Like all jokes, this covers a contradiction: it stretches piety but stays far short of blasphemy. Could there, I asked Wood, be such a thing as a religious novel – a book that is positively for God, not against him?
“Probably not,” he replied. “I can only think of bad Christian novels, like Graham Greene’s. There are mystical novels – To the Lighthouse, Mrs Dalloway – and in The Brothers Karamazov you have something like the iconostasis in a Russian Orthodox cathedral: certain panels, like those about Father Zossima or the parable of the grand inquisitor, uphold the faith that Dostoevsky undermines elsewhere. Maybe Moby-Dick qualifies too, though at the cost of being undramatic or essayistic or poetic. Perhaps narrative is inherently secular. It corrugates things, bends them too much to stay religious, as Dostoevsky wisely feared. Among contemporaries, Marilynne Robinson comes closest in Gilead, which is about a Congregationalist pastor in Iowa who’s dying – though she has to sacrifice a lot of the novel’s innate comedy and dynamism on the altar of high thought. The novel is a comic form, because it’s about our absurdities and failings. We’re told that Jesus wept, but never that he laughed.”