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V. The Sacramental Imagination and ‘Speaking’ of God
The third arc of the anatheist wager is the sacramental imagination that urges us toward a “sacramental return to the holiness of the everyday.” The sacramental imagination is the via affirmativa of anatheism, the invocation “of yes in the wake of no,” which marks the potential return to God after ‘God.’ This includes the possibility of speaking, or better yet re-speaking, God. After having ‘traversed’ the dark night of the soul, initiated by the Masters of Suspicion, one now has the possibility to come out the other side, into a ‘second faith.’ The inclusion of the Holocaust into this dark night introduces a crucial ‘ethical’ imperative to the anatheist movement through atheism: how do we love God and the other in the moment of injustice?
IV. Speaking about or in the name of God after Auschwitz.
The subtitle, “After Auschwitz who can say God?,” of Kearney’s third chapter in Anatheism gives us a more concrete vantage point from which to look at Kearney’s interest in the question of speaking of God. “The biggest ‘no’ to theism in our modern era,” writes Kearney, “was not Nietzsche’s philosophical announcement of the death of ‘God’ in 1882 but the actual disappearance of ‘God’ from the world in the concentration camps of Europe in the 1940s.” Kearney sustains a post-Holocaust consciousness—an acute sense that the monstrosity of the Holocaust cannot simply go unnoticed or unanswered by any mature thinking, political, religious, social, or otherwise. After World War II, “one can’t believe again in the same way…The God of theodicy, the omnipotent, the omni-God, the alpha God who is going to come to our rescue, who has a plan for us all, a providence…Who can believe in that? What’s left?”
III. Is/Is not and Narrative as a means of retrieving speech about God.
In The God Who May Be, Kearney admits that it is hard to ‘nickname’ to his hermeneutical method. Kearney admits the difficulty of placing his hermeneutics in a particular box, but he is quick to affirm that he does want to “float, nonetheless, a number of tentative quasi-names—or what [he] might call methodological pseudonyms.” Names that are ‘floated’ have some insecurity, always at risk of being sunk by a rogue wave of critique which exposes the name as lacking ‘buoyancy.’ Kearney states that these names are not really names, but quasi-names. They are partially accurate names; names that only go to a certain extent; superficial names that cannot express the content of his method in its fullness.