front cover of Tale of a Criminal Mind Gone Good
Tale of a Criminal Mind Gone Good
Nathan Lefler
St. Augustine's Press, 2021
In this concise and creative book, Nathan Lefler places G. K. Chesterton and René Girard in conversation on the art of being deceived. The campaign to get rid of (or mythicize) the Judaic and the Christian is not progress, it is a fog. Girard noted early on that returning preeminent status to the Judeo-Christian influence would have the (paradoxical) effect of clearing the air, such that humans might actually breathe and reason well again. 

Entrée G. K. Chesterton. If Girard recognizes the talent certain literary figures have for observing what celebrated philosophers fail to see, Chesterton is one of these men of real vision. Lefler in his match-making is interested in “Romance and the romantic,” and placing Girard and Chesterton in a kind of dialogue he draws a clearer concept of Romanticism.  Who is the Romatic hero? And why do we so badly need to know? If what Lefler sees in Chesterton and Girard requires “special pleading” on the part of the reader for the author to make himself more clear, Lefler obliges. He takes a sharp turn into the Father Brown stories and points the reader to Chesterton’s famous villain: Flambeau, the “colossus of crime”. The moral transition from sinner to saint in Flambeau is strikingly anti-Romantic and, with Girard in mind, also very much anti-mimetic. Or is it? Lefler argues that even Girard would have “inclined his own regal forehead in delight and awe” at Chesterton’s portrayal of the crowning Romantic quality and unlikely machete in an overgrown jungle of the self-intoxicated modern imagination––namely, humility. 

Lefler makes his mark in several places with this new study. As literary critic, both Chesterton and Girard are honored. As philosopher, Lefler speaks as if somehow he managed to find a pocket of unpolluted air to breath. As theologian, he betrays that he also loves what Chesterton and Girard loved. And as special service to the reader, the full text of Chesterton’s The Queer Feet is provided. 
[more]

front cover of Telling Stories That Matter
Telling Stories That Matter
Memoirs and Essays
Marvin R. O'Connell
St. Augustine's Press, 2020
The late historian Marvin O’Connell left a legacy of brilliant prose and pictures of the past, and in this book the reader at long last has access to O’Connell’s own story. Fr. Bill Miscamble, a noted historian and scholar in his own right, attributes to O’Connell the title ‘Master’ above all on account of his ability to know what matters and then write about it “in the way that all great stories are told.” In addition to his status as histor (giver of history), O’Connell was a long-time professor and chair of the history department at the University of Notre Dame. He is author of the masterwork, Sorin, which presents the riveting and dynamic narrative of the founding of Notre Dame on the inspired ambition of Edward Sorin, C.S.C. O’Connell was not a man who “genuflected in hagiography.” Rather, in the manner he lived faithfully yet soberly under the shining shadow of the Golden Dome, O’Connell told stories in the manner they were lived and with all the accompanying faults and triumphs. 

In Miscamble’s thorough introduction of O’Connell, he writes that the latter “utilized his striking talents as a historian as an integral part of his fundamental vocation as a priest. [O’Connell] once described the historian as a veritable ‘midwife to our faith,’ who must capture, as best as evidence will allow, the truth of the past.” This position lends itself to the structure of this work. The first part is the sadly incomplete memoirs of Fr. O’Connell, wherein the reader meets the historian and moves with eagerness and confidence into the essays that follow. Highlights of these collected essays include thoughts on Cardinal Newman, Belloc, the Spanish Inquisition, and the historical perspective of evangelization in the United States and modernism at large. What one reads are stories that might have been lost but are here preserved in what can with all moral certainty be called truthfulness. As his friend Ralph McInerny once qualified him, O’Connell combined compassion and judgment such that his histories were always indeed primarily stories and, as the reader well knows, stories have layers and threads and are not told simply for their conclusions. 

O’Connell succeeds in showing one how human history is written. Above all, he reveals that history is made by humans, but must also be remembered and deciphered by humans who cannot forego leaving their own marks and prints on everything they encounter (in memory or otherwise). The objectivity we seek can be found in one historical account alone, asserts the priest-storyteller, yet a sharp eye to the past is always consonant with a compassionate desire to understand. Bill Schmitt, Fr. Bill Miscamble and David Solomon do posterity a service by giving us this man and his masterful engagement of history. These friends of O’Connell deem the historian’s passion for truth-in-context to be foundational for shaping stories that matter, including his own. 

