“Drama usually bases itself on the bedrock of original sin, whether the writer thinks in theological terms or not. Then, too, any character in a serious novel is supposed to carry a burden of meaning larger than himself. The novelist doesn’t write about people in a vacuum; he writes about people in a world where something is obviously lacking, where there is the general mystery of incompleteness and the particular tragedy of our own times to be demonstrated, and the novelist tries to give you, within the form of the book, a total experience of human nature at any time.For this reason, the greatest dramas naturally involve the salvation or loss of the soul. Where there is no belief in the soul, there is very little drama. The Christian novelist is distinguished from his pagan colleagues by recognizing sin as sin. According to his heritage, he sees it not as a sickness or an accident of the environment, but as a responsible choice of offense against God which involves his eternal future. Either one is serious about salvation or one is not. And it is well to realize that the maximum amount of seriousness admits the maximum amount of comedy.Only if we are secure in our beliefs can we see the comical side of the universe. One reason a great deal of our contemporary fictions is humorless is because so many of these writers are relativists and have to be continually justifying the actions of their characters on a sliding scale of values.”

“The serious writer has always taken the flaw in human nature for his starting point, usually the flaw in an otherwise admirable character. Drama usually bases itself on the bedrock of original sin, whether the writer thinks in theological terms or not. Then, too, any character in a serious novel is supposed to carry a burden of meaning larger than himself. The novelist doesn't write about people in a vacuum; he writes about people in a world where something is obviously lacking, where there is the general mystery of incompleteness and the particular tragedy of our own times to be demonstrated, and the novelist tries to give you, within the form of the book, the total experience of human nature at any time. For this reason, the greatest dramas naturally involve the salvation or loss of the soul. Where there is no belief in the soul, there is very little drama. ”

“Doubt as sin. — Christianity has done its utmost to close the circle and declared even doubt to be sin. One is supposed to be cast into belief without reason, by a miracle, and from then on to swim in it as in the brightest and least ambiguous of elements: even a glance towards land, even the thought that one perhaps exists for something else as well as swimming, even the slightest impulse of our amphibious nature — is sin! And notice that all this means that the foundation of belief and all reflection on its origin is likewise excluded as sinful. What is wanted are blindness and intoxication and an eternal song over the waves in which reason has drowned.”

“Ask the majority of Christians what they consider the greatest evil from which Christ freed humanity and they will say: from Hell, from eternal fire, from punishment in the next world. As a corollary to this they think that salvation is something that someone else can achieve for us. The word hell, which is seldom met in the Holy Scriptures, has done much harm to Christianity as a result of false interpretations. People run away from external hell which they are made to fear most of all. The salvation that man needs most and that which gives him freedom is redemption from the evil within his soul. There is something far worse than external punishment. It is the sin of the soul being in rebellion against God; the soul, endowed with God's strength, yielding itself to the force of bestial instinct; the soul which exists before God, yet fears the threats and fury of men, preferring human glory to its own peaceful awareness of virtue. There is no fate worse than this. And it is this that the unrepentant person carries with him to the grave. And it is this we ought to fear.To gain salvation, in the highest meaning of the word, means to raise your fallen spirit, cure the sick soul, give it back its freedom of thought, conscience and love. In this lies the salvation for which Christ died. It is for this salvation that we have been given the Holy Spirit, and it is towards this salvation that the Christian teaching should be directed.”

“The novel should tell the truth, as I see the truth, or as the novelist persuades me to see it. And one more demand: I expect the novelist to aspire to improve the world. ... As a novelist, I want to be more than one more dog barking at the other dogs barking at me. Not out of any foolish hope that one novelist, or all virtuous novelists in chorus, can make much of a difference for good, except in the long run, but out of the need to prevent the human world from relaxing into something worse. To maintain the tension between truth and falsity, beauty and ugliness, good and evil. ... I believe the highest duty of the serious novelist is, whatever the means or technique, to be a critic of his society, to hold society to its own ideals, or if these ideals are unworthy, to suggest better ideals.”

“The speaker indicts our unbelieving responses to Jesus' COMMAND not to worry. We take it less seriously than His commands about overt actions and justify ourselves that we would not worry if He kept us from any circumstance we might worry about.”