With shifts in narrative perspective, Arditti skilfully negotiates the minefield of doctrinal interpretation, as Clement’s controversial execution of a cathedral’s stained-glass window brings him into conflict with evangelicals, fundamentalists, the press, prison wardens, and his own extended family. If this book has a flaw, it’s that we need an extra shift back to Susannah (now Shoana)’s point of view, to understand what I shall loosely call, without spoiling the plot, her change of heart.

This is a provocative novel, poised between faith and doubt. Religion, Arditti argues, is just one set of beliefs to which people cling to survive. Others put their faith in creativity, or ritual or love. Such complexities play beautifully to Arditti’s unflinching honesty as a writer. He pushes the contemporary English novel not in wacky ways of form or style but in terms of its moral integrity. In addition to pungent debates about reconciling religion with active homosexuality, Arditti touches on abortion and disability, and powerfully dramatises the arguments over euthanasia when Clement and Shoana clash over Edwin’s deteriorating health.

For someone whose subject matter is often other people’s religions, it’s clear that Arditti’s abiding faith lies in the power of fiction today to challenge and move. Whatever our faith or lack of it, as lovers of muscular literature we should only rejoice.

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