A Priest-Novelist and His Debut: Father Armand de Malleray

If you’ve ever wondered which saints have written novels, the answer points unmistakably to English literature—specifically, the legendary Saint Cardinal John Henry Newman (1801–1890). Not only is he a brilliant Catholic apologist and theologian, but he is also the author of the autobiographical novel "Loss and Gain" (1848) and the historical fiction "Callista" (1855). With such a towering figure leading the pantheon of fiction writers, it’s no surprise that the same literary tradition includes highly gifted priest-writers like the renowned Father Robert Hugh Benson (1871–1914). Last year brought one of the most delightful surprises with the literary debut of another priest belonging to the world of Gregorian liturgical tradition, Father Armand de Malleray, FSSP. Mentioning that Father de Malleray earned a master’s degree in modern literature from the Sorbonne in Paris during his youth makes it clear that his work stems from a lifelong passion for the art of beautiful words.

Titled "Vermeer’s Angel" (Arouca Press, 2023), the author’s first novel is undeniably a triumph. What amazed me from the very first pages was the mastery with which he wields the English language. For a Frenchman, this is both an act of humility and an extraordinarily rare achievement. It must be emphasized at the outset that the stylistic quality of Father de Malleray’s novel is exceptional.

If I were to immediately answer the question, “What is the most striking feature of 'Vermeer’s Angel?'” I would respond without hesitation: “refinement.” Beyond the refinement of style, the content itself and the intricate weave of ideas are equally characterized by this quality. Without wishing to spoil the plot, I’ll say that at first glance, we are dealing with a detective novel. Spies, intricate intrigues, chases, revelations, and doubts surrounding the identity of sophisticated characters—all the “arsenal” of the genre is present. If anyone might think this is one of the most common genres today, I hasten to assure you that what the author does with it is, in fact, a kind of ennobling.

By setting the action in a universe of politico-ecclesiastical intrigues unfolding at the crossroads of multiple worlds and countries—among which a leading place is occupied by Japan—Father Armand de Malleray creates the perfect backdrop for a subtle exploration of universal masterpieces of visual arts, as well as the profound inner struggles of a servant of the altar. So, if you’re looking for an adventure novel where art, history, politics, Catholicism (i.e., religion), and literature itself are treated with the finesse of an English lord’s salon, "Vermeer’s Angel" is exactly what you need.

I cannot conclude this brief note (which serves as an introduction to a longer review to be published soon) without adhering to the principal requirement set by T.S. Eliot regarding the purpose of literary criticism: uncovering the beauty of the written text. Here is a short excerpt that, I believe, will convince you:

“In a meditative mood, the bishop looked successively at Fr. Xavier Hasekura’s grave in the distance, at the countless Buddhist tombs across the hilly grounds, and finally at the scattered groups of late visitors. It was getting cold as the afternoon was drawing to a close, and he tightened his purple cashmere scarf around his chest. By his watch it was past 5pm and he relished following the imperceptible descent of the sun upon the horizon.”

As I read the above fragment, the internalized melancholy evoked by the twilight of the Japanese sun resurfaced from the deep waters of my memory, bringing to mind the paintings of masters like Katsushika Hokusai (1760–1849) and Utagawa Hiroshige (1797–1858). Yet, unlike them, Father Armand de Malleray employs words instead of brushes. His mastery as a landscapist—both of nature and, more importantly, of the interior worlds of his characters—is beyond question.

(As published in the print edition of "The Remnant")