 "This artful combination of memoir and selected essays reawakens our memory of Father O'Connell in all his immense personal charm, intellectual energy, rich erudition, keen wit, and steadfast dedication to his interlocking callings as priest and historian." —J. Philip Gleason, Emeritus Professor, History Department, University of Notre Dame

"The work of a master historian, these memoirs and essays are reliable in recounting what happened, insightful in judging how and why, and eloquent in presenting it all with a flair and wit rarely equaled in historical writing. Moreover, they come forth from a Catholic faith so deep and secure that it need not be imposed on the reader. Rather, they do what good historical writing does, placing the reader into a past that can be seen and felt, recognized and understood. Whether it be his colorful accounts of the tumultuous life and times of Thomas More, or the valiant struggles of Newman and the Oxford Movement, or his own seminary training and teaching in St. Paul, or his fortunes as a graduate student at Notre Dame under the tutelage of the eminent Monsignor Phillip Hughes—whatever the topic, reading O’Connell’s history gives one the gift of being able to say, I remember that happening and I wasn’t even there!"—Michael J. Baxter, Director of Catholic Studies, Regis University in Denver

"O'Connell was a master story teller. He was not, however, just a story teller. He was painstakingly rigorous in what and how he taught. His stories always perfectly illustrated a point, but they were never a substitution for the truth--rather an illustration of it." —Bradley Birzer, Russell Amos Kirk Chair in American Studies, Hillsdale College

[more]

front cover of That Which Is Just in the Church
That Which Is Just in the Church
An Introduction to Canon Law: Volume 1
Carlos José Errázuriz
St. Augustine's Press, 2021
Consonant with its commitment to publish seminal works in the field of canon law, St. Augustine's Press is pleased to make available the first volume in a series that will undoubtedly endure as a masterpiece of scholarship. Carlos José Errázuriz, Professor of Canon Law at the Pontifical University of the Holy Cross (Rome) has provided a comprehensive and insightful treatment of rights, justice, and law in the Catholic Church, beginning with the most basic questions regarding the essence of these realities. His responses exhibit the perspective of that which is just in the Church, which consists of ecclesial juridical goods: the Word of God, the sacraments, the freedom of the children of God, and sacred potestas. This work vindicates the institution of law, but also addresses the "spontaneity" of just freedom proper to what has been instituted by Christ.
 
Errázuriz presents more than the current Code of Canon Law. He instills a realistic perspective of right and law in the Church, and in so doing fills a massive gap in English scholarship. No introduction to canon law available in English rivals Errázuriz's description of justice in the Church and its relationship with communion and sacramentality.
 
Volume I is comprised of the first three chapters of the original, Corso fondamentale sul diritto nella Chiesa (in two volumes, Giuffrè: Milan, 2009 and 2017): "Rights, Justice and Law in the Church," "Canon Law in History," and "The Configuration of Rights and Law in the Church."
[more]

front cover of That Which Is Just in the Church
That Which Is Just in the Church
Volume 2: The Human Person in the Church
Carlos José Errázuriz
St. Augustine's Press, 2023
Volume one of Prof. Carlos J. Errázuriz's monumental treatment of canon law establishes that law in the Catholic Church is properly understood as that which is just. In the second volume, he moves to the foremost protagonist in this arena––namely, the human person. The human person is the primary holder of rights and obligations in the Church, destined for the salvation merited by Christ. The salvific goods constituted by the Word of God and the sacraments are fundamental aspects of juridical relationships and life in the Church.

Being subject to law, Errázuriz observes, does not undermine the freedom and dignity of the person. Rather, ecclesial law intends to confront the human person with his true supernatural inheritance, while preserving him in the mystery of communion within which the Church herself exists. Indeed, the human person has both natural and supernatural dignity, and likewise responsibilities that bear upon the seen and unseen realms of communion.

Prof. Errázuriz examines the practical applications of personhood and law, as well as the perspectives of the human subject that derive from his ontological status. This is further drawn across various states of life that occur within the Church and the differing juridical relations encountered.  Also considered is the nature of association in the Church, and Errázuriz breaks down the concepts and particular realities pertaining to this natural tendency and the legal discipline. 
 
[more]

front cover of Theater Of Envy
Theater Of Envy
William Shakespeare
Rene Girard
St. Augustine's Press, 2004
In this ground-breaking work, one of our foremost literary and cultural critics turns to the major figure in English literature, William Shakespeare, and proposes a dramatic new reading of nearly all his plays and poems. The key to A Theater of Envy is Girard’s novel reinterpretation of "mimesis." For Girard, people desire objects not for their intrinsic value, but because they are desired by someone else – we mime or imitate their desires. This envy – or "mimetic desire" – he sees as one of the foundations of the human condition.

