The Measure of God, now in paperback, is a lively historical narrativeoffering the reader a sense for what has taken place in the God and science debate over the past century.

Modern science came of age at the cusp of the twentieth century. It was a period marked by discovery of radio waves and x rays, use of the first skyscraper, automobile, cinema, and vaccine, and rise of the quantum theory of the atom. This was the close of the Victorian age, and the beginning of the first great wave of scientific challenges to the religious beliefs of the Christian world.

Religious thinkers were having to brace themselves. Some raced to show that science did not undermine religious belief. Others tried to reconcile science and faith, and even to show that the tools of science, facts and reason, could support knowledge of God. In the English speaking world, many had espoused such a project, but one figure stands out. Before his death in 1887, the Scottish judge Adam Gifford endowed the Gifford Lectures to keep this debate going, a science haunted debate on "all questions about man's conception of God or the Infinite." The list of Gifford lecturers is a veritable Who's Who of modern scientists, philosophers and theologians: from William James to Karl Barth, Albert Schweitzer to Reinhold Niebuhr, Niels Bohr to Iris Murdoch, from John Dewey to Mary Douglas.

In the fateful year of 1913, events in New York and Paris launched a great public rivalry between the two most consequential artists of the twentieth century, Pablo Picasso and Marcel Duchamp. The New York Armory Show art exhibition unveiled Duchamp's Nude Descending a Staircase, a "sensation of sensations" that prompted Americans to declare Duchamp the leader of cubism, the voice of modern art. In Paris, however, the cubist revolution was reaching its peak around Picasso. In retrospect, these events form a crossroads in art history, a moment when two young bohemians adopted entirely opposite views of the artist, giving birth to the two opposing agendas that would shape all of modern art.
Today, the museum-going public views Pablo Picasso as the greatest figure in modern art. Over his long lifetime, Picasso pioneered several new styles as the last great painter in the Western tradition. In the rarefied world of artists, critics, and collectors, however, the most influential artist of the last century was not Picasso, but Marcel Duchamp: chess player, prankster, and a forefather of idea-driven dada, surrealism, and pop art. Picasso and the Chess Player is the story of how Picasso and Duchamp came to define the epochal debate between modern and conceptual art--a drama that features a who's who of twentieth-century art and culture, including Henri Matisse, Gertrude Stein, Andre Breton, Salvador Dali, and Andy Warhol. In telling the story, Larry Witham weaves two great art biographies into one tumultuous century.

The God Biographers presents a sweeping narrative of the Western image of God since antiquity, following the theme of how the "old" biography of God has been challenged by a "new" biography in the twenty-first century. The new biography has made its case in free will theism, process thought, evolutionary doctrines, relational theology, and "open theism" a story of people, ideas, and events that is brought up to the present in this engaging narrative. Readers will meet the God biographers in the old and new camps. On the one side are Job, Augustine, Boethius, Anselm, Aquinas, and Calvin. On the other side is a group that includes the early Unitarian and Wesleyan thinkers, the process thinkers Alfred North Whitehead, Pierre Teilhard de Chardin and Charles Hartshorne, and finally a new breed of evangelical philosophers. This story looks closely at the cultural and scientific context of each age and how these shaped the images of God. In the twenty-first century, that image is being shaped by new human experiences and the findings of science. Today, the debate between the old biographers and the new is playing out in the forums of modern theology, courtrooms, and social movements. Larry Witham tells that panoramic story in an engaging narrative for specialists and general readers alike.

The Puritan founder John Winthrop preached about 'a city upon a hill', Abraham Lincoln's two greatest speeches have been called 'sermons on the mount', and Martin Luther King's 'I Have A Dream' oration is nothing if not a sermon. Not only can the history of the United States be told through its reflection in the landmark sermons preached from its pulpits and in front of its memorials, but in fact it was often the sermon that inspired and helped define American history. Between the colonisation of America and the terrorist attacks of September 2001, the sermon has both shaped America's self-understanding and reflected both sides of its most important social, political, military, and philosophical debates. That is the story of "A City Upon a Hill: How the Sermon Made America", a narrative history of events, people, and ideas, showing us at our best - and sometimes at our worst. The sermon offers a uniquely compelling vehicle to tell the national story. The sermon shows that what America says and believes can often be better than what it does, serving as a national conscience amid centuries of triumphalist claims. The sermon gathers together four centuries of disparate strands and provides a solid grip for defining a nation.