
The Heart of the Matter
Another Greene novel in which adultery, Catholic belief, pity, and self-deception become impossible to separate.
Read our take
A wartime affair ends without explanation, and jealousy turns the search for an answer into a struggle with belief.
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.
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]
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]
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.
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.
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.
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.
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.
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.
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.
Bendrix tries to control Sarah's story, but his arrangement gradually reveals the limits of his understanding.
The investigation answers why the affair ended, then opens harder questions about promises, coincidence, and belief.
Greene takes desire seriously while refusing to treat jealousy and possession as proofs of love.

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

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

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

The private detective whose awkward, painstaking reports become decisive.

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

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

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

Sarah's mother, who holds a childhood fact that changes the funeral argument.
1951
William Heinemann publishes the first British edition.
1955
Edward Dmytryk directs the first film adaptation.
1974
Greene revises Smythe's facial condition, making its disappearance less unequivocally supernatural.
1999
Neil Jordan writes and directs a new adaptation.
2004
Penguin Classics issues the 192-page edition of record.
2019
Vintage Classics issues a 192-page British edition.



Another Greene novel in which adultery, Catholic belief, pity, and self-deception become impossible to separate.
Read our take


War enters a private relationship and turns imagined safety into grief.
Read our takeIt is a love story, but not a reassuring romance. The affair begins a novel about jealousy, grief, storytelling, and belief.
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.
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.
It presents events Bendrix finds hard to explain, but leaves room to debate coincidence, psychology, and divine action.
Greene drew on his relationship with Catherine Walston, to whom the book was dedicated, but the novel is shaped fiction rather than a transcript.
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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View authorThe 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.

Google Books catalogue used to cross-check title and edition metadata.
Internet Archive catalogue used to cross-check library holdings.
Library of Congress catalogue used to cross-check the bibliographic record.
Official publisher record for synopsis and edition data.
Official UK publisher record.
Institutional first-edition record.
Scholarly essay used to check narration and the ending.
BFI record for adaptations and the revision.
Official 1999 film record.
University archive for biographical context.
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.