Bringing such provocative and iconoclastic insights to bear on Shakespeare, Girard reveals the previously overlooked coherence of problem plays like Troilus and Cressida, and makes a convincing argument for elevating A Midsummer Night’s Dream from the status of a chaotic comedy to a masterpiece. The book abounds with novel and provocative interpretations: Shakespeare becomes "a prophet of modern advertising," and the threat of nuclear disaster is read in the light of Hamlet. Most intriguing of all, perhaps, is a brief, but brilliant aside in which an entirely new perspective is brought to the chapter on Joyce’s Ulysses in which Stephen Dedalus gives a lecture on Shakespeare. In Girard’s view only Joyce, perhaps the greatest of twentieth-century novelists, comes close to understanding the greatest of Renaissance playwrights.

Throughout this impressively sustained reading of Shakespeare, Girard’s prose is sophisticated, but contemporary, and accessible to the general reader.
 
[more]

front cover of Theology and the Cartesian Doctrine of Freedom
Theology and the Cartesian Doctrine of Freedom
Etienne Gilson
St. Augustine's Press, 2015

front cover of They Will Know Us by Our Horses
They Will Know Us by Our Horses
Shenk Robert
St. Augustine's Press, 2021
Robert Shenk is both scholar and teacher of classical rhetoric. Now a member of a dying breed, he was once ignited by the late Edward Corbett (Classical Rhetoric for the Modern Student) and after decades of study and research Shenk has written a masterpiece that reintroduces and defines what is known as forestasis in the field of rhetoric. The famous classical concept of rhetorical stasis has three principle components: fact, definition and quality. This was the main thrust of rhetorical invention for some 1500 years, from ancient times up through the modern era. It is, however, a forensic rhetoric in that it looks to the past. As Shenk presents stasis he relies on Cicero’s famous defense of Milo. Did Milo kill Clodius? Yes, but did Milo murder Clodius? No, he walked into an ambush and his killing was self-defense. Furthermore, his act was a good one insofar as Clodius was a bad citizen and the republic benefited from his death. The three aspects of rhetorical stasis, seen in this example, lead one to the heart of the issue at hand. But rhetorical stasis can be used for more than seeing the past for what it is. One can effectively use it to envision the future one wishes to achieve.

Shenk notes that Aristotle equips his doctrine of rhetoric with a forward-looking dimension, often overlooked or ignored by scholars. There is stasis, but also forestasis, which amounts to a way not only of “getting to the point” of an event, but of a manner of forming decisions. The ancient rhetoricians, says Shenk, all discussed deliberative rhetoric as well as forensic rhetoric, and even though they differed in their respective descriptions they all generally agreed on its three main elements: possibility (often including difficulty or ease of execution), expedience (also called utility or benefit, even profit), and honor (or morality in general depending on the conversation). One places these elements into play when considering the viability of a proposal: “Is it possible? Is it beneficial? Is it honorable?” This pertains to deliberative rhetoric, or arguments that touch upon the future. It is not just grasping things that have been, but also understanding the core of that which is to come through formulating our decisions to act. 

Laying the foundations for this broader view of stasis that, while depending on the ancient rhetoricians, includes a forward-posed heuristic that can, Shenk argues, reinvigorate the concept of rhetorical stasis and expand its theoretical reach. His intention is to show how rhetorical invention (discovery of the argument) is meant to look both directions. Rhetoric that properly presents what has passed can also be employed to identify the best next move. Or, as Shakespeare reminds us in Prince Hal’s decision to participate in the robbery at Gadshill, “Yea, but ‘tis like that they will know us by our horses, by our habits, and by every other appointment to be ourselves.” 

In addition to examples drawn from his naval background, Shenk references Homer, Shakespeare and Milton in demonstrating forestasis to be a widely useful parallel to traditional stasis. Shenk argues that both deserve to be widely taught as prime, complementary modern techniques of invention. Doing so would make stasis more relevant and lead students, especially, to discover the crux of any matter that requires deliberative action. This is an essential and yet largely missing element of contemporary education. This ancient method, Shenk asserts, is a habit that although rhetorical leads to actual discoveries that in turn yield real outcomes, both abstract and practical. 
[more]

logo for St. Augustine's Press
Thou Shall Not Die
Gabriel Marcel
St. Augustine's Press, 2009

front cover of The Timelessness of Proust
The Timelessness of Proust
Charles R. Embry
St. Augustine's Press, 2016

