Scrolling through the catalog of “La Pléiade” it’s easy to realize that from 1972 to 1998 eight full-bodied volumes were published, for a total of more than 14,000 pages, containing the complete work of Julien Green. Those who have even a minimal acquaintance with French Literature know that the honors of “La Pléiade” are due only to the recognized great masters of French literature: Julien Green is one of them. Elected, first of the non-French, among the “immortals” of the Academy of France in 1971, in place of François Mauriac, he resigned in ’96 claiming to feel “exclusively American” and “not at all interested in honors, whatever they are.” 

 He was not actually of French descent, his real name was Julian Hartridge Green. He was born in Paris on September 6, 1900, the last of eight children, from parents of Scottish and Irish ancestry, who emigrated to France from Georgia in 1893. Julien’s grandfather was a rich cotton merchant, owner of plantations, which made in France a good fortune, the mother came from Georgia, the father, originally from Virginia, was a businessman and was Secretary of the American Chamber of Commerce in Paris. 
Julien Green is generally qualified as a Catholic writer, an expression that has, in his case, a very particular meaning: Catholic yes, certainly, but also homosexual. The lacerating attempt to reconcile homosexuality and Catholicism was a constant in his life and it must be said that this attempt to reconcile the irreconcilable, at least giving the word Catholicism the traditional sense that the Catholic hierarchy attributes to it, emerges very clearly throughout the his work.
Julien Green has offered an extremely honest and realistic picture of himself and his inner conflicts. The self-censorship concerning sexual contents has become increasingly less binding over the years and it has happened that subsequent editions of his works have been enriched with many pages, originally omitted; a large part of these pages deals with homosexuality. This is the case of the first volume of the “Diary”, Les années faciles, the first edition of 1938, is heavily censored, while the second, of 1970, which presents almost 200 pages more, gives much more space to the theme of homosexuality. The censorship, on the other hand, remained rigid in relation to the homosexuality of other people, sometimes referred to as pseudonyms.
However, a laic homosexual, in the most radical sense of the term, who approaches the work of Julien Green cannot but recognize a considerable intellectual and moral rigor, of course, in the secular sense of the term, and a basic honesty in dealing with theme of homosexuality and trying to analyze it in front of his own conscience. Julien Green has undoubtedly an emblematic value because he embodies the ideal aspirations and anguish typical of true Catholics who want to be honest with themselves in the face of homosexuality, not considered as a theoretical question or as a problem of others, but as a profound element of their own personality, irreconcilable with faith.
On May 15, 2013, “L’Osservatore Romano”, the newspaper of the Holy See, published an article by Joseph Ratzinger entitled “And Julien Green became himself again”. So Ratzinger expresses himself on the religious education of Green:
“He tells how, from his childhood, his mother, Anglican, had literally immersed him in the Holy Scriptures. It was obvious for him to know by heart all the one hundred and fifty Psalms. Scripture was the atmosphere of his life. And he says: “My mother taught me to understand it as a book of love and deeply permeated me with the idea that, from the beginning to the end of Scripture, it was only love to speak. And all my being wanted nothing but love.” In the end a man who has received such bases cannot be lost.”
These statements by Ratzinger, from a secular point of view and in reference to the homosexuality of Green, instead, think of the violence of a religious education based on Scripture, which was accompanied, among other things, by the radical repression of sexuality, systematically operated, from an early age. As we will see later, this repressive education left deep traces in the soul of adult Julien. To memorize the one hundred and fifty Psalms is not at all obvious to an adolescent who, exposed to such a radically and strictly religious education, risks becoming dependent on many prejudices of religious origin, from which it is often difficult to get free. Julien’s mother was by no means the “ideal religious mother” described by Ratzinger, or perhaps she was fully, the assessment depends on the idea of religion of the one who judges. The fact remains that Julien’s mother heavily conditioned her son in the development of his sexuality. Julien remembers at least twice the rigid behavior of the mother when he was in the bathtub and the attitude of almost rejection that she showed for everything related to sex in relation to her 10 or 11-year-old son.
Julien remembers that when he drew naked bodies they were always completely without sex.[1] The only sexual curiosities came to Julien’s mind by reading the Bible and were systematically resolved with a “You will understand when you grow up. For the moment there is no need for you to know.”
