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Cover of The End of the Affair by Graham Greene

The End of the Affair

by Graham Greene

A wartime affair ends without explanation, and jealousy turns the search for an answer into a struggle with belief.

Published
1951
Pages
192
Setting
London
Shelf rating
4.6

About Graham Greene

Illustrated portrait of Graham Greene
Graham Greene

3 books shelved

The story, briefly

Spoiler-free

In postwar London, novelist Maurice Bendrix is still consumed by Sarah Miles, the married woman who ended their wartime affair after a bomb struck his building. When Sarah's husband Henry admits that he suspects her of seeing someone else, Bendrix hires a private detective. He expects proof of another lover. Instead, the investigation uncovers a promise Sarah made in terror and a religious struggle that Bendrix cannot control.

The story, in more detail

Maurice Bendrix tells the story after Sarah's death, so readers know from the beginning that grief and anger shape his account. He first met Sarah while researching her civil-servant husband Henry for a novel. Their affair was intense, but Bendrix repeatedly demanded reassurance and treated Sarah's continuing marriage as evidence that she might leave him.[1]

Sarah abruptly ended the affair after a wartime explosion and refused to explain why. Two years later, Bendrix meets Henry on Clapham Common and learns that Henry has considered hiring a detective. Bendrix quietly takes over the investigation. Albert Parkis follows Sarah to the home of Richard Smythe, a public atheist, while Bendrix turns times, addresses, and scraps of writing into a case against her.[1]

The detective plot changes when Parkis obtains Sarah's diary. Her own words retell the explosion and separation from inside a conflict Bendrix had mistaken for infidelity. The second half moves from discovering what happened to arguing about what it means: promise or compulsion, coincidence or miracle, faith or a new form of hatred.[1]

The full plot

What happens, beginning to end — the ending included. Open when you're ready.

In 1946, Bendrix meets Henry on a wet Clapham Common. Henry says he is worried about Sarah and has considered hiring a detective. Bendrix recommends an agency, then employs Albert Parkis himself because he wants control of the investigation.[1]

Bendrix remembers meeting Sarah during the war while researching Henry for a novel. Sarah and Bendrix begin an affair. Their happiness is repeatedly damaged by Bendrix's jealousy: he wants Sarah to prove that he matters more than Henry and interprets uncertainty as betrayal.[1]

During a V-1 attack in 1944, an explosion throws Bendrix down a stairway and leaves him motionless. Sarah believes he is dead. She prays to a God she is not sure exists and promises to give Bendrix up if his life is restored. Bendrix walks back into the room with limited injury. Sarah treats his survival as the answer that binds her to the vow, and she ends the affair without explaining it.[1]

Parkis follows Sarah to Richard Smythe, a lecturer who argues publicly against religion. Bendrix assumes Smythe is her new lover. A fragment of Sarah's writing seems to show that she wants to abandon everyone for an unnamed 'you.'[1]

Parkis obtains Sarah's diary. It reveals the vow and shows that Smythe is not a lover: Sarah hopes he can convince her that God does not exist, which would release her from the promise. Instead, her attempts at disbelief deepen her sense that she is being drawn toward faith.[1]

After reading the diary, Bendrix contacts Sarah. She is ill and runs into cold rain rather than face him. He follows her to a church. They plan to leave together once she recovers, but the pneumonia worsens before that future can begin.[1]

Sarah dies. Henry asks Bendrix to stay with him, and the former rivals share a house made empty by the same loss. Father Crompton argues that Sarah's movement toward Catholicism should shape the funeral, but Henry and Bendrix arrange cremation.[1]

Sarah's mother then reveals that Sarah was secretly baptized as a child. Parkis's son Lance survives an acute abdominal illness after believing Sarah came to comfort him, and Smythe's facial condition disappears. Bendrix resists calling these events miracles, but he can no longer treat the religious question as irrelevant.[1]

How it ends — spoilers aheadThe final movement, ending included. Open when you're ready.

Sarah dies before she and Bendrix can leave together. Bendrix moves into Henry's house, so husband and former lover become companions in grief rather than rivals who can still win her.

The cremation proceeds despite Father Crompton's objection. Sarah's mother then discloses the childhood baptism, while Smythe reports that Sarah had begun Catholic instruction. These facts do not settle what Sarah believed, but they make the spiritual movement in her diary part of her public history.

Lance's recovery and Smythe's changed face can be read as miracles or coincidences. Greene revised Smythe's condition in 1974, making the change less medically impossible; this guide therefore preserves the ambiguity instead of claiming proof.

