Divinity Of Doubt

A noted attorney turns his logic on both atheists and religious believers, arguing that agnosticism--a skepticism toward religious certainty of all kinds--is the best stance to take when it comes to considering a higher power.

Vincent Bugliosi, whom many view as the nation's foremost prosecutor, has successfully taken on, in court or on the pages of his books, the most notorious murderers of the last half century--Charles Manson, O.J. Simpson, and Lee Harvey Oswald. Now, in the most controversial book of his celebrated career, he turns his incomparable prosecutorial eye on the greatest target of all: God. In making his case for agnosticism, Bugliosi has very arguably written the most powerful indictment ever of God, organized religion, theism, and atheism. Theists will be left reeling by the commanding nature of Bugliosi's extraordinary arguments against them. And, with his trademark incisive logic and devastating wit, he exposes the intellectual poverty of atheism and skewers its leading popularizers--Christopher Hitchens, Sam Harris, and Richard Dawkins. Joining a 2,000-year-old conversation which no one has contributed anything significant to for years, Bugliosi, in addition to destroying the all-important Christian argument of intelligent design, remarkably--yes, scarily--shakes the very foundations of Christianity by establishing that Jesus was not born of a virgin, and hence was not the son of God, that scripture in reality supports the notion of no free will, and that the immortality of the soul was a pure invention of Plato that Judaism and Christianity were forced to embrace because without it there is no life after death. Destined to be an all-time classic, Bugliosi's Divinity of Doubt sets a new course amid the explosion of bestselling books on atheism and theism--the middle path of agnosticism. In recognizing the limits of what we know, Bugliosi demonstrates that agnosticism is he most intelligent and responsible position to take on the eternal question of God's existence.

The Western Humanism originating in classical Greek philosophy—where the capacity of human reason became the dominant means for perceiving a worldview based in reality—reigned in Western philosophy until the onset of Postmodern Existentialism in the mid-twentieth century. Plato’s Theory of Forms prepared the Western gentile mind to accept the rationality of a transcendent ultimate reality, and in so doing steered the gentile mind from its bent to pantheistic deities. The apostle Paul boldly proclaimed to the Athenians that their “unknown god” was indeed the transcendent God of Abraham, Isaac, and Jacob. Christianity prevailed in Western philosophy until the Enlightenment—which was the result of the unprecedented success of the scientific method—began to turn the Western mind to the existentialistic idea of the relativity of moral truth.

Life and works of Nirodbaran, b. 1903, devotee of Sri Aurobindo, 1872-1950; contributed articles; some previously published.

INTRODUCTION Conceive the joy of a lover of nature who, leaving the art galleries, wanders out among the trees and wild flowers and birds that the pictures of the galleries have sentimentalised. It is some such joy that the man who truly loves the noblest in letters feels when tasting for the first time the simple delights of Russian literature. French and English and German authors, too, occasionally, offer works of lofty, simple naturalness; but the very keynote to the whole of Russian literature is simplicity, naturalness, veraciousness. Another essentially Russian trait is the quite unaffected conception that the lowly are on a plane of equality with the so-called upper classes. When the Englishman Dickens wrote with his profound pity and understanding of the poor, there was yet a bit; of remoteness, perhaps, even, a bit of caricature, in his treatment of them. He showed their sufferings to the rest of the world with a "Behold how the other half lives!" The Russian writes of the poor, as it were, from within, as one of them, with no eye to theatrical effect upon the well-to-do. There is no insistence upon peculiar virtues or vices. The poor are portrayed just as they are, as human beings like the rest of us. A democratic spirit is reflected, breathing a broad humanity, a true universality, an unstudied generosity that proceed not from the intellectual conviction that to understand all is to forgive all, but from an instinctive feeling that no man has the right to set himself up as a judge over another, that one can only observe and record. In 1834 two short stories appeared, The Queen of Spades, by Pushkin, and The Cloak, by Gogol. The first was a finishing-off of the old, outgoing style of romanticism, the other was the beginning of the new, the characteristically Russian style. We read Pushkin's Queen of Spades, the first story in the volume, and the likelihood is we shall enjoy it greatly. "But why is it Russian?" we ask. The answer is, "It is not Russian." It might have been printed in an American magazine over the name of John Brown. But, now, take the very next story in the volume, The Cloak. "Ah," you exclaim, "a genuine Russian story, Surely. You cannot palm it off on me over the name of Jones or Smith." Why? Because The Cloak for the first time strikes that truly Russian note of deep sympathy with the disinherited. It is not yet wholly free from artificiality, and so is not yet typical of the purely realistic fiction that reached its perfected development in Turgenev and Tolstoy. Though Pushkin heads the list of those writers who made the literature of their country world-famous, he was still a romanticist, in the universal literary fashion of his day. However, he already gave strong indication of the peculiarly Russian genius for naturalness or realism, and was a true Russian in his simplicity of style. In no sense an innovator, but taking the cue for his poetry from Byron and for his prose from the romanticism current at that period, he was not in advance of his age. He had a revolutionary streak in his nature, as his Ode to Liberty and other bits of verse and his intimacy with the Decembrist rebels show. But his youthful fire soon died down, and he found it possible to accommodate himself to the life of a Russian high functionary and courtier under the severe despot Nicholas I, though, to be sure, he always hated that life. For all his flirting with revolutionarism, he never displayed great originality or depth of thought. He was simply an extraordinarily gifted author, a perfect versifier, a wondrous lyrist, and a delicious raconteur, endowed with a grace, ease and power of expression that delighted even the exacting artistic sense of Turgenev. To him aptly applies the dictum of Socrates: "Not by wisdom do the poets write poetry, but by a sort of genius and inspiration." I do not mean to convey that as a thinker Pushkin is to be despised. Nevertheless, it is true that he would occupy a lower position in literature did his reputation depend upon his contributions to thought and not upon his value as an artist.

In the late eighteenth century, German Jews began entering the middle class with remarkable speed. That upward mobility, it has often been said, coincided with Jews' increasing alienation from religion and Jewish nationhood. In fact, Michah Gottlieb argues, this period was one of intense engagement with Jewish texts and traditions. One expression of this was the remarkable turn to Bible translation. In the century and a half beginning with Moses Mendelssohn's pioneering translation and the final one by Martin Buber and Franz Rosenzweig, German Jews produced sixteen different translations of at least the Pentateuch. Exploring Bible translations by Mendelssohn, Leopold Zunz, and Samson Raphael Hirsch, Michah Gottlieb argues that each translator sought a "reformation" of Judaism along bourgeois lines, which involved aligning Judaism with a Protestant concept of religion. Buber and Rosenzweig famously critiqued bourgeois German Judaism as a craven attempt to establish social respectability to facilitate Jews' entry into the middle class through a vapid, domesticated Judaism. But Mendelssohn, Zunz, and Hirsch saw in bourgeois values the best means to serve God and the authentic actualization of Jewish tradition. Through their learned, creative Bible translations, these scholars presented competing visions of middle-class Judaism that affirmed Jewish nationhood while lighting the path to a purposeful, emotionally-rich spiritual life grounded in ethical responsibility.

Twelve...case studies of Protestant seminarians.

Contains the first printing of Sartor resartus, as well as other works by Thomas Carlyle.