Green does not omit to describe his perplexity at the attempts of other boys to explain something about sex or even to seduce him, in fact he was not able to recognize the normal awakening of sexuality or to have an authentic awareness of pleasure like his peers. He was about 15 years old when some of his high school friends of the Lyceum Janson of Sailly started him with the pleasures of masturbation. At that time the sense of sin was linked to the concept of pure and impure, not through a personal assessment but in terms of permitted or prohibited. Referring to masturbation he says: “As for the gesture in question, I didn’t reconnect it to any known offense.” Weeks passed before it occurred to him that he should regret it.
Julien himself speaks to us of his silent love for his classmate Frédéric: “No carnal desire tormented me. If the heart burned, the senses were sound asleep and I was exceptionally cold. The idea of getting my hands on Frédéric would have seemed to me simply monstrous, because nothing seemed beautiful to me that it was not pure, finding that word in my mind all the power that it had almost lost.”[2] 
Of his love for Frédéric Julien had spoken to the his friend Philippe but not to Father Crété who was in charge of his religious education. Not having the courage to confess to Father Crété what he did with his friend Philippe or alone, he went to confession elsewhere in complete anonymity. Teen Julien is now fascinated by the human body, especially the male one. Julien rarely talks about girls, when he shows a slight interest in a girl, every approach is cut short by the intervention of his sister Mary and his mother, terrified by the idea that Julien could follow a destiny similar to that of his uncle Willie, who died of syphilis inflicted on him by a servant.
At 15, Julien read Baudelaire but was unable to grasp his sensuality.
Only the following year the awakening of the senses occurred, at least partially, during a trip to Italy. In Italy he read Boccaccio and was shocked.
In 1916, after the death of his mother, he converted to Catholicism and let the hypothesis of a vocation  to religious life in the order of the Benedictines emerge. Sister Mary was the first converted to Catholicism, then her father and mother followed her. From a secular point of view it is hard to believe that the conversion of Julian sixteen years old and his momentum towards monastic life were free and well thought out choices.
A year after the conversion we find Julien seventeen years old involved in the war, to volunteer in the red cross of the United States on the Italian front. After the war, now eighteen, oscillates between the idea of religious vocation and artistic tendencies (painting and music). He then went to the United States and studied from 1919 until 1922 Languages and Literature at the University of Virginia, three years of studies offered to him by Savannah’s uncle. It is precisely at the University of Virginia that Green begins to understand that he is “a man with a great secret”, that is, a man who must bring with him the secret of his homosexuality. He is however enchanted by his fellow students, who considers the best humanity imaginable. At the University of Virginia he falls in love with Benton Owen, whom he will call under the pseudonym of Mark. It is through the Virginia guys and through the unconfessable love of Owen that Green realizes the emotional strength of homosexuality. Love towards Owen is platonic but not for this reason it is less violent. Green abandons Mark in 1922 without confessing his love, but then has an unforeseen opportunity to meet him again in July 1923, when Mark is traveling and is in Paris. Julien promises to finally speak clearly to Mark on the Pont-Royal, Mark is ready to listen, but in the end Julien gives up:[3] “One or two minutes later, on the other side of the bridge, I said to Mark:” I’m sorry but I cannot”. He squeezed my arm a little and told me: “I understand you very well” Once again I found myself faced with the risk of permanently losing his affection and I had considered that risk too great. There is no need to stress that in my work Mark reappears continuously, under one form or another. He is always the mysterious handsome guy to whim you does not dare to declare your love. Eric Mac Clure, in “South”, Praileau in “Moïra”, Angus and Wilfred, both of them alternatively, in “Chaque homme dans sa nuit”, Paul in “Le Voyageur”, and especially the handsome guy of “L’Autre Sommeil” “
Perhaps it is no coincidence that after a long time Green has considered the years of Virginia as some of the saddest of his life, were certainly those that troubled him more and put him in front of the reality of his homosexuality.
Leaving the University of Virginia without graduating and returning to France in 1924, Green publishes under the pseudonym Théophile Delaporte the “Pamphlet against the Catholics of France”[4] dedicated “to the six French cardinals.”
