In this incendiary new work, the controversial author and speaker Peter Rollins proclaims that the Christian faith is not primarily concerned with questions regarding life after death but with the possibility of life "before "death.
In order to unearth this truth, Rollins prescribes a radical and wholesale critique of contemporary Christianity that he calls "pyro-theology. "It is only as we submit our spiritual practices, religious rituals, and dogmatic affirmations to the flames of fearless interrogation that we come into contact with the reality that Christianity is in the business of transforming our world rather than offering a way of interpreting or escaping it. Belief in the Resurrection means but one thing: "Participation in an Insurrection."
""What Pete does in this book is take you to the edge of a cliff where you can see how high you are and how far you would fall if you lost your footing. And just when most writers would kindly pull you back from edge, he pushes you off, and you find yourself without any solid footing, disoriented, and in a bit of a panic...until you realize that your fall is in fact, a form of flying. And it's thrilling."
--"Rob Bell, author of "Love Wins "and "Velvet Elvis
""
"While others labor to save the Church as they know it, Peter Rollins takes an ax to the roots of the tree. Those who have enjoyed its shade will want to stop him, but his strokes are so clean and true that his motive soon becomes clear: this man trusts the way of death and resurrection so much that he has become fearless of religion."
"--Barbara Brown Taylor, author of "Leaving Church" and "An Altar in the World"
""Rollins writes and thinks like a new Bonhoeffer, crucifying the trappings of religion in order to lay bare a radical, religionless and insurrectional Christianity. A brilliant new voice--an activist, a storyteller and a theologian all in one--and not a moment too soon."
"--John D. Caputo, Thomas J. Watson Professor of Religion Emeritus, Syracuse University
""What does it mean when the Son of God cries out, 'My God, My God, why have you forsaken me'? Brilliantly, candidly, and faithfully, Rollins wrestles here with that question. You may not agree with his answers and conclusions, but you owe it to yourself and to the Church at large to read what he says." "--Phyllis Tickle, author, "The Great Emergence"
""Excellent thinking and excellent writing I hope this fine book receives the broad reading it deserves. It will change lives, and our understanding of what religion is all about "
"-- Rohr, O.F.M., Center for Action and Contemplation; Albuquerque, New Mexico

With a sensitivity to the Christian tradition and a rich understanding of postmodern thought, Peter Rollins argues that the movement known as 'emerging church' offers a singular, unprecedented message of transformation that has the potential to revolutionize the theological and moral architecture of the Western church. Keeping this in mind, How (Not) to Speak of God sets out to investigate the theory and praxis of this contemporary expression of faith via an exploration that is firmly anchored in the liturgical practice of the widely acclaimed post-secular project Ikon. In so doing, Peter Rollins not only offers a clear analysis of this embryonic movement, but also provides key resources for those actively involved in developing these communities around the world. 'This book brings together Christian mysticism, postmodern philosophy, and the practices and liturgies of an alternative worship community trying to make sense of Christianity in a postmodern environment. The results are stunning - original, provocative, and creative.' Jonny Baker 'Here in pregnant bud is the rose, the emerging new configuration, of a Christianity that is neither Roman nor Protestant, neither Eastern nor monastic; but rather is the re-formation of all of them. Here, in pregnant bud, is third millennium Christendom.' Phyllis Tickle 'I am a raving fan of the book you are holding. I loved reading it. I have already begun widely recommending it. Reading it did good for my mind and my soul. It helped me to understand my own spiritual journey more clearly, and it gave me a sense of context for the work I'm involved in. In fact, I would say this is one of the two or three most rewarding books of theology I have read in ten years.' Brian McLaren

An Insurrectionist Manifesto contains four insurrectionary gospels based on Martin Heidegger's philosophical model of the fourfold: earth and sky, gods and mortals. Challenging religious dogma and dominant philosophical theories, they offer a cooperative, world-affirming political theology that promotes new life through not resurrection but insurrection. The insurrection in these gospels unfolds as a series of miraculous yet worldly practices of vital affirmation. Since these routines do not rely on fantasies of escape, they engender intimate transformations of the self along the very coordinates from which they emerge. Enacting a comparative and contagious postsecular sensibility, these gospels draw on the work of Slavoj Zizek, Giorgio Agamben, Catherine Malabou, Francois Laruelle, Peter Sloterdijk, and Gilles Deleuze yet rejuvenate scholarship in continental philosophy, critical race theory, the new materialisms, speculative realism, and nonphilosophy. They think beyond the sovereign force of the one to initiate a radical politics "after" God.

