Offers a new reading of Tolkien in terms of Chesterton's literary and theological project.

This book takes Chesterton's 'natural theology' through fairytales seriously as a theological project appropriate to an intellectual attempt to return to faith in a secular age. It argues that Tolkien's fiction makes sense also as the work of a Catholic writer steeped in Chestertonian ideas and sharing his literary-theological poetics. While much writing on religious fantasy moves quickly to talk about wonder, Milbank shows that this has to be hard won and that Chesterton is more akin to the modernist writers of the early twentieth-century who felt quite dislocated from the past. His favoured tropes of paradox, defamiliarization and the grotesque have much in common with writers like T. S. Eliot, Ezra Pound and James Joyce and their use of the demotic as well as the 'mythic method'. Using Chesterton's literary rhetoric as a frame, the book sets out to chart a redemptive poetics that first decentres the reader from his habitual perception of the world, then dramatizes his self-alienation through the grotesque, before finding in that very alienation a sort of pharmakon through paradox and an embrace of difference. The next step is to change one's vision of the world beyond the self through magic which, paradoxically, is the means by which one can reconnect with the physical world and remove the fetishism and commodification of the object. Chesterton's theology of gift is the means in which this magic becomes real and people and things enter into reciprocal relations that reconnect them with the divine.

"Oser examines the twentieth-century literary clash between a dogmatically relativist modernism and a robust revival of Christian humanism. Reviewing English literature from Chaucer to Beckett, and the thoughts of philosophers, theologians, and modern literary critics, Oser challenges the assumption that Christian orthodoxy is incompatible with humanism, freedom, and democracy"--Provided by publisher.

Political philosophy is nothing other than looking at things political under the aspect of eternity. This book invites us to look philosophically at political things in J.R.R. Tolkien's legendarium, demonstrating that Tolkien's potent mythology can be brought into rich, fruitful dialogue with works of political philosophy and political theology as different as Plato's Timaeus, Aquinas' De Regno, Hobbes's Leviathan, and Erik Peterson's "Monotheism as a Political Problem." It concludes that a political reading of Tolkien's work is most luminous when conducted by the harmonious lights of fides et ratio as found in the thought of Thomas Aquinas. A broad study of Tolkien and the political is especially pertinent in that the legendarium operates on two levels. As a popular mythology it is, in the author's own words "a really long story that would hold the attention of readers, amuse them, delight them, and at times maybe excite them or deeply move them." But the stories of The Silmarillion and The Lord of the Rings contain deeper teachings that can only be drawn out when read philosophically. Written from the vantage of a mind that is deeply Christian, Tolkien's stories grant us a revelatory gaze into the major political problems of modernity--from individualism to totalitarianism, sovereignty to surveillance, terror to technocracy. As an "outsider" in modernity, Tolkien invites us to question the modern in a manner that moves beyond reaction into a vivid and compelling vision of the common good.

In this book, Lisa Coutras explores the structure and complexity of J.R.R. Tolkien’s narrative theology, synthesizing his Christian worldview with his creative imagination. She illustrates how, within the framework of a theological aesthetics, transcendental beauty is the unifying principle that integrates all aspects of Tolkien’s writing, from pagan despair to Christian joy. J.R.R. Tolkien’s Christianity is often held in an unsteady tension with the pagan despair of his mythic world. Some critics portray these as incompatible, while Christian analysis tends to oversimplify the presence of religious symbolism. This polarity of opinion testifies to the need for a unifying interpretive lens. The fact that Tolkien saw his own writing as “religious” and “Catholic,” yet was preoccupied with pagan mythology, nature, language, and evil, suggests that these areas were wholly integrated with his Christian worldview. Tolkien’s Theology of Beauty examines six structural elements, demonstrating that the author’s Christianity is deeply embedded in the narrative framework of his creative imagination.

The Lord of the Rings and other works of J.R.R. Tolkien have had a far-reaching impact on culture in the late twentieth and early twenty-first centuries. In print and on film, Tolkien’s works seem to be incredible epics, but religious aspects are less obvious. Yet Tolkien himself stated in his letters that the chief conflicts of his epic works were “about God, and His sole right to divine Honour,” and whether Sauron can wrest and destroy all that is good in Middle-earth. It is from this that readers awaken to the theological truths that imbue Tolkien’s works. In Theology and Tolkien: Constructive Theology, an international group of scholars consider how Tolkien’s works (and Jackson’s interpretations) can help us build better theologies for use in our world today. From essays on the music of creation in the Ainulindalë, to angels, demons, and Balrogs, to Tolkien’s theology of God, providence, evil, and love, to the eschatology of the Final Chord of the Great Music, this book invites the reader to journey through Middle-earth as the contributors engage the theology of Tolkien’s works and its impact on the world.

This is a critical study of the great British man of letters G.K. Chesterton, devoted to the novels, stories and essays that explore the darker fringes of his wild imagination. "Everything is different in the dark," wrote Chesterton; "perhaps you don't know how terrible a truth that is." Chesterton's use of the theme of "gargoyles" provides the thematic structure of the book. It covers the detective stories of Father Brown and others, the locked rooms and miracle crimes in his writing, his status as a science fiction writer, and the riddles and paradoxes of three works--Job, The Man Who Was Thursday, and the play The Surprise. This volume also includes an interlude about Chesterton and Jorge Luis Borges and a robust appendix including interviews about the formation of Ignatius Press's Collected Chesterton.