Another Book on Catholic Converts in the Twentieth Century!

Stopping into Eighth Day Books to buy our next Chesterton group book (The Ball and the Cross) yesterday, I happened to see another book, and another, and another, since it is a bookstore. The particular book I saw and picked up and scanned, was Converts: From Oscar Wilde to Muriel Spark, Why So Many Became Catholic in the 20th Century by Melanie McDonagh from Yale University Press:

Why did Catholicism attract so many unlikely converts in Britain during the twentieth century?

The twentieth century is understood as an era of growing, inexorable secularism, yet in Britain between the 1890s and the 1960s there was a marked turn to Rome. In the first half of the century, Catholicism became an intellectual and spiritual fashion attracting more than half a million converts, including fascinating artists, writers, and thinkers. What drew these men and women to join the church, and what difference did conversion make to them?

Melanie McDonagh examines the lives of these notable converts from the perspective of their faith. For the Decadent circle of Aubrey Beardsley and Oscar Wilde—who converted on his deathbed—artists such as Gwen John and David Jones, the philosopher Elizabeth Anscombe, and novelists including G. K. Chesterton, Graham Greene, Evelyn Waugh, and Muriel Spark, Catholicism offered stability in increasingly febrile times. McDonagh explores their lives and influences, the reaction to their conversions, and the priests who initiated them into their faith.

There are 24 chapters, and the author recounts Saint John Henry Newman's story and influence in chapter eight. Here's an interview with the author.  

As I browsed through the book I noticed this name: Gwen John (Chapter 6), an artist who, like Camille Claudel, had a relationship with Auguste Rodin. Here's an article from The Catholic Herald by Melanie McDonagh, who also writes for The Spectator and other papers in England, about an exhibit of John's works in Cardiff:

Gwen John converted to Catholicism around 1913 and it had a profound effect on her art. The new exhibition on the artist, which opens in Cardiff, is striking in that it places the religious aspect of her work where it belongs, at the centre of her art and her vision of the world. In one way that isn’t surprising, for among her best known works is the series of Dominican nuns from the convent of Meudon, culminating in the wonderful images of their founder, Mère Poussepin, taken from a prayer card. But it can’t always be taken for granted that contemporary curators will be unabashed by religion (I remember a collection of David Jones paintings presented without reference to their religious aspect), so it is rather wonderful that the curators of this excellent show, Lucy Wood and Fiona McLees, give Gwen John’s faith the significance she gave it. . . .

More about the exhibition here. 

Did I buy the book? No. Do I want to read the book? Yes. 

Two copies are still available at Eighth Day Books! It would interesting to compare and contrast McDonagh's take with Patrick Allitt's!

I did buy another book, however: What I Saw in America by G.K. Chesterton (one of McDonagh's converts!), brand new from the American Chesterton Society!

Image credit (Public Domain): Gwen John - Self-Portrait