Abstract

This study reexamines the existentialist nature of Walker Percy's fiction, arguing that his debt to Kierkegaard is more substantial than previously acknowledged. Others have noted his employ of Kierkegaardian stages, terminology, and artistic indirection, but they haven't revealed the extent to which his sources lie in Kierkegaard and the action of his novels occurs within the context of a "Kierkegaardian narrative." Prior critics have overstated both the role his protagonist's "searches" and the assistance of others play in their movement to faith. This study rejects the Marcelian reading of Percy's endings and demonstrates that his characters follow a Kierkegaardian path toward faith; they do not move toward faith via the assistance of an other, but subjectively, by despairing of their efforts to find ontological answers in immanent sources and choosing, in the midst of that despair, a paradoxical faith. ;Chapter one pairs Kierkegaardian philosophy with views espoused by Percy in his nonfiction and interviews in order to establish their intellectual affinities: each uses art as a means of responding to the objectifying forces of rationalism and posits a movement toward self which necessitates the embrace of faith after despairing of an aesthetic existence. The second and third chapters provide extended Kierkegaardian readings of The Moviegoer and The Last Gentleman, tracing their sources to his philosophy and demonstrating how each can be read within a Kierkegaardian framework and as a tacit either/or. Percy's protagonists either "come to themselves" by despairing of their own searches and realizing a subjective faith , or they remain in Kierkegaard's aesthetic stage, separated from faith, and thus lost to themselves . Both readings of Percy's novels reveal the ways in which he continually adopts Kierkegaardian categories, images, and details as he works within the larger framework of the paradoxical movement toward faith. The study concludes by emphasizing the Christian character of the narratives of Kierkegaard and Percy and arguing that a strict Kierkegaardian reading of Percy's fiction is more illuminating than the use of multiple existentialist perspectives