Let it be clear, this is not a pamphlet against the Catholic Church but rather a pamphlet against Catholics accused of being too lukewarm with regard to their faith. Some quotes of the text can give an idea of its content. The Catholics of this country have ended up making their religion a habit, to the point that they no longer worry about whether it is true or false, or whether they believe it or not; and this kind of mechanical faith accompanies them to death.[5]
“It is not possible to believe without fighting, but they don’t fight at all with themselves, and accept Catholicism as something simple and natural; and they would end up killing it, if this was possible.”[6]
“However they are Catholics, because they have received the mark of the Church, and they are forever, because the Church does nothing that is not eternal, but these submissive children bring the germs of a powerful corruption. Don’t look elsewhere for the true enemies of this Christian Church of which they believe themselves be the defenders.”[7]
“They were raised in Catholicism; they live and die there, but they don’t understand what they themselves represent or what is happening around them, and they don’t perceive anything of the mystery that surrounds them and separates them from the world.”[8]
“They live in the world as if they were of the world; however, they have been chosen by virtue of certain signs and certain words and if they understand that they have received a mark and are rebelling, they are not less Catholic for this, and if they degrade, they remain Catholics even in their fall and in their damnation.”[9]
“They read the prayers, every word of which is of great importance, and read them as if the prayers were for someone else, for someone else’s life, for someone else’s salvation. One would say that they don’t know that prayers speak only of their condemnation to death and their grace; one would say that they believe that Catholicism was founded for others and if they themselves are part of it, it is only by chance or by game.”[10]
But if 1924 is the year of the apology of Catholicism contained in the Pamphlet It is also the year in which, after having reached the peak of his religious exaltation, Green moved away from Catholicism. Here I quote Ratzinger’s quoted article:
“[Julien Green] He writes that in the interwar period he lived just like a man of today lives: he allowed himself all he wanted, was chained to pleasures contrary to God so that, from one side, he needed it to make his life bearable, but, on the other, he found that life itself unbearable. He looks for ways out, connects relationships, goes to the great theologian Henri Bremond, but the conversation remains on the academic level, theoretical subtleties that don’t help it. He establishes a relationship with the two great philosophers, the spouses Jacques and Raissa Maritain. Raissa Maritain indicates to him a Polish Dominican. He meets him and still describes to him his lacerate life. The priest tells him: “And do you agree to live like this?” “No, of course not!”, He replies. “So do you wants to live differently? Are you repented?” “Yes!” says Green. And then something unexpected happens. The priest tells him: “Kneel! Ego te absolvo a peccatis tuis – I absolve you.” Julien Green writes: “Then I realized that after all I had always awaited this moment, I had always waited for someone to tell me: kneel, I absolve you. I went home: I was not another, no, I had finally become myself.” “
So Julien Green wrote to Jacques to Raissa Maritain on April 25, 1939:
“I am writing a few words to you before leaving, to tell you that this morning I had communion after a conversation I had with Father Rzewuski.”[11]
It’s easy to understand how much the young Ratzinger found in the account of the conversion of Green a confirmation of Saint Cyprian’s famous statement that “there is no salvation outside the Church”.[12]
 Yet Green was Catholic, he had converted at age 16, because people speak of a second “conversion” in 1939? Ratzinger does not explicitly tell us what was there in Green’s life, before April 25, 1939, which then led to the need for a new conversion to Catholicism, and prefers to remain vague on the subject  for the fear of dirtying a character who seemed fully embody the ideal Catholic model. To understand that what happened in the life of Julien before 1939 we can be read a short novel published by Green in ’31, “The other sleep” (L’Autre Sommeil), all centered on the theme of the discovery of homosexuality (awakening) made by Denis, the protagonist.