In contrast to the usual answers concerning what the Good News might be, incendiary philosopher-theologian Peter Rollins suggests an alternative, radical definition: you can't be satisfied, life is difficult, and you don't know the secret. Arguing that God has traditionally been thought of as a type of product that will make you whole, remove your suffering and give you the truth, Rollins contrasts this with an approach to faith that invites us to embrace suffering, face up to our unknowing and fully accept the difficulties of existence.

The footpath detailed in this guide is 25 miles long and based on existing rights of way. The walk has been upgraded and waymarked by the Ramblers Association and is divided into 12 parts, each with its own map and notes. Another title from the Cotswold publisher, Reardon.

In this mind-bending exploration of traditional Christianity, firebrand Peter Rollins turns the tables on conventional wisdom, offering a fresh perspective focused on a life filled with love.
Peter Rollins knows one magic trick--now, make sure you watch closely. It has three parts: the Pledge, the Turn, and the Prestige. In "Divine Magician," each part comes into play as he explores a radical view of interacting with the world in love.
Rollins argues that the Christian event, reenacted in the Eucharist, is indeed a type of magic trick, one that is echoed in the great vanishing acts performed by magicians throughout the ages. In this trick, a divine object is presented to us (the Pledge), disappears (the Turn), and then returns (the Prestige). But just as the returned object in a classic vanishing act is not really the same object--but another that looks the same--so this book argues that the return of God is not simply the return of what was initially presented, but rather a radical way of interacting with the world. In an effort to unearth the power of Christianity, Rollins uses this framework to explain the mystery of faith that has been lost on the church. In the same vein as Rob Bell's bestseller "Love Wins," this book pushes the boundaries of theology, presenting a stirring vision at the forefront of re-imagined modern Christianity.
As a dynamic speaker as he is in writing, Rollins examines traditional religious notions from a revolutionary and refreshingly original perspective. At the heart of his message is a life lived through profound love. Just perhaps, says Rollins, the radical message found in Christianity might be one that the church can show allegiance to.

You can't be satisfied. Life is difficult. You don't know the secret.
Whether readers are devout believers or distant seekers, "The Idolatry of God "shows that we must lay down our certainties and honestly admit our doubts to identify with Jesus. Rollins purposely upsets fundamentalist certainty in order to open readers up to a more loving, active manifestation of Christ's love.
In contrast to the usual understanding of the "Good News" as a message offering satisfaction and certainty, Rollins argues for a radical and shattering alternative. He explores how the Good News actually involves embracing the idea that we can't be whole, that life is difficult, and that we are in the dark. Showing how God has traditionally been approached as a product that will render us complete, remove our suffering, and reveal the answers, he introduces an incendiary approach to faith that invites us to joyfully embrace our brokenness, resolutely face our unknowing, and courageously accept the difficulties of existence. Only then, he argues, can we truly rob death of its sting and enter into the fullness of life.

"About 30 years ago, I came across the evocative phrase 'religionless Christianity' in Dietrich Bonhoeffer's later writings, and it has stayed with me ever since. In his new book "The Fidelity of Betrayal," Peter Rollins has teased out - as Bonhoeffer never had the chance to do - profound possibilities hidden in the phrase. As a huge fan of Peter's first book, I find his second no less thoughtful, stimulating, and at times unsettling - always in a most (de)constructive way. His subversive parables, his clever turns of phrase, and his beguiling clarity all conspire to tempt the reader into that most fertile and terrifying of activities - to think to the very rim of one's understanding, and then to faithfully imagine the Truth that lies far beyond." - Brian McLaren, author/activist (www.brianmclaren.net)

What if one of the core demands of a radical Christianity lay in a call for its betrayal, while the ultimate act of affirming God required the forsaking of God? And what if fidelity to the Judeo-Christian Scriptures demanded their renunciation? In short, what would it mean if the only way of finding real faith involved betraying it with a kiss?

Employing the insights of mysticism and deconstructive theory, "The Fidelity of Betrayal" delves into the subversive and revolutionary nature of a Christianity that dwells within the church while simultaneously undermining it.

With sensitivity to the Christian tradition and a rich understanding of postmodern thought, Peter Rollins argues that the movement known as the "emerging church" offers a singular, unprecedented message of transformation that has the potential to revolutionize the theological and moral architecture of Western Christianity.
"How (not) to Speak of God" sets out to explore the theory and praxis of this contemporary expression of faith. Rollins offers a clear exploration of this embryonic movement and provides key resources for those involved in communities that are conversant with, and seeking to minister effectively to, the needs of a postmodern world.
"Here in pregnant bud is the rose, the emerging new configuration, of a Christianity that is neither Roman nor Protestant, neither Eastern nor monastic; but rather is the re-formation of all of them. Here, in pregnant bud, is third-millennium Christendom." --Phyllis Tickle
"I am a raving fan of the book you are holding. I loved reading it. I have already begun widely recommending it. Reading it did good for my mind and for my soul. It helped me understand my own spiritual journey more clearly, and it gave me a sense of context for the work I'm involved in. In fact, I would say this is one of the two or three most rewarding books of theology I have read in ten years." --Brian McLaren, from the Foreword

