Muriel Spark’s concept of faith is an essential feature of her work.lt supplies perspective and balance. Without an appreciation of it, her novels may only be valued for their wit, their irony, their unpredictability. These are indeed attractive aspects of her writing. However, they do not function merely to tease, surprise and entertain. They exist to illustrate a life which is essentially fragmented.

In a world where nothing can be fully grasped, there are dangers; the most threatening is a misplaced confidence in a single selfish viewpoint. Such an error constitutes an essential sin in Christian terms: it is philautia, love of self. St Augustine described sin as a turning away from God towards the self. Sin in Christian terms is negative: it is the opposite of all that comes from God. And so we find certain characters in Spark’s work mistakenly asserting themselves as the source of power and their own viewpoint as a criterion of truth. On the other hand we find characters who have a profound need to acknowledge a truth beyond themselves and who strive to come to terms with the essential inadequacy of a human perspective. These characters have a determination to identify what is true and honest in their existence; they have a sense of irony and sometimes a great sense of joy. All these characters describe themselves as Catholics. Although they are not portrayed as dependent on church ritual or practice, the dimension of faith is of the utmost importance to them.

Caroline in The Comforters is most explicitly bound up in her faith. She is a convert and finds herself patronized by cradle Catholics such as Mrs Hogg. She is irritated by this for she has a sense of her faith which lies beyond the smug platitudes of this woman. Although Caroline goes into retreat, she does not encounter her faith by turning her back on her life. On the contrary, the challenges, the irritations and the mysteries which nurture her faith are in her experience.