The novel portrays Denis, first child and then teenager, who lives a life neither better nor worse than that typical of the children of thousands of bourgeois families. The death of his father, who is a liberation for him, marks the true beginning of his youth. Chaste up to 15 years for natural coldness, Denis experiences a little later, the revelation of the pleasure of senses. “With oscillations between coldness and the will to resist, I was weak and sensual” He then knows the strange ways of passion, he believes he loves Andreina but it is Remy, her lover, who fascinates him. “Nothing is as mysterious as the path of passion in a heart without experience.” Claude, Denis’s cousin and childhood friend, who was an orphan after his mother’s death, is welcomed into the house by Denis’s parents and the two guys are living together. For Denis it is as if a dam had collapsed revealing the violence of all that it held, now Denis is aware of being in love with his cousin. He would like to reveal his feelings to Claude, but during the few occasions he has to see him, after a period of absence, before he leaves again, this time definitively, he cannot confess to him those feelings. The protagonist realizes that he will regret this failed declaration for life. This portrait of a young man with a heavy heart, whose dreams, whose desires and fears nourish a rich and terrible inner life, highlights the eternal emotion of a silent love, of a passion that doesn’t dare to declare itself and of which he preserves the sad and useless weight throughout life. This book reveals “the obsession of cold and the fear of fire”, a rather surprising tale of psychological darkness. It is obvious, and Green himself admits it without difficulty, that “L’autre sommeil” reflects his falling in love for “Mark”, the Benton Owen that Julien had met at the University of Virginia, so it is a substantially autobiographical novel. But homosexuality as a fundamental element of Green’s life between the two conversions also emerges from other elements. It is Green himself, in “Jeunesse”, the fourth volume of autobiography, who talks about the period after his return to France from Virginia and presents us with a Julien who attends the meeting places of the Parisian homosexuals of the Lungosenna. It should be added that in that period Green knows and frequents literary man who had publicly declared themselves homosexual like André Gide and Jean Cocteau and also others who were homosexual but much more secretly than Gide and Cocteau, like François Mauriac, on whose homosexuality I refer to the excellent study of Jean-Luc Barré.[13]
The fourth volume of autobiography concludes with a reference to a “person” with whom Julien falls in love and who will make him live the best years of his life. Despite the extreme reticence of Green himself on this point, we know that Green was bound by strong friendship with Robert de Saint-Jean, Green rarely talks about the relationship with his friend and defines it as Platonic. Anyway Green’s Diary and Autobiography leave no doubt that the two have lived together for years. That the link was really important is also apparent from the fact that Green did much to do, after the Germans entered Paris, to allow Saint-Jean to leave and take refuge in the United States.
Saint-Jean was a very important person and very exposed at the time of the German occupation, he was not only one of Green’s dearest friends, most probably the most loved, he was also the deputy chief of staff of the French minister of information.
Saint-Jean had written several times in the French press about Joachim von Ribbentrop, the German foreign minister, who harbored a personal grudge against him, and if he could, he would not have let him escape.
Saint Jean called Green from Bordeaux when the French government was disintegrating, and Green, who had taken refuge near the Spanish border and could have crossed it because for him, an American citizen, the ban on entry into Spain ordered against fleeing French citizens, could not be applied, had no doubt about what to do, he would in no case leave his friend Saint-Jean to his fate and to the revenge of Ribbentrop. In “The end of the world”, which dates back to June 1940, Green tells how he managed to get his friend to Portugal, and then get him a visa for entry to the United States.[14] In essence “The end of the world “of Green is a true love story, even if it doesn’t have such appearance. The relationship between Green and Saint-Jean had begun well before the war. 

In “Fin de Jeunesse” Green talks about a trip to Germany together with Saint-Jean, in the summer of ’29, and doesn’t hide that the purpose was the search for sexual adventures. It was the twilight years of the Weimar Republic and the city of Berlin appeared to the homosexuals as a kind of ideal homeland, where tolerance was highest and the guys were available and not biased against homosexuality. Christopher Isherwood’s “Farewell to Berlin” represents very well the particularly welcoming cultural and human climate typical of Weimar Berlin. However, if we wanted to try to reconstruct the relationship between Green and Saint-Jean, on the basis of Green’s works, we would not come to anything because self-censorship and the defense of privacy are essentially impenetrable. It should be emphasized that Saint-Jean was also a homosexual, in his novel “Passé pas mort” – The undead past[15] male loves are often quoted, without masks or modesty, even if with all the moderation and elegance of writing. The struggle of the soul with the body is also felt in Saint-Jean but less exasperated than it appears in Green: We would have gone through storms and this need for mutual presence would not have failed, this hunger that time cannot satisfy. Why he? Why me? Why this happiness that is nothing more than feeling silent in the same room?[16] 

To try to understand the evolution of Green’s positions towards homosexuality after the second conversion, I would like to focus on two closely related works of Green even if far in time, the novel “Moïra” published in 1950 and the theatrical text “L’étudiant roux” completed by the author in 1993. The play is an adaptation of the novel for the theater but with substantial changes. Who reads the novel tends not to interpret it as a homosexual novel because the protagonist, a nineteen-year-old student of the University of Virginia, red hair, violent and fanatical, yet another literary reincarnation of Benton Owen Green had fallen in love with, is openly heterosexual. Joseph shares with his fellow students that season of life in which the drives explode uncontrolled and in which every value is questioned. Joseph imposes himself both for his physical presence and for his very particular moral disposition as a radical “puritan”, a staunch defender of an uncompromising faith. In the novel there is also a homosexual character, Simon, who, in love with Joseph and, not returned, decides to commit suicide, but it is a marginal episode in the novel, admitted and not granted that such an episode can be considered marginal by who really remains involved. It’s also possible to perceive by intuition something similar to a secret relationship between Joseph and his friend Praileau, but the thing remains too vague to assume a real weight in the development of the story. Moira, which is the Irish form of the name Mary, adopted daughter of Joseph’s landlord, is used to seducing and does not expect herself to be seduced by a beautiful virgin guy who seeks holiness and considers chastity the supreme value. At the end of their only night of love, Joseph will realize that his myth of chastity and holiness is now destroyed and will kill Moira. “I hate sexual instinct,” Joseph said in a dull voice. He stood straight at the table, his fists clenched, his forehead illuminated by the lamp. Something was broken in his features like a wave. With a contained violence, he resumed: “Did you hear what I said? I hate the sexual instinct. Do we yield to that instinct? That blind force is evil [. . . ]. We are conceived in a crisis of dementia.” After mentioning this passage.
