In the pages of Image, Gregory Wolfe argues that Flannery O’Connor and other Catholic authors of her generation “shout” to their presumed secular audience (3-6). Wolfe’s point is well taken in regards to O’Connor herself; after all, she claims that her fiction must resort to drastic means to gain attention from audience members who generally do not share the same basic religious beliefs: “ . . . to the hard of hearing you shout, and for the almost-blind you draw large and startling figures” (MM 34). But an investigation of Catholic authors contemporaneous with O’Connor reveals other narrative strategies beyond the dramatic “shout.” A comparison, for instance, between O’Connor’s The Violent Bear It Away (1960) and Muriel Spark’s The Prime of Miss Jean Brodie (1961) illuminates these Catholic novelists’ different approaches to a generally non-Catholic readership. In this article, I argue that O’Connor takes a dialectical approach to her audience—a stance that stresses differences between her Christian worldview and the assumed atheistic or agnostic worldview of her audience. Spark, meanwhile, appeals to her readership analogically, using an approach that strives to chart similarities and differences between the text’s implied sacramental imagination and Western modernity.