front cover of Toward Another Kingdom
Toward Another Kingdom
Two Dramas of the Darker Years
traub
St. Augustine's Press, 2022
Maria Traub's translation of Gabriel Marcel's post-war plays is a window into the French philosopher's answer to his own signature questions regarding human existence. And as in the earlier collection of plays, The Invisible Threshold, the realism, passion and sincerity that frame conscience and moral duty in Marcel are most profoundly visible in the day-to-day of family life. Ideas never before presented theatrically emerge in Marcel's characters who struggle to understand their times and how best to live in them. Post-war life was as much a spiritual reckoning as it was a new society, and Marcel's treatment of introspection is a valuable key to his own work.

Marcel's dramas require characters to respond authentically and from their true selves. He thereby offers the vision of how individual compromises may build up to break the world and condemn, or, conversely, contribute to the discovery and meaning of relation and redemption. Traub's new translation will interest the player as much as the scholar, and Marcel's aptitude for theatrical writing is proven once again. His intellectual sensitivity creates characters that beckon performance, which is an added dimension to the presentation of the human condition.
[more]

front cover of Tradition
Tradition
Concept and Claim
Josef Pieper
St. Augustine's Press, 2010

front cover of Traditional Truth, Poetry, Sacrament
Traditional Truth, Poetry, Sacrament
For My Mother, on Her 70th Birthday
Josef Pieper
St. Augustine's Press, 2019

Pieper collects his contributions to radio programs and to a number of journals and periodicals. The book also includes a selection of notes and comments. The contributions fall into two main groups: the period which encompasses the immediate pre-war period as well as the war period itself, and the post-war period up to 1953.The reader becomes witness, first, to Pieper’s problems with the National Socialist regime and, second, to his problems with the ensuing challenges to religious life as it is exposed to increasing secularization.

As with his later works, Pieper draws on traditional wisdom which, for him, dates back to Plato and Aristotle, and in these contributions we also see his early preoccupation with the wisdom of St. Thomas Aquinas. The normal boundaries between philosophy and theology are here not clearly drawn. Pieper is preoccupied with the mystery of our world and its importance as a source of symbols signifying deeper levels of reality. He sees the sacraments as achieving their fundamental effect from divine intervention, but he also highlights the need for careful observance of the rituals, so that their meaning is not obscured. Proper execution of the sacrament should enable the faithful to enjoy the existential fruits of their participation in the ritual.  

This work manifests the organic cohesion of Pieper’s thinking, and it reflects his profound awareness of the role to be played not so much by the professional (academic) philosopher as by the existential Philosophizer.

[more]

front cover of Treatise on Law
Treatise on Law
The Complete Text
Thomas Aquinas
St. Augustine's Press, 2009
This is a new English translation of St. Thomas Aquinas’s Treatise on Law, found in Questions 90–108 of the First Part of the Second Part of the Summa Theologiae. In fact, it is the only free-standing English translation of the entire Treatise, which includes both a general account of law (Questions 90–92) and also specific treatments of what St. Thomas identifies as the five kinds of law: the eternal law (Question 93), the natural law (Question 94), human law (Questions 95–97), the Old Law (Questions 98–105), and the New Law (Questions 106–108). All other extant editions of Treatise on Law stop with the human law, and are thus approximately one-third the size of the full Treatise.
 St. Thomas’s account of law is firmly embedded within a general moral theory that begins with a rich conception of human flourishing, i.e., the good for human beings (Questions 1–5). This good consists, first and foremost, in our ultimate and intimate union with the Persons of the Blessed Trinity – a union that in our present state we can grasp intellectively and pursue affectively only with God’s supernatural assistance. It is within this framework that we order our loves and pursue the more proximate goals they open up to us as human beings in this life. Given the appropriate goals, the next question is how we can get from where we are, in the grips of the consequences of Original Sin, to where we want to be. The answer is: by means of (a) human actions that are good, i.e., rightly ordered toward our ultimate end and (b) the habits that these actions either engender or flow from. In analyzing human actions (Questions 6–21) and their relation to the passions (Questions 22–48), St. Thomas gives a general account of what he calls the ‘intrinsic principles’ of human actions and their associated habits – both virtues (Questions 49–70) and vices (Questions 71–89). It is only then that he turns to what he calls the ‘extrinsic principles’ of good human actions, viz., law (Questions 90–108) and grace (Questions 109–114).
 According to St. Thomas, law, far from supplanting virtue as a basic principle of action, serves as an independent principle of action that complements virtue and is itself capable of being factored into practical deliberation. The reason is that all of God’s
precepts, prohibitions, and punishments are aimed at promoting the good of the whole universe and, more particularly, the good for human beings, both individually and within the various forms of social life. Because of this, law serves as both a restraint on bad actions and a spur to good action, i.e., a restraint on actions that take us away from virtue and genuine human flourishing and a spur to actions that promote virtue and flourishing.
 There are many benefits of having the whole treatise rather than just the first few questions, as has been the standard practice in previous editions of the Treatise on Law. To mention just a few of these benefits, the question on the moral precepts of the Old Law (question 100) helps to illuminate in many different ways the earlier questions on natural law and human law (questions 94–97). Again, the questions on the ceremonial and judicial precepts of the Old Law (questions 101–105) demon-strate in depth the symbiotic relationship that St. Thomas takes to obtain between the Old Testament and the New Testament. The questions on the New Law provide an introduction to the Christian way of life that will be described in incomparable detail in the Second Part of the Second Part, the bulk of which is structured around the treatment of the three theological virtues and the four cardinal virtues.
[more]