Ferdinando Castelli, Jesuit and professor of literature at the pontifical Gregorian university, in his essay “The taste of hell in the novels of Julien Green”[17] continues: Perched in this hatred, Joseph becomes an isolated man: he lives in the company of mistrust, fear, contempt for the sex sphere. They call him “the Angel exterminator”. He has no friends [. . . ], has no interests except that of eternal salvation, he does not grant himself entertainments. Above all it has no love. Can one live without love in proud solitude? When the demon of lust, crouched deep inside, awakes and bites, Joseph strangles the girl with whom he has sinned: Moira.
The reading of the novel by Green given by Castelli, as a conflict between the flesh and the spirit, which on the other hand reproduces a motif dear to Green, seems logical and satisfying, even if it leaves the reader, and especially the homosexual reader, rather perplexed. A beautiful heterosexual guy, paladin of chastity, who strangles the only girl with whom he has had a sexual intercourse inevitably pushes the reader to wonder what is behind the crime and above all what lies behind the hatred declared towards sexuality.
The answer to the doubts comes from Green himself, who in 1993 adapted the story for the theater reveals the arcane: a relationship of homosexual love exists between Joseph and his classmate Praileau. It is Green himself who states that this is the fulcrum of the whole affair. Among other things, in the play, the episode of Simon is greatly reduced and Simon, rejected by Joseph, will simply abandon the university and will not commit suicide as happened in the novel.
Let us now try to give a reading of a non-Catholic but homosexual matrix of the whole affair, of course it is only one of the possible interpretations and it’s up to the reader to judge of its plausibility. Joseph, as already said, a nineteen-year-old student at the University of Virginia, a southern United States region that didn’t shine at the time for openness, has a homosexual love affair with a classmate, Praileau, obviously Joseph and Praileau’s story is lived in a completely hidden way.
Joseph is not afraid of homosexuality itself but of being identified as a homosexual. The love story is lived with such discretion that another homosexual guy, Simon, finding in Joseph something that attracts him and not seeing him at all interested in girls, thinks he can move forward. Joseph is already engaged on an affective level, but the real reason why he leaves Simon is another: Simon tends to express his feelings too openly and Joseph risks being identified as a homosexual. Then there is another fundamental point, for a very nice 19-year-old guy it is obvious to have adventures with girls, Joseph must therefore find something that allows him to keep girls at a distance without fueling gossip, the best trick is chastity for religious convictions. That’s why Joseph becomes the sworn enemy of sexuality, but attention, we talk about heterosexual sexuality. It is in essence a very exasperated attitude but at the same time all exterior. The secret life of Joseph in fact isn’t involved at all, rather it is almost defended and secured by these attitudes. So far we could say that it is a classic homosexual story in a homophobic environment, but apparently at least, one would not understand how Joseph can get to spend a night of sex with a girl and how he can get to strangle her soon after. Let us now try to deepen the discussion. Joseph, is living, it is true, a homosexual love story, but in reality he is not willing to renounce, in the name of that love, to a rewarding life made up of frequent and “normal” social relationships, a little like the Clive of the “Maurice” of Forster.
