Dorothy L. Sayers is one the most brilliant writers of the twentieth century. Her work spans a number of genres, from detective novels, to religious stage productions, radio dramas, apologetic essays, and translations of Dante’s Inferno and Purgatorio that are still in print.
Sayers is less popular than C. S. Lewis, in part, I think, because he wrote children’s literature that draws new generations of readers more readily into his camp. Sayers was, however, no less witty and intriguing a figure as Lewis.
In fact, it is encouraging that more of Sayers’ work seems to be returning to print. There are a number of her essays that are hard to find, but which politely dismember opposing arguments in terms that make the power of her logic perfectly clear. Her detective novels, which are now somewhat dated period literature, are good stories in addition to their subtle arguments for truth. Christians, especially evangelical Christians, need a good dose of Dorothy L. Sayers.
The latest release in the Plough Publishing series celebrating the gospel in a range of writers is The Gospel in Dorothy L. Sayers. This anthology curates selections from all genres in chapters focused on particular topics like judgment, equality, creativity, and the cross. In some cases, entire essays are reprinted, like her powerful and satirical essay, “The Dogma is the Drama.” In other cases, the editor has selected a few paragraphs from a novel, or a scene from a play.
This book may not be the best place to start for those who are seeking to learn about Dorothy L. Sayers. Though the anthology shows the range of her work, much of the power of her writing takes chapters to unfold. Her characters grow, mature, and endear themselves to readers over several novels. For example, her portrait of Bunter, one of my favorite characters in all of literature, can only be fully appreciated by reading all of the Lord Peter stories.
My concern with the approach of this volume is that people will miss the genius of Sayers while getting the idea that she was moralistic in her writing, because of the topical selections. There is no question that the gospel is woven through Sayers’ writing, but her work is worth exploring because it is good even before its moral power becomes apparent. Sayers herself, I believe, would shudder to think that people would read her work because she is a Christian rather than for the artistic quality of it.
At the same time, with the growing interest in Sayers studies, this is a timely and helpful volume. For those who have already come to appreciate her work, The Gospel in Dorothy L. Sayers offers a buffet to sample some of her other offerings. Also, the book can make a handy reference volume (much like books of quotes by Chesterton and Lewis) since it can be hard to remember just where and exactly how Sayers said something in one of the books one has read. The editor has done well to select many of the most significant passages, such that this book may serve as a shortcut for those writing on Dorothy L. Sayers.
NOTE: I received a gratis copy of this volume with no expectation of a positive review.