front cover of The Tribulations of Sophia
The Tribulations of Sophia
Etienne Gilson
St. Augustine's Press, 2021
The Tribulations of Sophia was the last of Étienne Gilson's books to appear during his lifetime (1967). French readers would have recognized the title's echo of a nineteenth century children's book by the Countess of Ségur, the Misfortunes of Sophia. Its disobedient protagonist, young Sophia (of whom the American Dennis the Menace was to be a very pale imitation) is the cause of a sequence of minor domestic catastrophes. One wonders if Gilson is proposing that the Catholic intellectual world of his day is fraught with her descendants. 

The heart of the book is entitled, “Three Lectures on Thomism and its Current Situation.” During the Second Vatican Council and its immediate aftermath, the status of Thomism in Catholic intellectual circles and institutions was vigorously challenged. Once again, the problem of Thomism emerges: What is Thomism and where does it belong? Gilson’s devotion to elaborating the nature of Christian philosophy compels him to confront this question head-on. Indeed, because Gilson approaches Thomism as the veritable model for Christian philosophy he cannot ignore the attempts to suppress or supplant it. 

And yet this section also contains a fourth lecture on Teilhard de Chardin, whom Gilson knew and held in high esteem. Was Teilhard's thought to become the new Christian philosophy and theology? Was it even appropriate to label his thought as proper philosophy and theology?

The second, somewhat shorter, portion of the book wrestles with the theme of dialogue that was very much in vogue in the 1960s. The central figure here is the French Marxist Roger Garaudy, internationally known for his call to dialogue with Christians. Gilson denies any possibility of such a dialogue, and certainly any usefulness in it. “I regret to say—not having myself any of the virtues of a skilled dialoguer, which are not to listen to what is being said and to take it in a sense that makes it easy to refute. It is a chimerical hope that there should be two people who proceed otherwise.” But specifically on the point of Christian and Marxist dialogue, from the massive ideological, bestial corpus of Marxism Gilson carves out its fundamental need for the world and serves it back to Garaudy, but without garnish, for among Marxists each has his own particular manner of impoverishing the concept of man.  

What might be called the postscript of the book, “Wandering Amid the Ruins,” shares some of Gilson's own experiences and unease in the unsettled situation of the Catholic Church at that time. “The Council was the work of truly supernatural courage. For more than three centuries the Church was harshly blamed for not having taken the initiative to make necessary reforms in the sixteenth century.” Yet Gilson laments that perhaps the manner of enacting reform is confused and not in all cases simply intent on reversing the trends of empty churches and the vocations drought. Perhaps we have not understood the Council at all. Gilson’s kind but clear description of the turmoil in Catholic teaching and thought is for the reader essential to any understanding of the tension and transitions of this period of history. 
[more]

front cover of Twelve Films about Love and Heaven
Twelve Films about Love and Heaven
Pete Fraser
St. Augustine's Press, 2023
Peter Fraser revisits stories told onscreen that in different ways all convey clear and ringing truths and touch the deepest human chords. Spanning different time periods and cultures, Twelve Films about Love and Heaven speaks to the hearts of those who cry at old movies and the old abiding Faith, and who believe a well-written book is always worth the time. It is a reminder to both artists and spectators that the pursuit of virtue, and above all in our family roles, is the greatest of adventures and the most glorious of victories. 
[more]


Send via email Share on Facebook Share on Twitter