The appearance of Moira is lacerating for Joseph not because Moira unleashes in him the fire of lust but because she brings to mind a reality alternative to his homosexual love, socially accepted and much less complicated to manage. Moira represents for Joseph the temptation to betray his true love and to live like a hetero guy. Moira is very seductive and Joseph thinks that you can also try to be straight and the thing at a technical level works, this is the great temptation of a repressed gay, but then comes the idea that you cannot betray yourself and live a life that is not your own. Moira is murdered because she destroyed the “true” dream of love of Joseph that is the relationship with Praileau. This reading of the story of “Moira” and “L’étudiant roux”, which is much more credible than that based on a figure of Joseph considered a true heterosexual, torn apart by the struggle between flesh and spirit, is yet another proof of how much, even many years after Green’s second conversion, homosexuality is alive and present in his works.
An example perhaps even more significant is found in another novel “Le malfaiteur”. Green had stopped working on this novel in 1938, when the time for his second conversion to Catholicism was maturing, but in 1955 the intimately felt desire to contribute to a deeper understanding of the homosexual condition led Green to resume and complete the novel “To bring to the attention of serious readers one of the most tragic aspects of the sexual (carnal) life of our modern world, tragic because it involves in a sometimes violent way all affective life and seriously affects spiritual life.”[18] As we see quite clearly, Green, over the years, while remaining Catholic, recovers at least in part his homosexual conscience. The novel has a rather simple plot: Hedwige, a young orphan, lives in the same house as Jean and only partially realizes Jean’s homosexuality, he would not be afraid to explain things to her even if in writing. Gaston Dolange, the object of love both of Hedwige and Jean, is unashamedly homosexual and knows how to monetize his graces.
Gaston, who is not interested in either Hedwige or Jean, appears only briefly at the beginning and end of the novel, but his sexual orientation is absolutely clear both to the other characters and to the reader. The evildoer is Jean, because he loves too much the handsome guys. The bourgeois society is still willing to turn a blind eye avoiding at least sending the police to give scandal knocking on Jean’s door. For years Jean lives hidden then, before disappearing committing suicide, he confesses himself (the so-called confession of Jean), in a letter to Hedwige, the girl, in the text of 1955, is not able to really understand the meaning of what he reads because Jean’s confession is vague and cryptic. She only knows she is a girl in love with a man who will never be able to desire her physically and she will also end up following the path of suicide. If it is true that Green in 1955 considered it his duty to shed light on the unknown world (then as today) of homosexuality, he left his work deliberately in half because, in practice, the text of 1936-38 was published in the ’55 without the fundamental chapter containing “the confession of Jean”. In the ’55 edition, the reasons that push Jean to flee to Italy, where he then committed suicide, remain smoky and incomprehensible, and it should be emphasized that the vision that Green offers of homosexuality is radically negative because Gaston is a nice maintained gay and Jean is a guy deluded and depressed who ends up committing suicide, and as if this were not enough, no explanation is offered either for the behavior of the former or for the latter. Only in 1973, with the second edition of “Le malfaiteur”, there is a substantial resipiscence of Green: the “confession of Jean” is reintroduced in the original integral form of 1938, without censorship, and so, reading the text, we understand that homosexuals, both in Paris and in the province, are forced to attend the typical places of clandestine meetings, disreputable and seedy places, because they are forced to live in falsehood and in constant fear of scandal, are filed and monitored by the police and even denied by their families. The reintroduction of the full text of “Jean’s confession” gives the text another depth and makes serious understandings of the dramatic situations in which homosexuals were forced to live in France in the 1930s.
But let’s close the references to the works and return to the biography of Green. There is a part of his life on which Green is totally reticent, if possible more than about Saint-Jean, I refer to his relationship with his adopted son Eric Jourdan. If Saint-Jean was a year younger than Julien, Eric was 40 years younger than him. Jourdan is a novelist and a playwright, his debut novel “Les Mauvais Anges”, published in 1955, when he was not yet 16, is still one of the most popular homosexual novels, in which sensuality emerges to the highest degree. Pierre and Gérard, two seventeen year old guys are overwhelmed by passion, their sexual desire is violent: “We had wanted to know all the secrets of love in a single night and a real fury guided this discovery, to the point that dawn enlightened in these bodies satiated but not satisfied two young lovers doubly male for their way of taking and giving to each other.”

Such a union could not but arouse jealousy around them. Some young neighbors of whom the two guys had slaughtered the falcons, for play or revenge, kidnap Gérard and rape him. From here begins the sliding of Pierre and Gérard towards death. Their love is both joy and torture. They are both slaves and masters in satisfying their pleasure, they don’t tolerate any compromise and prefer to choose the death that suffer the wear and tear of the feelings and bodies caused by time. As we can see, it is not only a homosexual novel in the most explicit way, but a novel that is immensely distant from the vision of homosexuality typical of Green.