Bendrix does not become a peaceful believer. His hatred shifts toward the God he still says he rejects. He ends exhausted, asking God to leave him alone. The request is a refusal, but it is also an address: belief has become the argument he cannot escape.

Themes and analysis

These readings discuss events throughout the book, including its ending.

Jealousy turns love into surveillance

Bendrix believes certainty will protect him. He wants to know where Sarah is, whom she sees, what she feels, and whether she ever loved Henry. Each answer creates another question. Hiring Parkis makes the pattern literal: a person becomes reports, times, addresses, and scraps of paper.

Clapham Common after rain connects Bendrix's private investigation to a London still carrying the war's damage. Drawn from the novel's description; this is an illustration, not a historical photograph. (The Paris Atlas · © The Paris Atlas)

The investigation produces facts but cannot make love safe. Even after Bendrix learns why Sarah left, he tries to decide what her vow, illness, diary, and death mean.

Sarah makes her promise during terror, before she is sure she believes in the being she addresses. Later she wants to escape it, yet treats Bendrix's survival as an answer. Keeping the vow can look faithful, coercive, loving, and destructive at the same time.

Sarah's diary changes the practical mystery into an argument about promises, evidence, and belief. Drawn from the novel's description; this is an illustration, not a historical photograph. (The Paris Atlas · © The Paris Atlas)

Her diary gives Sarah a voice outside Bendrix's interpretation. It does not make her motives perfectly simple. It shows a person changing under the pressure of desire, promise, doubt, and the wish to stop causing pain.

Evidence does not end interpretation

The diary solves the practical mystery of the breakup. Baptism, illness, recovery, and Smythe's altered face then create a larger problem. Bendrix can accept that events happened while continuing to fight over whether God caused them.

Greene gives the possible miracles the same calm treatment as surveillance reports and medical information. That even tone lets skeptical and religious readings occupy the same book.

Writing style

Greene gives the novel to Maurice Bendrix, a professional writer who knows that arranging facts can control a reader. His voice is direct, tense, and intelligent, but not neutral. He is unreliable because jealousy shapes his assumptions and his choice of where to begin, not because every event is false.

The chronology loops between a postwar investigation and wartime memory. Bendrix returns to the same moments, looking for the missing detail that will settle them. Sarah's diary interrupts his control and retells the bombing from her point of view.

The prose is economical but emotionally charged. Rain, bomb damage, rented rooms, stairways, and detective notes do more work than long description. The mystery keeps the story moving while opening a religious argument that facts alone cannot resolve.

The two major film adaptations

Edward Dmytryk directed the 1955 adaptation, starring Deborah Kerr, Van Johnson, and Peter Cushing. Neil Jordan wrote and directed the 1999 film with Ralph Fiennes, Julianne Moore, and Stephen Rea.

The 1999 film changes several relationships and events, including the use of Smythe and the time the lovers spend together after the diary is discovered. It should not be used as the source for the novel's ending.

Why we recommend it

  1. A narrator who exposes himself

    Bendrix tries to control Sarah's story, but his arrangement gradually reveals the limits of his understanding.

  2. A mystery that changes shape

    The investigation answers why the affair ended, then opens harder questions about promises, coincidence, and belief.

  3. A love story without reassurance

    Greene takes desire seriously while refusing to treat jealousy and possession as proofs of love.

What this book explores

The people in its pages

The profiles follow the novel rather than either film. Smythe's page preserves the ambiguity created by Greene's 1974 revision.[1]

  • Illustrated portrait of Maurice Bendrix

    Maurice Bendrix

    The jealous novelist who narrates the affair and hires a detective after it ends.

  • Illustrated portrait of Sarah Miles

    Sarah Miles

    Henry's wife and Bendrix's lover, whose unexplained withdrawal drives the investigation.

  • Illustrated portrait of Henry Miles

    Henry Miles

    Sarah's civil-servant husband and Bendrix's uneasy friend, whose patience is not ignorance.

  • Illustrated portrait of Albert Parkis

    Albert Parkis

    The private detective whose awkward, painstaking reports become decisive.

  • Illustrated portrait of Richard Smythe

    Richard Smythe

    A public atheist whom Sarah visits because she hopes disbelief can free her.

Also in the book

  • Illustrated portrait of Lance Parkis

    Lance Parkis

    Parkis's observant son, who accompanies surveillance and later becomes dangerously ill.

  • Illustrated portrait of Father Crompton

    Father Crompton

    The Catholic priest who takes Sarah's spiritual movement seriously.

  • Illustrated portrait of Mrs Bertram

    Mrs Bertram

    Sarah's mother, who holds a childhood fact that changes the funeral argument.

