As I read Sarah Arthur’s A Light So Lovely; The Spiritual Legacy of Madeleine L’Engle, I sympathized with L’Engle’s struggle to write as both a Christian and a winner of secular literary awards.

Some doubt whether A Wrinkle in Time, L’Engle’s 1963 Newberry Award winner, could win such an award today, with its Christian nudged themes.

According to Arthur’s book, L’Engle enjoyed speaking at the Christian evangelical college, Wheaton, because in that space, she was “able to be openly a Christian among Christians.”

In fiction writing today, it’s hard to straddle the line between writing by those who consider themselves Christians and the bifurcated world we live in. C.S. Lewis and L’Engle did. A few others, like Frederick Buechner and Marilynne Robinson, have managed it. So did Flannery O’Connor and Walker Percy.

In writing conferences today for writers who consider themselves “Christian” writers, two designations are often used to denote the kinds of novels many writers at those conferences try to pitch. The two are “inspirational” and “Christian.” Would L’Engle be able to successfully pitch her work at one of these conferences today?

I think much of the blame for this unneeded separation between religious and secular writing may fall to Christians who think every “Christian” novel should be an evangelical tract.