and The Quiet American, combine these modes in compressed, but remarkably insightful work.

He began to come into his own with a thriller, Stamboul Train (1932; also entitled Orient Express), which plays off various characters against each other as they ride a train from the English Channel to Istanbul. This was the first of a string of novels that he termed “entertainments,” works similar to thrillers in their spare, tough language and their suspenseful, swiftly moving plots, but possessing greater moral complexity and depth. Stamboul Train was also the first of Greene's many novels to be filmed (1934). It was followed by three more entertainments that were equally popular with the reading public: A Gun for Sale (1936; also entitled This Gun For Hire; filmed 1942), The Confidential Agent (1939; filmed 1945), and The Ministry of Fear (1943; filmed 1945). A fifth entertainment, The Third Man, which was published in novel form in 1949, was originally a screenplay for a classic film directed by Carol Reed.

One of Greene's finest novels, Brighton Rock (1938; filmed 1948), shares some elements with his entertainments—the protagonist is a hunted criminal roaming the underworld (преступный мир) of an English sea resort—but explores the contrasting moral attitudes of its main characters with a new degree of intensity and emotional involvement. In this book, Greene contrasts a cheerful and warm-hearted humanist he obviously dislikes with a corrupt and violent teenage criminal whose tragic situation is intensified by a Roman Catholic upbringing.

Greene's finest novel, The Power and the Glory (1940; filmed 1962), has a more directly Catholic theme: the desperate wanderings of a priest who is hunted down in rural Mexico at a time when the church is outlawed there. The weak and alcoholic priest tries to fulfill his priestly duties despite the constant threat of death at the hands of a revolutionary government.

Greene worked for the Foreign Office during World War II and was stationed for a while at Freetown, Sierra Leone, the scene of another of his best-known novels, The Heart of the Matter (1948). This book traces the decline of a kind-hearted British colonial officer whose pity for his wife and mistress eventually leads him to commit suicide. The End of the Affair (1951) is narrated by an agnostic in love with a woman who leaves him because of religious beliefs that bring her near to sainthood.

Greene's next four novels were each set in a different Third World nation on the brink of political upheaval (переворот). The protagonist of A Burnt-Out Case (1961) is a Roman Catholic architect tired of adulation who meets a tragic end in the Belgian Congo shortly before that colony reaches independence. The Quiet American (1956) chronicles the doings of a well-intentioned American government agent in Vietnam in the midst of the anti-French uprising there in the early 1950s. Our Man in Havana (1958; filmed 1959) is set in Cuba just before the communist revolution there, while The Comedians (1966) is set in Haiti during the rule of François Duvalier. Greene's last four novels, The Honorary Consul (1973), The Human Factor (1978; filmed 1979), Monsignor Quixote (1982), and The Tenth Man (1985), represent a decline from the level of his best fiction.

The world Greene's characters inhabit is a fallen one, and the tone of his works emphasizes the presence of evil as a force that you can touch. His novels display a consistent preoccupation with sin and moral failure acted out in seedy locales characterized by danger, violence, and physical decay. Greene's chief concern is the moral and spiritual struggles within individuals, but the larger political and social settings of his novels give such conflicts an enhanced resonance. His early novels depict a shabby Depression-stricken Europe sliding toward fascism and war, while many of his subsequent novels are set in remote locales undergoing wars, revolutions, or other political upheavals.

Despite the dark tone of much of his subject matter, Greene was in fact one of the most widely read British novelists of the 20th century. His books' unusual popularity is due partly to his production of thrillers featuring crime and intrigue but more importantly to his superb gifts as a storyteller, especially his masterful selection of detail and his use of realistic dialogue in a fast-paced narrative.

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