Post-war, post-industrialism, post-religion, post-truth, post-biological, post-human, post-modern. What succeeds the post- age? Mark C. Taylor returns here to some of his central philosophical preoccupations and asks: What comes after the end? 

Abiding Grace navigates the competing Hegelian and Kierkegaardian trajectories born out of the Reformation and finds Taylor arguing from spaces in between, showing how both narratives have shaped recent philosophy and culture. For Hegel, Luther’s internalization of faith anticipated the modern principle of autonomy, which reached its fullest expression in speculative philosophy.  The closure of the Hegelian system still endures in the twenty-first century in consumer society, financial capitalism, and virtual culture. For Kierkegaard, by contrast, Luther’s God remains radically transcendent, while finite human beings and their world remain fully dependent. From this insight, Heidegger and Derrida developed an alternative view of time in which a radically open future breaks into the present to transform the past, demonstrating that, far from autonomous, life is a gift from an Other that can never be known.

Offering an alternative genealogy of deconstruction that traces its pedigree back to readings of Paul by way of Luther, Abiding Grace presents a thoroughgoing critique of modernity and postmodernity’s will to power and mastery. In this new philosophical and theological vision, history is not over and the future remains endlessly open.

"Religion," Mark C. Taylor maintains, "is most interesting where it is least obvious." From global financial networks to the casinos of Las Vegas, from images flickering on computer terminals to steel sculpture, material culture bears unexpected traces of the divine. In a world where the economies of faith are obscure, yet pervasive, Taylor shows that approaching religion directly is less instructive than thinking about it.

Traveling from high culture to pop culture and back again, About Religion approaches cyberspace and Las Vegas through Hegel and Kant and reads Melville's The Confidence-Man through the film Wall Street. As astonishing juxtapositions and associations proliferate, formerly uncharted territories of virtual culture disclose theological vestiges, showing that faith in contemporary culture is as unavoidable as it is elusive.

The most accessible presentation of Taylor's revolutionary ideas to date, About Religion gives us a dazzling and disturbing vision of life at the end of the old and beginning of the new millennium.

Readers familiar with Mark C. Taylor's previous writing will immediately recognize Altarity as a remarkable synthetic project. This work combines the analytic depth and detail of Taylor's earlier studies of Kierkegaard and Hegel with the philosophical and theological scope of his highly acclaimed Erring.

In Altarity, Taylor develops a genealogy of otherness and difference that is based on the principle of creative juxtaposition. Rather than relying on a historical or chronological survey of crucial moments in modern philosophical thinking, he explores the complex question of difference through the strategies of contrast, resonance, and design. Taylor brings together the work of thinkers as diverse as Hegel, Heidegger, Merleau-Ponty, Lacan, Bataille, Kristeva, Levinas, Blanchot, Derrida, and Kierkegaard to fashion a broad intellectual scheme.
Situated in an interdisciplinary discourse, Altarity signifies a harnessing of continental and American habits of intellectual thought and illustrates the singularity that emerges from such a configuration. As such, the book functions as a mirror of our intellectual moment and offers the academy a rigorous way of acknowledging the limitations of its own interpretive practices.

Awash in a sea of data that seems to have no meaning and bombarded by images and sounds transmitted from around the globe 24/7, people are no longer sure what is real and what is fake. Artists recycle ads in their paintings and businesses use images of artists in their ads; politicians mount campaigns based on hit films; and bankers make billions trading incomprehensible financial products backed by nothing more than abstract figures and signs.

In Confidence Games, Mark C. Taylor considers the implications of these developments for our digital and increasingly virtual economy. According to Taylor, money and markets do not exist in a vacuum but grow in a profoundly cultural medium, reflecting and in turn shaping their world. To understand the recent changes in our economy, it is not enough to analyze the impact of politics and technology—one must consider the influence of art, philosophy, and religion as well.

Bringing John Calvin, G. W. F. Hegel, and Adam Smith to Wall Street by way of Las Vegas, Taylor first explores the historical and psychological origins of money, the importance of religious beliefs and practices for the emergence of markets, and the unexpected role of religion and art in the classical understanding of economics. He then moves to an account of economic developments during the past four decades, exploring the dawn of our new information age, the growing virtuality of money and markets, and the complexity of the networks by which monetary value is now negotiated.

Returning full circle to a version of the market first proposed by Adam Smith when he used theology and aesthetics to rethink economics, Confidence Games closes with a plea for a conception of life that embraces uncertainty and insecurity as signs of the openness of the future. Like religion and economics, life is a confidence game in which the challenge is not to find redemption but to learn to live without it.

"Before the global credit system began its collapse in 2007, Mark Taylor had connected the dots between increasingly complex financial instruments and larger cultural forces. Anyone who wants to understand the disappearing foundation of our financial markets needs to read this book immediately."—Michael Lewitt, editor, The HCM Market Letter

A century that began with modernism sweeping across Europe is ending with a remarkable resurgence of religious beliefs and practices throughout the world. Wherever one looks today, from headlines about political turmoil in the Middle East to pop music and videos, one cannot escape the pivotal role of religious beliefs and practices in shaping selves, societies, and cultures.