Bring it to book club

  • When does Bendrix's desire for honesty become a desire for control?
  • What can Sarah's diary reveal that Bendrix's narration cannot?
  • Does keeping the vow protect love, damage it, or do both at once?
  • Why does Henry invite Bendrix into his life after Sarah's death?
  • How does the detective plot change once Bendrix learns whom Sarah has really been visiting?
  • What difference does Greene's ambiguous presentation of the possible miracles make?
  • Is Bendrix closer to belief at the end, or only unable to ignore God?

A complete discussion guide is on our editorial calendar. Join the letter to hear when it ships.

Timeline

  1. 1951

    William Heinemann publishes the first British edition.

  2. 1955

    Edward Dmytryk directs the first film adaptation.

  3. 1974

    Greene revises Smythe's facial condition, making its disappearance less unequivocally supernatural.

  4. 1999

    Neil Jordan writes and directs a new adaptation.

  5. 2004

    Penguin Classics issues the 192-page edition of record.

  6. 2019

    Vintage Classics issues a 192-page British edition.

Book editions

Hardcover
Hardcover
William Heinemann
1951
First British edition.
Paperback edition cover
Paperback
Penguin Classics
2004
ISBN-13
9780142437988
Edition of record: 192 pages, with an introduction by Michael Gorra.
Paperback edition cover
Paperback
Vintage Classics
2019
ISBN-13
9780099478447
192-page British edition with an introduction by Monica Ali.

Reader reviews

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Recommended alongside Atonement and The Quiet American.

Also recommended in books like A Farewell to Arms.

The End of the Affair: frequently asked questions

Is The End of the Affair a romance?

It is a love story, but not a reassuring romance. The affair begins a novel about jealousy, grief, storytelling, and belief.

Why does Sarah end the affair?

Spoiler: Sarah promises God that she will leave Bendrix if his life is spared after the bombing. When he returns alive, she treats the vow as binding.

Is Bendrix reliable?

He reports many events accurately, but jealousy shapes his assumptions and the order of his story. Sarah's diary proves his explanation of her secrecy wrong.

Does the novel say the miracles are real?

It presents events Bendrix finds hard to explain, but leaves room to debate coincidence, psychology, and divine action.

Is it autobiographical?

Greene drew on his relationship with Catherine Walston, to whom the book was dedicated, but the novel is shaped fiction rather than a transcript.

How does it end?

Spoiler: Sarah dies, possible miracles accumulate around her memory, and Bendrix addresses the God he claims to reject and asks to be left alone.

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References

References

The sources below include the primary text, editions, scholarship, archival materials, and other records that informed this page. They document The End of the Affair, its publication, and its place in literary history.

  1. 1abcdefghijklThe End of the Affair — Open Library ISBN catalogue

    Official record
    Open Library, Internet Archive
    Used for

    Open Library ISBN catalogue used to cross-check the edition metadata.

    View source
  2. 2The End of the Affair — Google Books edition record

    Official record
    Google Books
    Used for

    Google Books catalogue used to cross-check title and edition metadata.

    View source
  3. 3The End of the Affair — Internet Archive ISBN catalogue

    Official record
    Internet Archive
    Used for

    Internet Archive catalogue used to cross-check library holdings.

    View source
  4. 4The End of the Affair — Library of Congress books catalogue

    Official record
    Library of Congress
    Used for

    Library of Congress catalogue used to cross-check the bibliographic record.

    View source
  5. 5The End of the Affair

    Official record
    Penguin Random House
    Used for

    Official publisher record for synopsis and edition data.

    View source
  6. 6The End of the Affair

    Official record
    Penguin Books UK
    Used for

    Official UK publisher record.

    View source
  1. 7The End of the Affair, first edition

    Official record
    The Morgan Library & Museum
    Used for

    Institutional first-edition record.

    View source
  2. 8The End of the Affair (1951)

    Essays
    The Literary London Society
    Used for

    Scholarly essay used to check narration and the ending.

    View source
  3. 910 great Graham Greene adaptations

    Website
    British Film Institute
    Used for

    BFI record for adaptations and the revision.

    View source
  4. 10The End of the Affair (1999)

    Official record
    Sony Pictures
    Used for

    Official 1999 film record.

    View source
  5. 11Catherine Walston / Graham Greene archive

    Official record
    Georgetown University Library
    Used for

    University archive for biographical context.

    View source
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Why these sources are here

The primary text is the baseline reference for every book page. Additional references document publication history, interpretation, and historical context where that evidence is available.

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