After the publication of “Les Mauvais Anges” Juordan lived in a very free way before being adopted by Green. After his adoption he settled in Paris and remained close to Green until his death. But we don’t know more than this. Francesco Gnerre interviewed Eric Joudan in 2007.[19] Jourdan had made the condition that there were no questions about Green, However, to the explicit question of Gnerre: “Why don’t you want to be asked questions about Julien Green?” Jourdan replies: “The fact is that very often we tend to make allusions to the story of my adoption to belittle my work, and I don’t like this. Of course I adored my foster father, but we never practiced the same kind of writing and our vision of life has always been poles apart. Juliern Green was a fervent Catholic, I am a pagan, an iconoclast. I am convinced that all the churches and religions, in the first place the monotheistic ones, are kept standing by people who exert their influence on individuals and on the community under the exclusive pressure of material interests. They blame the people for “making them pay”, both in terms of cash offerings and the removal of their drives.” Frankly, I don’t think that the relationship between Jourdan and Green can be seen as the relationship between the devil and holy water, things are certainly much more complex. Green and Jourdan met when Jourdan was 15 years old and all kinds of gossip were made about their relationship, but the two did not get destroyed by gossip and after a few years Jourdan’s parents died and Grenn adopted him and even on this the gossip spread. In “La Civiltà Cattolica”,[20] after the death of Green, Ferdinando Castelli published the article “Julien Green witness of the invisible – in memoriam”. Castelli’s article aims to emphasize the figure of Green from the point of view of faith, but in the article there is a direct reference to the problem of homosexuality in the work of Green. “What does Green think about sexuality and homosexuality, themes repeatedly taken up in his work? – “There was in me, in different periods, an element of terror before sexuality in general and homosexuality in particular [. . . ]. In 1958 I won (supprimée) sexuality. I heard a voice saying to me: “Or now or never.” I replied: “If You don’t help me, I cannot do it.” The help has arrived, but the experience has been excruciating. It lasted about two years, but now peace is back “. Homosexuality is a very large theme, it is a mystery that concerns the wider sphere of sexuality. Both homosexuality and heterosexuality fall into the struggle between the flesh and the spirit: the problem is this,”[21] 
I point out that Green doesn’t see a specific problem in homosexuality but tends to frame all the sexual morality in the dimension of the struggle between the flesh and the spirit. Radical dualism seems inevitable to Green, but a secular spirit, faced with these things, wonders what is the reason why sexuality should be suppressed and finds no other motivation than the blind obedience to a precept that is attributed to God. I can understand that in tracing the obituary of a homosexual and Catholic writer, “La Cività Cattolica” is concerned with giving God what belongs to God, but for a secular homosexual, like me, it is essential to give to Caesar what belongs to Caesar and highlight the elements of the life and work of Julien Green that make stand out the homosexuality, won or repressed as you like, but essential to understand the true torment of a soul torn by faith. The prohibition of homosexuality, I return to the point, as in general the prohibition of non-procreative sexuality even within marriage, has no other reason than the will to conform anyway to the alleged will of God, even at the cost of suppressing sexuality violently. God gives us sexuality and then forbids us to use it according to our freedom and without harm to anyone. The prohibition has no other reason than to measure the level of obedience and self-denial before the God’s request, a little like the request made to Abraham to sacrifice his son, but, to take back a bit of evangelical language, whoever of us, if he saw his son in a garden full of fruit, would forbid him to eat the fruits of a particular tree to test his obedience? If therefore we, as bad as we are, don’t forbid our children to eat any fruit of the garden, because should God, who is infinite goodness, show Adam the tree of knowledge to say: you will not eat the fruit of this tree? It will be possible to answer that this is a mystery of faith, but it is precisely because faith, through these mechanisms, creates suffering, that I cannot conceive how blind obedience can be made a principle on which to found life.
[1] Julien Green: Religion and Sensuality – By Anthony H. Newbury – p. 12-14.
[2] “Aucun désir charnel ne me tourmentait. Si le cœur brûlait, les sens étaient profondément endormis et j’étais d’une froideur exceptionnelle. L’idée de porter la main sur Frédéric m’eût paru tout bonnement monstrueuse, parce que rien ne me semblait beau qui ne fût pas pur, ce mot retrouvant dans mon esprit tout le pouvoir qu’il avait failli perdre.” – Partir avant le jour.
