Incarnation and Language (Part 5 of ‘The Anaphatic Way’)

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.”[1] 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.’[2] 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?

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God After Auschwitz (Part 4 of ‘The Anaphatic Way’)

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.”[1] 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?”[2]

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Can we say anything about God? If so, how? (Part 3 of ‘The Anaphatic Way’)

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.[1] 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.”[2] 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.

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The Anaphatic Way – Introduction

Humans have been babbling, chattering, and making other noises about things ‘wholly other’ since the advent of what we could define as language. But even before that, there was a (divine?) itch to ‘speak’ about Transcendence, God, the gods, or the Divine, even if it was through rudimentary images painted on cave walls.[1] Generations after generations of theologians, professional and lay alike, continue to be puzzled by bland truisms such as “How can we speak about God?” or “What can we say about God?” Some have even ventured as far as to ask the more disturbing question “Why do we feel the need to say anything at all?” These are the most rudimentary questions that theology asks and are also of significance to the average believer, though they may not be conscious that they ask these same questions. Richard Kearney asks all three of these questions, most explicitly in The God Who May Be, Anatheism: Returning to God After God, and the many articles and dialogues that have ensued since.[2] Kearney’s hermeneutics of religion tables a moderating voice in the ‘God Debates’ between atheists, such as Richard Dawkins and Sam Harris, and theists, mostly Christian apologists seeking to put an end to atheistic naturalism. No real ground has been made by either side because that’s just the problem: they have posted their battle lines publicly and refuse to budge. This polarizing debate has recently been entered into by thinkers from all sorts of confessions (and anti-confessions) who propose a middle way. Richard Kearney is one such thinker who has evidently been faced with the very real and pressing critiques of belief, God, and faith, and sought to account for those critiques while remaining open to the possibility of faith becoming new in a time when hope, justice, love, and responsibility to others are needed now more than ever as we witness and experience social, political, economic, existential, and religious upheavals on a daily basis.

The most elementary question that I am seeking to ask here is: Can Richard Kearney be considered an apophatic thinker?[3]That said, it seems to me that there are many flavours of the apophatic way that we really can’t speak of it as some sort of monolithic theological idea. It may be best, then, to speak of via negativas, negative ways, apophatic theologies, rather than one via or one via negativa and one apophatic theology. So, is Kearney an apophatic thinker?

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In the Beginning was Hermeneutics – Pt 2

Read Part One.

IV. Biblical Revelation

The full meaning of the Biblical words was not disclosed once and for all. Every hour another aspect is unveiled. (GSM, p. 273)

The meaning of the Bible is not a given. Heschel states “Revelation is not vicarious thinking;” that is, revelation and its meaning do not come to us pre-assembled. Revelation is not a “substitute” for our thinking abilities. (GSM, p. 273) This isn’t to say that revelation can and must be reduced to that which is rational. Reason has its limits. Revelation is not inherently rational, nor is it intended to be understood with only our natural faculties. Revelation is meant to be interpreted through means that are often supernatural, namely through faith. Heschel writes that the prophets did not speak to deliver a timeless, monolithic, and conclusive message, the meaning of which is inhospitable to the changes of time and culture.

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