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But not so the God we find in the book of Genesis, the God, a Biography 1, winner of the Pulitzer Prize in the category of biography. To call God: A Biography a misnomer is an understatement. literary character, to interpret God through these varied texts as a Shakespearean scholar would. April ; Knopf; pages. Pulitzer Prize Winner for Biography, Book Description What sort of a "person" is God? What is his "life story"? Is it possible to.

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God A Biography Pdf

God: A Biography [Jack Miles] on usaascvb.info *FREE* shipping on qualifying offers. WINNER OF THE PULITZER PRIZE What sort of person is God? What is. It is worth noting, in justification of this work, that no life of. Mr. Rockefeller has yet appeared. Miss Ida Tarb ell's brilliant ac- count of the Standard Oil Company's. Or, Christianity Not as a Mystical Teaching but as a New Concept of Life . “A Christian, according to the teaching of God Himself, can be guided in his relations.

Opt out or contact us anytime This proposition sounds far-fetched until you think of the historical worldly success of Christianity, although this no doubt rests on some astute political practice as well as on preaching. But the scandalous brilliance of the Christian covenant becomes clearer if you think of its consequences. You can win by losing, but only if you manage to invert the meaning of the terms. Christ -- either the person himself or those who wrote his story or a combination of both -- turned the very ideas of life and death upside down. He died, it seems, and the world went on living. The Christian assertion is exactly the reverse: the world is dead and only Christ and those who believe in him are truly alive. When Christians take communion, they are said, in St. Paul's extraordinary words, to ''show the Lord's death till he come'' -- that is, they insist ritually on an apparent death in the past in order to celebrate the end of death itself in the future. The miracle is that anyone would believe this -- much less, within barely three centuries, most of the Roman Empire, including the emperor himself. This is a spectacular story, and Miles tells it very well.

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You can help Wikipedia by expanding it. It soon becomes apparent that God in the Islamic scriptures essentially rejects the project of theography, insisting on his unknowability at every turn.

God's Generals

Yet Miles never quite speaks to this, and the theographer persists in his quest to meet a personified Allah on the page.

And the idol of the golden calf, made of melted jewelry? It could actually bleat, God informs us. Yahweh may have cursed Cain, but Allah emerges as less vengeful and more compassionate.

God never failed his creation; there was no crisis, no need for the drama of the cross, nor any sacrificial god-lamb. God does not share his divinity with anyone; Jesus was only a mortal prophet in the lineage extending from Adam, Abraham, and Moses, to Mohammed, the final messenger. God makes a major revision in that Jesus did not actually die on the cross. Placing the blame not on the Romans but on Jews who had broken the covenant, God reveals that he foiled their plot: When the Virgin Mary goes into labor beneath a palm tree, alone with no one to help her, in her agony Jesus speaks to her from inside the womb: But in his latest, Miles has a new objective.

Even before we have heard the voice of Allah, or of any Muslim authors, we hear Newt Gingrich, inveighing against jihadi terrorism: He opens with the theme of religious violence. In an odd, orientalizing thought experiment, Miles exhorts his non-Muslim readers to picture themselves Muslim:.

100+ of the Best Christian Biographies (HUGE LIST)

In the Bible, no such warning is given. No such forgiveness or distant hope is proffered in the Bible.

The Bible is my scripture. In writing this little italicized meditation, I hope only that by exercising your imagination just this much, you may find it a little easier to trust the Muslim next door, thinking of him as someone whose religion, after all, may not be so wildly unreasonable that someone holding to it could not be a trusted friend. It is an attempt to humanize what some might see as the enemy, yet by doing so it hardens the stereotypes on which demonization thrives.

Part of the problem here is the absence of Muslim voices.

Beyond a scattered handful of translators and commentators, the only Muslim author mentioned is the inescapable Rumi. Dick called Dickianity. The larger issue is a flawed assumption that seeps into the book and paralyzes it: Afraid of the violence he seems so preoccupied by, Miles becomes modest because he is tiptoeing around Muslim rage: His approach becomes apotropaic: The conclusions he draws are inoffensive: In answering the question of what Allah thinks of human nakedness, Miles feels compelled to refer to Abu Ghraib.

The book that first descended to earth on what is called Laylat al-Qadr, or the Night of Power, was now on the American bestseller lists. He has also become the general editor of the Norton Anthology of World Religions, a six-volume, 4,page compendium of religious texts first published in that promotes an ethic of scriptural literacy.

In the spirit of pluralism, Miles reminds us that, ultimately, we have no idea which of the Abrahamic testaments is truly the word of God: Miles writes:.

At several moments, God throws down a literary gauntlet: If you are in doubt about what We have sent down unto Our servant, then produce a surah like it, and call your witnesses apart from God if you are truthful.

What was that spellbinding effect the rhythm of the Arabic seemed to have on its listeners, even unbelievers?

It is true or can be true that, as Miles says, ''even at moments when literary intent is questionable, literary effect is undeniable. Of course, Miles knows this, and at times says so clearly. Federico Fellini once said that when he was a child he thought movies were made up by their actors; it didn't occur to him that there were writers and directors.

[Reviews] God, the Editor by Anna Della Subin | Harper's Magazine

Miles goes one step farther and ascribes all the motions of his book to its chief character. This is a sweeping critical gesture, and it makes for exciting reading.

But the final effect is to mystify, to turn back into fable, what Miles is otherwise so finely unraveling. It is to evoke the amazing triumphs of God's writers and readers, but then award them to their own creature, which is entirely appropriate for a religious reading if you believe God inspired the writers and the readers in the first place. But if we subtract Shakespeare whoever we think he is from ''King Lear,'' we don't have a play, let alone a masterpiece.

We just have a wild old man. We are continually improving the quality of our text archives.

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