In the fifty years spanning 1910 to 1960, over half a million individuals in England and Wales embraced Catholicism. This period saw a significant number of literary figures, including Oscar Wilde, Evelyn Waugh, Muriel Spark, and Graham Greene, among the converts. However, beyond these famous names, many poets, artists, and intellectuals made similar spiritual journeys, sparking both admiration and controversy.
Melanie McDonagh, a columnist for The Tablet, delves into this intriguing phenomenon in her book Converts. Through 16 detailed case studies, she examines the motivations and experiences of Britons who chose to “go Poping” during some of the most tumultuous decades of the 20th century. At a time marked by political extremism and global conflict, many sought solace in the stability offered by the Catholic Church. As Greene wrote to his fiancée in 1925,
“one does want fearfully hard for something firm and hard and certain, however uncomfortable, to catch hold of in the general flux.”
The Allure of Certainty in Uncertain Times
Contrary to popular Protestant beliefs of the time, Catholic priests were not actively seeking to convert high-profile individuals. McDonagh’s research reveals that many converts were surprised by the indifferent reception they received upon approaching Catholic institutions like Brompton Oratory or Chelsea’s Farm Street Church. Maurice Baring, a writer who converted in 1909, likened the clergy to ticket offices at train stations: they provided information and guidance but left the final decision to the individual.
This hands-off approach proved appealing, especially to those transitioning from Anglicanism, where theological debates often left worshippers in a state of uncertainty. RH Benson, the son of a former Archbishop of Canterbury, expressed his frustration with Anglicanism’s endless discussions, stating,
“there is a liberty which is a more intolerable slavery than the heaviest of chains.”
The Aesthetic and Social Challenges of Conversion
Despite the spiritual fulfillment that Catholicism promised, converts often faced aesthetic and social challenges. Many had to adjust to worshipping in less visually appealing settings compared to the grand Anglican churches. Charles Scott Moncrieff, known for translating Proust, described attending a “hideous drab little RC chapel” on the outskirts of an industrial estate, yet he felt a sudden conviction of his Catholic identity.
Moreover, societal prejudice was a significant hurdle. Muriel Spark’s character Miss Jean Brodie famously quipped that
“only people who did not want to think for themselves were Roman Catholics,”
reflecting a widespread bias. Converts also faced accusations of moral failings, with figures like Wilde and other 1890s decadents adding to the stigma. Conversion often led to suspicions of madness, hidden homosexuality, or espionage.
Enduring Commitment Despite Challenges
Despite these obstacles, few converts expressed regret over their decision. McDonagh notes that while becoming a Catholic is a public act, leaving the faith is often a private matter, making it difficult to gauge true levels of satisfaction or regret. The book also highlights a gender disparity, with fewer women featured, possibly due to their conversions posing less of a threat to societal norms.
While Converts may lack in-depth analysis of these broader issues, it compensates with vivid biographical narratives that bring the personal stories of these individuals to life. McDonagh’s work offers a compelling glimpse into the complex interplay of faith, identity, and society during a pivotal era in British history.
As the Catholic Church continues to evolve, understanding these historical conversions provides valuable insights into the enduring appeal of religious certainty in times of uncertainty. The stories captured in McDonagh’s book remind us of the personal and societal transformations that accompany such profound spiritual journeys.
