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By Piet Schoonenberg S.J.

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It is the tradition that is upheld in all Greeley's fiction in which much of the comedy has strong sexual overtones. Delightful comedy is found in the author's first novel. The charming nymphet Brigid baits Cormac, whose bondwoman she is, by drawing water for his bath, while indicating that she fully expects to bathe him. Always able to trounce him as they spar with words, she irritates him so much that on a later occasion he dunks her in a tub of water and then rips her clothing from her tiny budding body.

His magic princess Lynnie will be the exception. In a series of flash backs, his relationship with Lynnie is depicted. The two have been close friends since they were toddlers, but when she begins to mature sexually he becomes afraid of her and is guilt ridden if they embrace. Uncomfortable with his body and with sex, Jim, when Lynnie's father tries to turn him into a lawyer—a partner in his firm—and a son-in-law, bolts and does not return for twenty years. Lynnie does not have the sexual hangups that plague Jim, but accepts her body and her sexuality with a warmth and earthiness that is attributed to her Italian 26 The Divine and Human Comedy of Andrew M.

One such is as follows: "The Central Plaza was . . as dark as a Cardinal's heart" ( 75). In another place we read: "We are going to redeploy instantly. Which means run like hell" (178). These are typical of Greeley's cutting wit and humor. In conclusion, The Magic Cup, Death in April, and The Final Planet are a trilogy of stories based on the grail theme, and are steeped in Catholic sacramentality and Celtic tradition. They reveal the author as a humorist, moralist, satirist, and story teller.

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El poder del pecado by Piet Schoonenberg S.J.


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