[3] “Une ou deux minutes plus tard, de l’autre côté du pont, je dis à Mark : «Je regrette, je ne peux pas.» Il me serra légèrement le bras et dit : «Je comprends très bien.» Une fois de plus, j’avais mesuré le risque de perdre à jamais son affection et l’avais jugé trop grand. Ai-je besoin d’indiquer que dans mon œuvre, Mark revient sans cesse, sous une forme ou sous une autre ? II est toujours le mystérieux beau garçon à qui l’on n’ose pas déclarer son amour. Eric Mac Clure, dans Sud, Praileau dans Moïra, Angus et Wilfred, les deux alternativement, dans Chaque homme dans sa nuit, Paul dans Le Voyageur, surtout le beau garçon de L’Autre Sommeil”. (Terre Lointaine, V, pp. 1257-1258)
[4] “Pamphlet contre les catholiques de France”
[5] «Les catholiques de ce pays sont tombés dans l’habitude de leur religion, au point qu’ils ne s’inquiètent plus de savoir si elle est vraie ou fausse, s’ils y croient ou non ; et cette espèce de foi machinale les accompagne jusqu’à la mort.»
[6] «On ne croit pas sans se livrer bataille, mais ils ne luttent pas avec eux-mêmes, et ils acceptent le catholicisme comme quelque chose de simple et de naturel ; ils finiraient par le tuer, si c’était possible.»
[7] «Cependant ils sont catholiques, puisqu’ils ont reçu la marque de l’Eglise, et ils le sont pour toujours, car l’Eglise ne fait rien que d’éternel, mais ces enfants soumis portent les germes d’une corruption puissante. Ne cherchez pas autre part les vrais ennemis de cette Eglise chrétienne dont ils se croient les défenseurs.»
[8] «On les a élevés dans le catholicisme ; ils y vivent et ils meurent, mais ils ne comprennent ni ce qu’ils représentent ni ce qui se passe autour d’eux, et ils ne pressentent rien du mystère qui les enveloppe et qui les sépare du monde.»
[9] «Ils vivent dans le monde comme s’ils étaient du monde ; cependant ils ont été mis à part en vertu de certains signes et de certaines paroles, et s’ils comprennent qu’ils sont marqués, et qu’ils se révoltent, ils n’en sont pas moins catholiques, et s’ils s’avilissent, ils demeurent catholiques dans leur chute et leur damnation.»
[10] «Ils lisent des prières dont chaque mot est d’une grande importance et ils les lisent comme s’il s’agissait, dans ces prières, de quelqu’un d’autre, de la vie de quelqu’un d’autre, du salut de quelqu’un d’autre. On dirait qu’ils ne savent pas qu’on y parle uniquement de leur condamnation à mort et de leur grâce ; on dirait qu’ils croient que le catholicisme a été fondé pour les autres et qu’eux-mêmes, s’ils en font partie, c’est par hasard ou par jeu.»
[11] L’Osservatore Romano, 27/28 August 2008 – “Storie di conversione: il duplice ritorno di Julien Green – by Claudio Toscani”
[12] “Salus extra ecclesiam non est”, Cyprian, epistle 72 to Pope Stephen
[13] François Mauriac, biographie intime, by Jean-Luc Barré – Fayard editor, Paris, 2009.
[14] Julien Green: The End of a World – As Germany occupied France, Green brought Paris to life in his superlative diaries.
[15] Passé pas mort, Grasset, 1983, re-edited in 2012.
[16] «Nous aurons traversé des orages sans que cesse ce besoin réciproque de la présence, faim que le temps ne rassasie pas. Pourquoi lui? Pourquoi moi? Pourquoi ce bonheur rien qu’à se sentir silencieux dans la même pièce?»
[17] Civiltà Cattolica 2971-2976, p. 353.
[18] … de porter à l’attention des lecteurs sérieux un des aspects les plus tragiques de la via charnelle dans notre monde moderne, tragique parce qu’il engage d’une façon parfois violente toute la vie affective et qu’il touche gravement à la vie spirituelle] [Introduction to Le malfaiteur in the Complete Works of 1955.]
[20] La Civiltà Cattolica, 1998 IV, 365-375.
[21] Taken from the interview reproduced in Le Monde on 19 August 1998, 17
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