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In Ironies of Faith, celebrated Dante scholar and translator Anthony Esolen provides a profound meditation upon the use and place of irony in Christian art and in the Christian life. Beginning with an extended analysis of irony as an essentially dramatic device, Esolen explores those manifestations of irony that appear prominently in Christian thinking and art: ironies of time (for Christians believe in divine Providence, but live in a world whose moments pass away); ironies of power (for Christians believe in an almighty God who took on human flesh, and whose "weakness" is stronger than our greatest enemy, death); ironies of love (for man seldom knows whom to love, or how, or even whom it is that in the depths of his heart he loves best); and the figure of the Child (for Christians ever hear the warning voice of their Savior, who says that unless we become like unto one of these little ones, we shall not enter the Kingdom of God). Esolen's finely wrought study draws from Augustine, Dante, Shakespeare, Tolkien, Mauriac, Milton Herbert, Hopkins, and Dostoyevsky, among others, including the anonymous author of the medieval poem Pearl. Such authors, Anthony Esolen believes, teach us that the last laugh is on the world, because that grim old world, taking itself so seriously that even its laughter is a sneer, will finally - despite its proud resistance - be redeemed. That is the ultimate irony of faith. Readers who treasure the Christian literary tradition should not miss this illuminating book.
The cross of Christ is the greatest irony in the history of the universe. It is far too easy to lose track of the paradoxical details of Christ's death. Familiarity replaces what should be shock as we read through the Passion narrative. The Irony of the Cross puts the shock back in the cross by highlighting the ironies of Christ's death. Examining Mark 15:21-29, this book identifies eleven ironies of the cross that will deepen your understanding of the death of Christ and the gospel of grace. Each of these presents Jesus eschewing the prerogatives of his power for the salvation of his people. There is no other point in time when Christ was more emptied and stripped of his divine dignity, and yet there is no other place where Christ's glory is more prominently displayed.
A prominent religious scholar who isn't afraid to shake our assumptions and probe our imaginations, Patrick Henry has written a guide for the "ironic Christian"—one who strives to integrate truth with faith, to let an expanding knowledge of the world translate into an expanded understanding of God. Drawing on the works of a diverse group of writers and thinkers, from C.S. Lewis and Julian of Norwich to Anne Sexton, Yogi Berra, and Dr. Seuss, he explores the ways in which we can maintain our belief in a God defined by mysteriousness. With humor, humility, and courage, he asks us to join him in this spiritual quest—and in the dizzying, thrilling leaps that faith invites.
Revolutionizing a bestselling genre, this thinking man's parody hijacks the format of "daily affirmations" by offering "daily afflictions" to give readers inspiration, practical advice, and food for thought.
One of our most distinguished political commentators--author of Reagan's America--offers a rich, original look at why religion and politics will never be separate in the United States.
Pascal thus wagers all on the irony of a God who both startles and astonishes wisdom's true lovers.
On a September afternoon in 1853, three African American men from St. Philip's Church walked into the Convention of the Episcopal Diocese of New York and took their seats among five hundred wealthy and powerful white church leaders. Ultimately, and with great reluctance, the Convention had acceded to the men's request: official recognition for St. Philip's, the first African American Episcopal church in New York City. In Faith in Their Own Color, Craig D. Townsend tells the remarkable story of St. Philip's and its struggle to create an autonomous and independent church. His work unearths a forgotten chapter in the history of New York City and African Americans and sheds new light on the ways religious faith can both reinforce and overcome racial boundaries. Founded in 1809, St. Philip's had endured a fire; a riot by anti-abolitionists that nearly destroyed the church; and more than forty years of discrimination by the Episcopalian hierarchy. In contrast to the majority of African Americans, who were flocking to evangelical denominations, the congregation of St. Philip's sought to define itself within an overwhelmingly white hierarchical structure. Their efforts reflected the tension between their desire for self-determination, on the one hand, and acceptance by a white denomination, on the other. The history of St. Philip's Church also illustrates the racism and extraordinary difficulties African Americans confronted in antebellum New York City, where full abolition did not occur until 1827. Townsend describes the constant and complex negotiation of the divide between black and white New Yorkers. He also recounts the fascinating stories of historically overlooked individuals who built and fought for St. Philip's, including Rev. Peter Williams, the second African American ordained in the Episcopal Church; Dr. James McCune Smith, the first African American to earn an M.D.; pickling magnate Henry Scott; the combative priest Alexander Crummell; and John Jay II, the grandson of the first chief justice of the Supreme Court and an ardent abolitionist, who helped secure acceptance of St. Philip's.
The story of an unexpected and terribly inconvenient Christian conversion, told by a very unlikely convert, Take This Bread tells the story of a restaurant cook and writer who wandered into a church and found herself transformed, setting up a food pantry around the same altar where she first received the body of Christ.
Genre -- the articulation of "kind" -- is one of the oldest and most continuous subjects of theoretical and critical commentary. Yet from Romanticism to postmodernism, the concept of genre has been punched with so many holes that today it hardly seems graspable, let alone viable. By combining theory with dialectical literary histories of three significantly different genres -- tragedy, satire, and the essay -- John Snyder reconstructs genre as the figural deployment of symbolic power. One purpose of this approach is to reconcile the recent dismantling of representational and classificatory genres with the incipient notion in post-Althusser Marxism that genre is the crucial mediation between history and aesthetics. Snyder extends certain implications of Aristotle, Benjamin, Bakhtin, Foucault, and Serres. He also offers the first antisystem yet comprehensive genre theory to serve as a fully distinct alternate to Frye's formalist and Genette's structuralist schemes. Finally, Snyder's theory of genre as power opens a way to a fundamentally new theory of literature itself: that aesthetic language deployed as power organizes itself as generic intervention. Three historically dynamic configurations establish the range of all possible genres -- tragedy as power politically deployed as mimesis, satire as power rationally deployed as rhetoric, and the essay as power textually deployed as constative rhetoric. Specific analyses developing this important new theory cover a broad spectrum of literature, from classical to contemporary. Other genres, different media, and a variety of subgenres and modes political and religious -- all acquire fresh significance from the elaborations of Snyder's three selected genres.