front cover of The Last Superstition
The Last Superstition
A Refutation of the New Atheism
Edward Feser
St. Augustine's Press, 2010

The central contention of the “New Atheism” of Richard Dawkins, Daniel Dennett, Sam Harris, and Christopher Hitchens is that there has for several centuries been a war between science and religion, that religion has been steadily losing that war, and that at this point in human history a completely secular scientific account of the world has been worked out in such thorough and convincing detail that there is no longer any reason why a rational and educated person should find the claims of any religion the least bit worthy of attention.

But as Edward Feser argues inThe Last Superstition, in fact there is not, and never has been, any war between science and religion at all. There has instead been a conflict between two entirely philosophical conceptions of the natural order: on the one hand, the classical “teleological” vision of Plato, Aristotle, Augustine, and Aquinas, on which purpose or goal-directedness is as inherent a feature of the physical world as mass or electric charge; and the modern “mechanical” vision of Descartes, Hobbes, Locke, and Hume, according to which the physical world is comprised of nothing more than purposeless, meaningless particles in motion. As it happens, on the classical teleological picture, the existence of God, the immortality of the soul, and the natural-law conception of morality are rationally unavoidable. Modern atheism and secularism have thus always crucially depended for their rational credentials on the insinuation that the modern, mechanical picture of the world has somehow been established by science. Yet this modern “mechanical” picture has never been established by science, and cannot be, for it is not a scientific theory in the first place but merely a philosophical interpretation of science. Moreover, as Feser shows, the philosophical arguments in its favor given by the early modern philosophers were notable only for being surprisingly weak. The true reasons for its popularity were then, and are now, primarily political: It was a tool by which the intellectual foundations of ecclesiastical authority could be undermined and the way opened toward a new secular and liberal social order oriented toward commerce and technology. So as to further these political ends, it was simply stipulated, by fiat as it were, that no theory inconsistent with the mechanical picture of the world would be allowed to count as “scientific.” As the centuries have worn on and historical memory has dimmed, this act of dogmatic stipulation has falsely come to be remembered as a “discovery.”

However, not only is this modern philosophical picture rationally unfounded, it is demonstrably false. For the “mechanical” conception of the natural world, when worked out consistently, absurdly entails that rationality, and indeed the human mind itself, are illusory. The so-called “scientific worldview” championed by the New Atheists thus inevitably undermines its own rational foundations; and into the bargain (and contrary to the moralistic posturing of the New Atheists) it undermines the foundations of any possible morality as well. By contrast, and as The Last Superstition demonstrates, the classical teleological picture of nature can be seen to find powerful confirmation in developments from contemporary philosophy, biology, and physics; moreover, morality and reason itself cannot possibly be made sense of apart from it. The teleological vision of the ancients and medievals is thereby rationally vindicated – and with it the religious worldview they based upon it.

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Last Works
Moses Mendelssohn. Translated by Bruce Rosenstock
University of Illinois Press, 2012
Moses Mendelssohn (1729–1786) was the central figure in the emancipation of European Jewry. His intellect, judgment, and tact won the admiration and friendship of contemporaries as illustrious as Johann Gottfried Herder, Gotthold Ephraim Lessing, and Immanuel Kant. His enormously influential Jerusalem (1783) made the case for religious tolerance, a cause he worked for all his life.
 
Last Works includes, for the first time complete and in a single volume, the English translation of Morning Hours: Lectures on the Existence of God (1785) and To the Friends of Lessing (1786). Bruce Rosenstock has also provided an historical introduction and an extensive philosophical commentary to both texts.
 
At the center of Mendelssohn's last works is his friendship with Lessing. Mendelssohn hoped to show that he, a Torah-observant Jew, and Lessing, Germany's leading dramatist, had forged a life-long friendship that held out the promise of a tolerant and enlightened culture in which religious strife would be a thing of the past.
 
Lessing's death in 1781 was a severe blow to Mendelssohn. Mendelssohn wrote his last two works to commemorate Lessing and to carry on the work to which they had dedicated much of their lives. Morning Hours treats a range of major philosophical topics: the nature of truth, the foundations of human knowledge, the basis of our moral and aesthetic powers of judgment, the reality of the external world, and the grounds for a rational faith in a providential deity. It is also a key text for Mendelssohn's readings of Spinoza. In To the Friends of Lessing, Mendelssohn attempts to unmask the individual whom he believes to be the real enemy of the enlightened state: the Schwärmer, the religious fanatic who rejects reason in favor of belief in suprarational revelation.
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The Law of God
The Philosophical History of an Idea
Rémi Brague
University of Chicago Press, 2007
The law of God: these words conjure an image of Moses breaking the tablets at Mount Sinai, but the history of the alliance between law and divinity is so much longer, and its scope so much broader, than a single Judeo-Christian scene can possibly suggest. In his stunningly ambitious new history, Rémi Brague goes back three thousand years to trace this idea of divine law in the West from prehistoric religions to modern times—giving new depth to today’s discussions about the role of God in worldly affairs.
          
