Marion Montgomery (1925-2011) authored three novels, three books of poems, and several short stories, a few of which were award winners. He is best known, however, as the author of some 20 or so books of literary and cultural criticism, based on a Thomist reading of philosophy, history and literature. At the root of his critical work is the idea that the “spirit of the age” has manifested itself in poetry and literature as much as it has in political and social matters, and that analysis of literature can thus aid us in the diagnosis of modern ailments with a view towards eventual treatment.

Montgomery taught literature and creative writing at the University of Georgia for over 30 years before his retirement in 1987, after which he continued writing and lecturing. He was born in the same general area of central Georgia as Flannery O’Connor was, in the same year, and they both attended the same graduate program, the University of Iowa Writer’s Workshop. He didn’t know her then, however, and was only introduced to her work in the early 1950’s, when a friend recommended one of her stories that had appeared in Harper’s Bazaar. They later became friends and correspondents. In a well-known letter from 1962 O’Connor praised Montgomery’s first novel, The Wandering of Desire: “The Southern writer can out-write anybody in the country because he has the Bible and a little history. You have more than your share of both and a splendid gift besides.”

Montgomery found out later, after O’Connor’s death, that they had both been reading St. Thomas at the same time, using the same book as a guide -- Anton Pegis’s Introduction to St. Thomas Aquinas. Just as for O’Connor Thomas became the touchstone for Montgomery’s reading of history, philosophy and literature, and he was extremely well-read in all three. He is one of those writers who appears to have “read everything,” although Michael Jordan of Hillsdale College believes that this is because Montgomery may have had a photographic memory. Because of this, as well as his discursive style, Montgomery can be quite challenging to read. Fortunately, unlike many contemporary critics, he uses no modern lit-crit jargon, so even when he’s difficult he’s not indecipherable.

Because of his style and his depth (as well as his tendency to write long paragraphs), Montgomery is difficult to quote. He is the precise opposite of an aphorist, and out of the context of the flow of his arguments his paragraphs wouldn’t make a lot of sense. One finds evidence of this in one of the most well-known analyses of Montgomery’s work, the essay “Why Marion Montgomery Has To ‘Ramble’ “by Gerhart Niemeyer. Niemeyer includes a few block quotes from Montgomery’s work in his essay, but the majority of the quotes are smaller ones embedded in the essay’s text itself, used to support Niemeyer’s various points.

Says Niemeyer, the prime matter that Montgomery addresses in all his work is the modern idea of freedom, which allows even the freedom of “the will to atheism,” which involves alienation, the self-separation of the individual from reality. This act, in Montgomery’s words, “issues forth from the deepest regions of the self, where freedom is more than choice, where it is the self recognizing its own existence in the recognition of God or rejecting its own existence in the refusal of God – and thus lapsing into absurdity.” Where other writers have traced this absurdity in politics and culture, “Montgomery traces it in American literature.”

A good example of this approach, which also serves as a summary of his take on Flannery O’Connor, is this excerpt from his little book The Trouble With You Innerleckchuls:

It was mistakenly assumed when the stories first began to appear, and it continues to be, that [O’Connor] writes a very sophisticated kind of local color with sociological implications. But what interests her is the condition of the modern intellectual. That is the issue in this fiction, rather than representations of rural characters whose concrete historical presence misleads “some New York critics.” The pole of grace on the one hand and of the finite gnostic mind on the other establish the intellectual ground within which the fiction’s dramatic tension arcs, sputters into a climax, and then calms to a steady glow when the reality of existence – of being – reasserts itself with persuasive finality. Hence we discover that her protagonists are, in their spiritual state, reflections of the larger, geographically foreign (one might call it New Yorkish) intellectual community where Gnosticism is dominant and from whence it trickles down through Atlanta (Taulkingham), even unto rural Georgia. She says this to be so and says it in plain enough language in her letters and essays. But that her agents are reflections of that larger self-insured gnostic world is signaled as well by the disquiet with which her fiction was and is received in many otherwise sophisticated quarters.

The attempt to declare Haze Motes or The Misfit merely backwoods psychopaths, the sort of unfortunate, deprived creatures on the evening news for whom poverty programs and rehabilitation are designed, is only a momentary stay against confusion, against a shock of self-recognition. Her chosen audience doesn’t remain safe, since the stories keep saying, shouting in an irresistible way, “You can’t be any poorer than dead” – dead spiritually and intellectually.

The constant comparison in Montgomery’s work is thus between those thinkers and writers who reflect “the pole of grace” and those who champion the “finite gnostic mind.” Drawing into the discussion poets, novelists, and philosophers, Montgomery believes that most writers lean towards one or the other, and that this leaning is reflected in their writing. Into this discussion he brings the thoughts of such luminaries as Hawthorne, Poe, Wordsworth, Dostoevsky, Eliot, the Fugitives, Pound, Maritain, Voegelin, Gabriel Marcel and Walker Percy.

As a starting point for reading Montgomery, I’d recommend the collection of essays titled On Matters Southern, edited by Michael Jordan. For a deeper introduction, one that requires some familiarity with O’Connor’s work, I’d recommend the small, but dense, book I quoted above, The Trouble With You Innerleckchuls, published by Christendom College in 1988.

I’ve read two of the three novels, The Wandering of Desire and Darrell, and though I liked both, I’d have to give the nod to the former. It’s a tragi-comic somewhat Faulknerian story of two families who have fought for generations over a piece of land, it going by hook or crook back and forth between them. As far as his poetry goes, I’ve not read enough of it to comment, other than to say that he has written in both modern and traditional/formal styles, and is seemingly fairly adept at both.

When Montgomery died on Thanksgiving weekend 2011, he was in the midst of writing a book on Hawthorne. Not sure if/when that will ever see daylight, so at present Montgomery’s last published book was 2009’s With Walker Percy at the Tupperware Party, a big rich ride through Percy’s fiction and nonfiction. It’s a no-nonsense academic-level work, albeit one with absolutely no critical apparatus: no index, no notes, no bibliography, no table of contents. Just a solid block of 330 pages of text divided into numbered chapters -- huge, challenging, and fun, like an intellectual whitewater rafting trip.

M.M. is one of my favorite nonfiction writers, and I fear I haven’t quite done him justice here. He’s a writer that for whatever reason I find much easier to talk about than to write about. But if your appetite has been whetted a little I encourage you to give him a go. In my opinion he was one of the most astute and interesting literary and cultural critics of the past thirty or forty years. I’ve come across no one that connects literary and philosophical dots in quite the way that he’s able to, and it is this aspect of his work that I find most stimulating.

—Rob Grano has a degree in religious studies which he's put to good use working on the insurance side of the healthcare industry for the past 20 years.  He's published a number of book and music reviews, mostly in the small press, and sometimes has even gotten paid for it. He lives outside of Pittsburgh, Pa.