Chesterton’s The Man Who Was Thursday
is a mystery novel about a poet and secret agent, Gabriel Syme, and his mission to infiltrate an inner circle of anarchists in early 20th century London. He first meets Lucian Gregory, a fellow poet and one of the anarchists, and through some verbal sparring he goads Gregory into willingly taking him to one of hideouts where the anarchists meet. After further investigations Syme learns that the anarchists aren’t what he previously thought.
G.K. Chesterton’s more well-known works are quasi-theological in nature (The Everlasting Man, Orthodoxy), but like the Father Brown Mysteries he deftly weaves morality and spirituality into the story so that the ultimate meaning of the book is more fable than fictional. He is primary a commentator on Christianity and modern (in his time) moral sensibilities, then during his later years, his experience with Catholicism within the environment of a very Anglican Britain. It helps to think of Thursday in this context, and not as just a mystery novel with philosophy bolted on as an ideological MacGuffin or a literary afterthought.
Thursday was written very early in the 20th century but the plot plays out with fascinating action film-like pace. Chesterton’s England is rife with peril yet exudes surreality, not quite the horrific — villains’ features are exaggerated but not deformed, the shifting environments serve as an off-tinted backdrop for the hints of steampunk mechanics and fashion, and the dangers Syme constantly stumbles into slant into the comedic. Despite Thursday’s highly didactic nature, Chesterton’s renowned topsy-turvy wordplay and descriptive chase scenes make this book a perfect candidate for motion picture treatment.