Brague masterfully describes the differing conceptions of divine law in Judaic, Islamic, and Christian traditions and illuminates these ideas with a wide range of philosophical, political, and religious sources. In conclusion, he addresses the recent break in the alliance between law and divinity—when modern societies, far from connecting the two, started to think of law simply as the rule human community gives itself. Exploring what this disconnection means for the contemporary world, Brague—powerfully expanding on the project he began with The Wisdom of the World—re-engages readers in a millennia-long intellectual tradition, ultimately arriving at a better comprehension of our own modernity.
 
“Brague’s sense of intellectual adventure is what makes his work genuinely exciting to read. The Law of God offers a challenge that anyone concerned with today’s religious struggles ought to take up.”—Adam Kirsch, New York Sun
 
“Scholars and students of contemporary world events, to the extent that these may be viewed as a clash of rival fundamentalisms, will have much to gain from Brague’s study. Ideally, in that case, the book seems to be both an obvious primer and launching pad for further scholarship.”—Times Higher Education Supplement 
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front cover of Letters on God and Letters to a Young Woman
Letters on God and Letters to a Young Woman
Rainer Maria Rilke, Translated from the German by Annemarie S. Kidder
Northwestern University Press, 2012

For Rainer Maria Rilke, letter writing was a discipline and art unto itself. Some seven thousand of his letters have survived, among them works of profound beauty and insight to rival his poems and fiction. For the first time, this volume makes available to an English-speaking audience two of the earliest collections of Rilke letters published after his death, each with a nuanced introduction and notes by Annemarie S. Kidder.

The thematic collection Letters on God contains two letters by Rilke, the first an actual letter written during World War I, in 1915 in Munich, the second a fictional one composed after the war, in 1922 at Muzot in Switzerland. In these letters, Rilke builds on the mystical view of God conceived in The Book of Hours, but he moves beyond it, demonstrating a unique vision of God and Christ, the church and religious experience, friendship and death.

Like his famous Letters to a Young Poet, Rilke’s Letters to a Young Woman presents an intimate series of letters written to a young admirer. The nine letters collected here were written to Lisa Heise over the course of five years, from 1919 to 1924. Though Rilke and Heise never met, the poet emerges in these letters as a compassionate listener and patient teacher who with levelheaded sensitivity affirms and guides the movements of another person’s soul.

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front cover of The Life of God (as Told by Himself)
The Life of God (as Told by Himself)
Franco Ferrucci
University of Chicago Press, 1996
At the center of Franco Ferrucci's inspired novel is a tender, troubled God. In the beginning is God's solitude, and because God is lonely he creates the world. He falls in love with earth, plunges into the oceans, lives as plant and reptile and bird. His every thought and mood serve to populate the planet, with consequences that run away from him—sometimes delightfully, sometimes unfortunately.

When a new arrival emerges from the apes, God believes he has finally found the companion he needs to help him make sense of his unruly creation. Yet, as the centuries pass, God feels more and more out of place in the world he has created; by the close of his memoir, he is packing his bags.

Highly praised and widely reviewed, The Life of God is a playful, wondrous, and irresistible book, recounting thousands of years of religious and philosophical thought.

"A supreme but imperfect entity, the protagonist of this religiously enlightened and orthodoxically heretical novel is possessed by a raving love for his skewed, unbalanced world. . . . Blessed are the readers, for this tale of God's long insomnia will keep them happily awake. . . . Extraordinary." —Umberto Eco

"The Life of God is, in truth, the synthesis of a charming writer's . . . expression of his boundless hopes for, and poignant disappointments in, his own human kind." —Jack Miles, New York Times Book Review

"Rather endearing. . . . This exceedingly amusing novel . . . is a continuous provocation and delight; there isn't a dull page in it." —Kirkus Reviews

"A smart and charming knitting of secular and ecclesiastic views of the world. . . . The character of God is likable—sweet, utterly human. . . . The prose is delightful . . . the writing is consistently witty and intelligent and periodically hilarious." —Allison Stark Draper, Boston Review

"'God's only excuse is that he does not exist,' wrote Stendhal, but now Franco Ferrucci has provided the Supreme Being with another sort of alibi." —James Morrow, Washington Post Book World
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