Today our duty is to destroy the myth of evolution, considered as a simple, understood, and explained phenomenon which keeps rapidly unfolding before us. Biologists must be encouraged to think about the weaknesses and extrapolations that theoreticians put forward or lay down as established truths. The deceit is sometimes unconscious, but
not always, since some people, owing to their sectarianism, purposely overlook reality and refuse to acknowledge the inadequacies and falsity
of their beliefs.
A sermon arises out of silence, preacher and writer Frederick Buechner reminds us, and that silence is both an opportunity and a warning. An audience sits in the pews waiting, and each of those who sit there bring with them a long and complicated history. How will you reach them? How will you awaken them? “Tell them the truth,” Buechner says in this brief and powerful book. The Gospel begins here, out of this silence: “It is life with the sound turned off so that for a moment or two you can experience it not in terms of the words you make it bearable by but for the unutterable mystery that it is.” Out of this silence, he writes, the “real news comes, which is sad news before it is glad news and that is fairy tale last of all.” This series of lectures explores these three ways of seeing the Gospel: first as tragedy, as honest sorrow and suffering — this must be faced before anything else becomes possible. From this comes the comedy of new life: a child born to Abraham and Sarah in old age, Lazarus raised from the dead. This is the folly of the Gospel — what Buechner will ultimately call the fairy tale. Drawing deeply from the well of The Wizard of Oz and other stories, he reminds us in this final chapter that “there is a child in all of us,” a child in touch with a truth deeper than the logic of tragedy. ~ Doug Thorpe
The essence of Darwinism lies in a single phrase: natural selection is the creative force of evolutionary change. No one denies that selection will play a negative role in eliminating the unfit. Darwinian theories require that it create the fit as well.
In defending gradualism as a nearly universal tempo, Darwin had to use Lyell’s most characteristic method of argument — he had to reject literal appearance and common sense for an underlying “reality.” (Contrary to popular myths, Darwin and Lyell were not the heroes of true science, defending objectivity against the the theological fantasies of such “catastrophists” as Cuvier and Buckland. Catastrophists were as committed to science as any gradualist; in fact, they adopted the more “objective” view that one should believe what one sees and not interpolate missing bits of a gradual record into a literal tale of rapid change.
The extreme rarity of transitional forms in the fossil record persists as the trade secret of paleontology. The evolutionary trees that adorn our textbooks have data only at the tips and nodes of their branches; the rest is inference, however reasonable, not the evidence of fossils. Yet Darwin was so wedded to gradualism that he wagered his entire theory on a denial of this literal record: “The geological record is extremely imperfect and this fact will to a large extent explain why we do not find interminable varieties, connecting together all the extinct and existing forms of life by the finest graduated steps. He who rejects these views on the nature of the geological record, will rightly reject my whole theory.” ¶ Darwin’s argument still persists as the favored escape of most paleontologists from the embarrassment of a record that seems to show so little of evolution. In exposing the its cultural and methodological roots, I wish in no way to impugn the potential validity of gradualism (for all general views have similar roots). I wish only to point out that it was never “seen” in the rocks.
The opinion has been spreading that in the epoch of space flight we know so much of nature that we don’t need to believe in God anymore. This opinion is completely mistaken. I can’t understand the scientist who won’t admit a Higher Reason in his entire belief system, just as I couldn’t understand a theologian who denied the progress of science. All truths come from God.
There are those who argue that the right to privacy is of [a] higher order than the right to life … that was the premise of slavery. You could not protest the existence or treatment of slaves on the plantation because that was private and therefore outside your right to be concerned. ¶ …In the abortion debate, one of the crucial questions is when does life begin. Anything growing is living. Therefore human life begins when the sperm and egg join… and the pulsation of life takes place. From that point, life may be described differently (as an egg, embryo, fetus, baby, child, teen-ager, adult), but the essence is the same. ¶ …What happens to the mind of a person, and the moral fabric of a nation, that accepts the aborting of the life of a baby without a pang of conscience? What kind of a person and what kind of a society will we have 20 years hence if life can be taken so casually? It is that question, the question of our attitude, our value system, and our mind-set with regard to the nature and worth of life itself that is the central question confronting mankind. Failure to answer that question affirmatively may leave us with a hell right here on earth.
It is no common thing to find an artist who, even if he be willing to try, is capable of expressing his aims and ideals with any clearness and moderation. Some people will say that any such capacity is a flaw in the perfect artist, who should find his expression in line and colour, and leave the multitude to grope its way unaided towards comprehension. This attitude is a relic of the days when ìlíart pour líartî was the latest battle cry; when eccentricity of manner and irregularity of life were more important than any talent to the would-be artist; when every one except oneself was bourgeois.
The last few years have in some measure removed this absurdity, by destroying the old convention that it was middle-class to be sane, and that between the artist and the outer-world yawned a gulf which few could cross. Modern artists are beginning to realize their social duties. They are the spiritual teachers of the world, and for their teaching to have weight, it must be comprehensible. Any attempt, therefore, to bring artist and public into sympathy, to enable the latter to understand the ideals of the former, should be thoroughly welcome …
Sienkiewicz … compares the spiritual life to swimming; for the man who does not strive tirelessly, who does not fight continually against sinking, will mentally and morally go under. In this strait a man’s talent (again in the biblical sense) becomes a curse — and not only the talent of the artist, but also of those who eat this poisoned food. The artist used his strength to flatter his lower needs; in an ostensibly artistic form he present what is impure, draws the weaker elements to him, mixes them with evil, betrays men and helps them to betray themselves, while they convince themselves and others that they are spiritually thirsty, and that from this pure spring they may quench their thirst. Such art does not help the forward movement, but hinders it, dragging back those who are striving to press onward, and spreading pestilence abroad.
Instead of always being one of the chief bastions of the social status quo, the Church is to develop a Christian counter-culture with its own distinctive goals, values, standards, and lifestyle — a realistic alternative to the contemporary technocracy which is marked by bondage, materialism, self-centredness, and greed. Christ’s call to obedience is a call to be different, not conformist. Such a Church — joyful, obedient, loving, and free — will do more than please God: it will attract the world. It is when the Church evidently is the Church, and is living a supernatural life of love by the power of the Holy Spirit, that the world will believe.