Following in the very successful tradition of Critical Terms for Literary Studies and Critical Terms for Art History, this book attempts to provide a revitalized, self-aware vocabulary with which this bewildering religious diversity can be accurately described and responsibly discussed. Leading scholars working in a variety of traditions demonstrate through their incisive discussions that even our most basic terms for understanding religion are not neutral but carry specific historical and conceptual freight.

These essays adopt the approach that has won this book's predecessors such widespread acclaim: each provides a concise history of a critical term, explores the issues raised by the term, and puts the term to use in an analysis of a religious work, practice, or event. Moving across Judaism, Christianity, Hinduism, Buddhism, Islam, and Native American and Mayan religions, contributors explore terms ranging from experience, territory, and image, to God, sacrifice, and transgression.

The result is an essential reference that will reshape the field of religious studies and transform the way in which religion is understood by scholars from all disciplines, including anthropology, sociology, psychology, cultural studies, gender studies, and literary studies.

"There is no rigorous and effective deconstruction without the faithful memory of philosophies and literatures, without the respectful and competent reading of texts of the past, as well as singular works of our own time. Deconstruction is also a certain thinking about tradition and context. Mark Taylor evokes this with great clarity in the course of a remarkable introduction. He reconstitutes a set of premises without which no deconstruction could have seen the light of  day." – Jacques Derrida

"This invaluable philosophical sampler brings together many of the threads out of which deconstruction is woven. taylor's anthology does not make deconstruction easy; much more usefully, it provides a meticulous guide to the sources – and significance – of the difficulties. – Barbara E. Johnson

"The book will be of great value as a set of readings with authoritative explanation for all those interested in the current relations of literature and philosophy. It is the best book of its kind I know. – J. Hillis Miller, Yale University

Disfiguring is the first sustained interpretation of the deep but often hidden links among twentieth-century art, architecture, and religion. While many of the greatest modern painters and architects have insisted on the spiritual significance of their work, historians of modern art and architecture have largely avoided questions of religion. Likewise, contemporary philosophers and theologians have, for the most part, ignored visual arts. Taylor presents a carefully structured and subtly nuanced analysis of the religious presuppositions that inform recent artistic theory and practice—and, in doing so, recasts the cultural landscape of our era.

"Erring is a thoughtful, often brilliant attempt to describe and enact what remains of (and for) theology in the wake of deconstruction. Drawing on Hegel, Nietzsche, Derrida, and others, Mark Taylor extends—and goes well beyond—pioneering efforts. . . . The result is a major book, comprehensive and well-informed."—G. Douglas Atkins, Philosophy and Literature

"Many have felt the need for a study which would explicate in coherent and accessible fashion the principal tenets of deconstruction, with particular attention to their theological implications. This need the author has addressed in a most impressive manner. The book's effect upon contemporary discussion is apt to be, and deserves to be, far-reaching."—Walter Lowe, Journal of Religion

The age of information, media, and virtuality is transforming every aspect of human experience. Questions that have long haunted the philosophical imagination are becoming urgent practical concerns: Where does the natural end and the artificial begin? Is there a difference between the material and the immaterial? In his new work, Mark C. Taylor extends his ongoing investigation of postmodern worlds by critically examining a wide range of contemporary cultural practices.

Nothing defines postmodernism so well as its refusal of depth, its emphasis on appearance and spectacle, its tendency to collapse a three-dimensional world in which image and reality are distinct into a two-dimensional world in which they merge. The postmodern world, Taylor argues, is a world of surfaces, and the postmodern condition is one of profound superficiality.

For many cultural commentators, postmodernism's inescapable play of surfaces is cause for despair. Taylor, on the other hand, shows that the disappearance of depth in postmodern culture is actually a liberation repleat with creative possibilities. Taylor introduces readers to a popular culture in which detectives—the postmodern heroes of Paul Auster and Dennis Potter—lift surfaces only to find more surfaces, and in which fashion advertising plays transparency against hiding. Taylor looks at the contemporary preoccupation with body piercing and tattooing, and asks whether these practices actually reveal or conceal. Phrenology and skin diseases, the "religious" architecture of Las Vegas, the limitless spread of computer networks—all are brought within the scope of Taylor's brilliant analysis. Postmodernism, he shows, has given us a new sense of the superficial, one in which the issue is not the absence of meaning but its uncontrollable, ecstatic proliferation.

Embodying the very tendencies it analyzes, Hiding is unique. Conceived and developed with well-known designers Michael Rock and Susan Sellars, this work transgresses the boundary that customarily separates graphic design from the story within a text. The product of nearly three decades of reflection and writing, Hiding opens a window on contemporary culture. To follow the remarkable course Taylor charts is to see both our present and past differently and to encounter a future as disorienting as it is alluring.

