Biblical stories are metaphorical. They may have been accepted as factual hundreds of years ago, but today they cannot be taken literally. Some students in religious schools even recoil from the "fairy tales" of religion, believing them to be mockeries of their intelligence. David Tacey argues that biblical language should not be read as history, and it was never intended as literal description. At best it is metaphorical, but he does not deny these stories have spiritual meaning. Religion as Metaphor argues that despite what tradition tells us, if we "believe" religious language, we miss religion's spiritual meaning. Tacey argues that religious language was not designed to be historical reporting, but rather to resonate in the soul and direct us toward transcendent realities. Its impact was intended to be closer to poetry than theology. The book uses specific examples to make its case: Jesus, the Virgin Birth, the Kingdom of God, the Apocalypse, Satan, and the Resurrection. Tacey shows that, with the aid of contemporary thought and depth psychology, we can re-read religious stories as metaphors of the spirit and the interior life. Moving beyond literal thinking will save religion from itself.

Thou Art That is a compilation of previously uncollected essays and lectures by Joseph Campbell that focus on the Judeo-Christian tradition. Campbell explores common religious symbols, reexamining and reinterpreting them in the context of his remarkable knowledge of world mythology.Campbell believed that society often confuses the literal and metaphorical interpretations of religious stories and symbols. In this collection, he eloquently reestablishes these symbols as a means to enhance spiritual understanding and mystical revelation. With characteristic verve, he ranges from rich storytelling to insightful comparative scholarship. Included is editor Eugene Kennedy's classic interview with Campbell in the New York Times Magazine, which originally brought the scholar to the attention of the public.

Presents a radically anti-foundationalist reading of Nietzsche's philosophy of religion.

'A mere metaphor', 'only symbolic', 'just a myth' - these tell tale phrases reveal how figurative language has been cheapened and devalued in our modern and postmodern culture. In God and the Creative Imagination, Paul Avis argues the contrary: we see that actually, metaphor, symbol and myth, are the key to a real knowledge of God and the sacred. Avis examines what he calls an alternative tradition, stemming from the Romantic poets Blake, Wordsworth and Keats and drawing on the thought of Cleridge and Newman, and experience in both modern philosophy and science. God and the Creative Imagination intriguingly draws on a number of non-theological disciplines, from literature to philosophy of science, to show us that God is appropriately likened to an artist or poet and that the greatest truths are expressed in an imaginative form. Anyone wishing to further their understanding of God, belief and the imagination will find this an inspiring work.

--Strikingly original presentation of religious scholarship, blending images and texts in innovative, provocative ways --intended for general readers and classrooms --directly addresses two key current issues: social inequality and climate change

Early Christians frequently used metaphors about slavery, calling themselves slaves of God and Christ and referring to their leaders as slave representatives of Christ. Most biblical scholars have insisted that this language would have been distasteful to potential converts in the Greco-Roman world, and they have wondered why early Christians such as Paul used the image of slavery to portray salvation. In this book Dale B. Martin addresses the issue by examining the social history and rhetorical and theological conventions of the times. The first half of the book draws on a variety of historical sources – inscriptions, novels, speeches, dream-handbooks, and agricultural manuals – to portray the complexity of slavery in the early Roman empire. Concentrating on middle-level, managerial slaves, Martin shows how slavery sometimes functioned as a means of upward social mobility and as a form of status-by-association for those slaves who were agents of members of the upper class. For this reason, say Martin, “slavery of Christ,” brought the Christian convert a degree of symbolic status and lent the Christian leader a certain kind of derived authority. The second half of the book traces the Greco-Roman use of political rhetoric that spoke about populist leaders as “enslaved” to their followers, especially to members of the lower class. This provides the context for Paul’s claim, in 1 Corinthians 9, that he has enslaved himself to “all” – that is, to those very people he is supposed to lead as an apostle. Martin thus interprets this statement to mean that Paul identifies himself with the interests of persons with lower status in the Corinthian church, calling on those with higher status to imitate his self-debasement in order to further the interests of those below them on the social scale.

In this wide-ranging book that moves from Greek drama to modern poetry, David Brown explores the ways in which the poetry and drama of the past were rooted in religious questions. He posits that their creative potential needs to be rediscovered to bring present-day worship and experience of God alive.