An Insurrectionist Manifesto contains four insurrectionary gospels based on Martin Heidegger's philosophical model of the fourfold: earth and sky, gods and mortals. Challenging religious dogma and dominant philosophical theories, they offer a cooperative, world-affirming political theology that promotes new life through not resurrection but insurrection. The insurrection in these gospels unfolds as a series of miraculous yet worldly practices of vital affirmation. Since these routines do not rely on fantasies of escape, they engender intimate transformations of the self along the very coordinates from which they emerge. Enacting a comparative and contagious postsecular sensibility, these gospels draw on the work of Slavoj Zizek, Giorgio Agamben, Catherine Malabou, Francois Laruelle, Peter Sloterdijk, and Gilles Deleuze yet rejuvenate scholarship in continental philosophy, critical race theory, the new materialisms, speculative realism, and nonphilosophy. They think beyond the sovereign force of the one to initiate a radical politics "after" God.

American history has always been an irresistible source of inspiration for filmmakers, and today, for good or ill, most Americans'sense of the past likely comes more from Hollywood than from the works of historians. In important films such as "The Birth of a Nation" (1915), "Roots" (1977), "Apocalypse Now" (1979), and "Saving Private Ryan" (1998), how much is entertainment and how much is rooted in historical fact? In "The Columbia Companion to American History on Film, " more than seventy scholars consider the gap between history and Hollywood. They examine how filmmakers have presented and interpreted the most important events, topics, eras, and figures in the American past, often comparing the film versions of events with the interpretations of the best historians who have explored the topic.

Divided into eight broad categories -- Eras; Wars and Other Major Events; Notable People; Groups; Institutions and Movements; Places; Themes and Topics; and Myths and Heroes -- the volume features extensive cross-references, a filmography (of discussed and relevant films), notes, and a bibliography of selected historical works on each subject. "The Columbia Companion to American History on Film" is also an important resource for teachers, with extensive information for research or for course development appropriate for both high school and college students.

Though each essay reflects the unique body of film and print works covering the subject at hand, every essay addresses several fundamental questions:

- What are the key films on this topic?

- What sources did the filmmaker use, and how did the film deviate (or remain true to) its sources?

- How have film interpretations of a particular historical topic changed, and what sorts of factors -- technological, social, political, historiographical -- have affected their evolution?

- Have filmmakers altered the historical record with a view to enhancing drama or to enhance the "truth" of their putative message?

Product information not available.

John D. Caputo has a long career as one of the preeminent postmodern philosophers in America. Caputo now reflects on his spiritual journey from a Catholic altar boy in 1950s Philadelphia to a philosopher after the death of God. Part spiritual autobiography, part homily on what he calls the nihilism of grace, Hoping against Hope calls believers and nonbelievers alike to participate in the praxis of the kingdom of God, which Caputo says we must pursue without why.

American history has always been an irresistible source of inspiration for filmmakers, and today, for good or ill, most Americans'sense of the past likely comes more from Hollywood than from the works of historians. In important films such as "The Birth of a Nation" (1915), "Roots" (1977), "Apocalypse Now" (1979), and "Saving Private Ryan" (1998), how much is entertainment and how much is rooted in historical fact? In "The Columbia Companion to American History on Film, " more than seventy scholars consider the gap between history and Hollywood. They examine how filmmakers have presented and interpreted the most important events, topics, eras, and figures in the American past, often comparing the film versions of events with the interpretations of the best historians who have explored the topic.

Divided into eight broad categories -- Eras; Wars and Other Major Events; Notable People; Groups; Institutions and Movements; Places; Themes and Topics; and Myths and Heroes -- the volume features extensive cross-references, a filmography (of discussed and relevant films), notes, and a bibliography of selected historical works on each subject. "The Columbia Companion to American History on Film" is also an important resource for teachers, with extensive information for research or for course development appropriate for both high school and college students.

Though each essay reflects the unique body of film and print works covering the subject at hand, every essay addresses several fundamental questions:

- What are the key films on this topic?

- What sources did the filmmaker use, and how did the film deviate (or remain true to) its sources?

- How have film interpretations of a particular historical topic changed, and what sorts of factors -- technological, social, political, historiographical -- have affected their evolution?

- Have filmmakers altered the historical record with a view to enhancing drama or to enhance the "truth" of their putative message?