In the following excerpt, Batson examines key authors of twentieth century literature, concluding that their works are God-oriented.

In the following excerpt, Grumbach discusses the views of certain black authors on Christianity, concentrating on the Black Manifesto and its central point of the tremendous wealth of the white Christian Churches and synagogues in America.

In the following excerpt, Kee examines how postmodern critics address the historical traditions that bear witness to the mystery of the divine-human relationship.

In the following excerpt, Houle argues that Graham Green's theological fixation weakens his novels and short stories.

In the following excerpt, O'Dea proposes that Faulkner's Christianity is seen through his emphasis on Christian virtues rather than in dogmatic statements or symbols.

In the following excerpt, Simonson discusses the distinctions between the literary and the religious experience in modern literature, suggesting that an effort to bridge the two may be impossible.

In the following excerpt, Milward compares and contrasts Hopkins and Eliot, concluding that both are representatives of Catholic Christianity though their poetic sensibilities are completely different.

In the following excerpt, Cismaru contends that twentieth-century French literature is deeply involved in religious issues, whether its aim is to affirm or deny the existence of God.

In the following excerpt, O'Dea explains that Allen Tate's “The Cross,” while possessing religious subject matter is not a religious poem.

In the following excerpt, Hertzel discusses how Hemingway's extensive knowledge of Catholicism can be found in his work even though his fiction has no supernatural dimension.