This is considered one of the best French novels of the 20th century.
The unnamed diarist, a young priest filled with zeal, is assigned to a tiny church in rural France. The congregation is cynical and apathetic toward him, the church, and Christianity. Many of the people he interacts with are hostile or insulting. He is morally scrupulous and is quick to accuse others of pride or blasphemy, which personally offends him.
Significantly, he is emaciated from an illness which he begins to fear might be tuberculosis. The symptoms are that he cannot eat or drink most foods without stomach pain. At least initially, it does not interfere with his job as a pastor. He doesn’t know it yet, but he has stomach cancer, and it will soon kill him.
In the seminary, he was a brilliant student, but people saw him as a poet and a dreamer, qualities not considered desirable in a priest. He explains that men from the better social classes end up in the monasteries, but priests like him, from peasant backgrounds, become Diocesan priests and are assigned to churches in the hinterlands. He is quite poor and relies partly on donated food and drink. His clothes are stained and patched.
As an inexperienced priest, he often seeks advice from a more senior priest at a neighboring church with whom he shares his frustrations. The advisor is more critical than supportive, including of his sickly appearance. He tells him his black coat makes him look like a German romantic poet, that he should start eating steaks, and try to put some weight on his frame. Our young priest can’t eat most solid foods because they cause stomach pain, but he never mentions this to his advisor. Wine is one of the few things he can drink, and combined with his gaunt and disheveled appearance, his parishioners think he is an alcoholic. They revile and ridicule him behind his back.
The young priest ruminates constantly over his inability to have a positive effect on anyone in the community. To make matters worse, his clerical superiors lecture him on the proper attitudes and behaviors when dealing with his flock.
At the midpoint of the narrative, the rebellious and insolent daughter from the chateau next door to the church approached the priest about a troubling situation regarding her father. The young priest needed to call on the chateau anyway, to discuss some trivial matter, and he used it as a pretext to speak with the girl’s mother, the contessa. It becomes an extended, dramatic, and confrontational scene between the two. The contessa is intensely angry and bitter, with no use for God, the church, or this young priest. She condescends, insults, and berates him. She tells the priest that she has no relationship with her long-spoiled, overly entitled daughter, that for years, her husband has been sleeping with every servant girl around, and worst of all, she had a son who died as a child and cannot get over his death.
Their exchange is not like that between a priest and a penitent in the confessional. Nor is it like she made an appointment to vent to a counselor. It is more like two knights who meet by chance in an open field and engage in combat. However, she does vent from the deepest emotional pain, and he does listen deeply and with the utmost compassion. With every expression of anger, every bitter utterance, in the face of insults being hurled at him, our young priest responds with a kind of verbal aikido. He takes each of her expressions of despair and turns them back onto her, but reframes them in a different way of looking at her situation, an alternate Christian message of hope. And in the end, it works. The remainder of the story is an equally dynamic and cascading series of extraordinary exchanges and epiphanies among the various characters.
As a reader who doesn’t know the French language or culture, the titles, names, and abbreviations were slightly challenging. Like some other readers, it took more than one attempt to get into the book, and then I read the novel twice to make sure I understood it. Some of the commentary and dialogue seem rather mindless or even abstract, and I wonder if they simply reflect the social pretensions of the time. In any event, the priest character was a saint. Outwardly, he did his job conscientiously, while inwardly, he was always humble and virtuous, always trying to do the right thing as a priest. Consumed with self-doubt and feelings of inferiority as a parish priest, he was nevertheless a conduit of grace to others. You may have to read the novel to understand this, but the dying words of our young priest are, “Grace is everywhere.”