At a talk on religion in his work Thursday evening (Nov. 18) at St. Bartholomew’s Episcopal Church in Manhattan, Updike told the audience of 300 that his Christian faith had “solidified in ways less important to me than when I was 30, when the existential predicament was realer to me than now. … I worked a lot of it through and arrived at a sort of safe harbor in my life.”
While much of his earlier work contains traces of Updike’s furious immersion in Christian theology, he said he looked more to the congregation of his hometown Massachusetts church as the rock of his faith today.
“When I haven’t been to church in a couple of Sundays I begin to hunger for it and need to be there,” he said, standing at a podium in front of the altar, against a backdrop of Byzantine-style mosaics and dressed in a gray suit befitting one of America’s elder statesmen of letters. “It’s not just the words, the sacraments. It’s the company of other people, who show up and pledge themselves to an invisible entity.”
As a young man studying at Oxford in the mid-1950s, Updike said he devoured new translations of Soren Kierkegaard at Blackwell’s bookstore, discovering him “so positive and fierce and strikingly intelligent, like finding an older brother I didn’t know I had.” He pointed to his classic character Harry Angstrom, of the Rabbit tetralogy, as an example of the Danish philosopher’s influence. The Swiss neo-orthodox theologian Karl Barth informed another character in the first book of the series, the Lutheran minister Fritz Kruppenbach, who faces off with an Episcopal priest in a scene Updike chose to read. Upon going to Kruppenbach’s house to discuss Rabbit’s desertion of his family, Rev. Eccles is treated to a diatribe against meddling in others’ affairs. Kruppenbach sounds like a stand-in for Barth himself. Read it all
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