"The Moment of Complexity is a profoundly original work. In remarkable and insightful ways, Mark Taylor traces an entirely new way to view the evolution of our culture, detailing how information theory and the scientific concept of complexity can be used to understand recent developments in the arts and humanities. This book will ultimately be seen as a classic."-John L. Casti, Santa Fe Institute, author of Gödel: A Life of Logic, the Mind, and Mathematics

The science of complexity accounts for that inscrutable mix of chaos and order that governs our natural world. Complexity explains how networks emerge and function, how species organize into ecosystems, how stars form into galaxies, and how just a few sequences of DNA can account for so many different life forms. Recently, the idea of complexity has taken the worlds of business and politics by storm. The concept is used to account for phenomena as varied as the behavior of the stock market, the response of voting populations, and the effects of risk management. Even Disney has used complexity theory to manage crowd control at its theme parks.

Given the startling development of new information technologies, we now live in a moment of unprecedented complexity, an era in which change occurs faster than our ability to comprehend it. With The Moment of Complexity, Mark C. Taylor offers a timely map for this unfamiliar terrain opening in our midst, unfolding an original philosophy through a remarkable synthesis of science and culture. According to Taylor, complexity is not just a breakthrough scientific concept, but the defining quality of the post-Cold War era. The flux of digital currents swirling around us, he argues, has created a new network culture with its own distinctive logic and dynamic.

Drawing on resources from information theory and evolutionary biology, Taylor explains the operation of complex adaptive systems in social and cultural processes and captures a whole new zeitgeist in the making. To appreciate the significance of our emerging network culture, he claims, we need not only to understand contemporary scientific and technological transformations, but also to explore the subtle influences of art, architecture, philosophy, religion, and higher education. The Moment of Complexity, then, is a remarkable work of cultural analysis on a scale rarely seen today. To follow its trajectory is to learn how we arrived at this critical moment in our culture, and to know where we might head in the twenty-first century.

The desert has long been a theme in Mark C. Taylor’s work, from his inquiries into the religious significance of Las Vegas to his writings on earthworks artist Michael Heizer. At once haunted by absence and loss, the desert, for Taylor, is a place of exile and wandering, of temptation and tribulation. Bones, in turn, speak to his abiding interest in remnants, ruins, ritual, and immanence. Taylor combines his fascination in the detritus of the desert and its philosophical significance with his work in photography in Mystic Bones.

A collection of remarkably elegant close-up images of weathered bones—remains of cattle, elk, and deer skeletons gathered from the desert of the American West—Mystic Bones pairs each photograph with a philosophical aphorism. These images are buttressed by a major essay, “Rubbings of Reality,” in which Taylor explores the use of bones in the religious rituals of native inhabitants of the Western desert and, more broadly, the appearance of bones in myth and religious reality.

Meditating on the way in which bones paradoxically embody both the personal and the impersonal—at one time they are our very substance, but eventually they become our last remnants, anonymous, memorializing oblivion—Taylor here suggests ways in which natural processes can be thought of as art, and bones as art objects. Bones, Taylor writes, “draw us elsewhere.” To follow their traces beyond the edge of the human is to wander into ageless times and open spaces where everything familiar becomes strange.

By revealing beauty hidden in the most unexpected places, these haunting images refigure death in a way that allows life to be seen anew. A bold new work from a respected philosopher of religion, Mystic Bones is Taylor’s his most personal statement of after-God theology.

Nots is a virtuoso exploration of negation and negativity in theology, philosophy, art, architecture, postmodern culture, and medicine. In nine essays that range from nihility in Buddhism to the embodiment of negativity in disease, Mark C. Taylor looks at the surprising ways in which contrasting concepts of negativity intersect.

In the first section of this book, Taylor discusses the question of the "not" in the religious thought of Anselm, Hegel, Derrida, and Nishitani. In the second part, he analyzes artistic efforts "to figure not" in the work of artists Arakawa and Madeline Gins, architect Daniel Libeskind, pop artist David Sallee, and pop icon Madonna. The final section consists of a deeply personal and scientifically informed chapter that discusses the workings of negativity in immunology and illness.

Taylor's essays work toward a sense of the not as unnameable as it is irrepressible—an "unthinkable third" that falls between being and nonbeing. Bringing together concerns that span Taylor's early investigations of Hegel and Kierkegaard and recent studies of art and architecture, Nots is an important contribution by one of the most original and distinctive voices now writing on the American scene.

Religion and Postmodernism series

A rich exploration of the possibilities of representation after Modernism, Mark Taylor's new study charts the logic and continuity of Mark Tansey's painting by considering the philosophical ideas behind Tansey's art. Taylor examines how Tansey uses structuralist and poststructuralist thought as well as catastrophe, chaos, and complexity theory to create paintings that please the eye while provoking the mind. Taylor's clear accounts of thinkers ranging from Plato, Kant, and Hegel to Merleau-Ponty, Derrida, and de Man will be an invaluable contribution to students and teachers of art.