The Trial Of God

The Trial of God (as it was held on February 25, 1649, in Shamgorod) A Play by Elie Wiesel Translated by Marion Wiesel Introduction by Robert McAfee Brown Afterword by Matthew Fox Where is God when innocent human beings suffer? This drama lays bare the most vexing questions confronting the moral imagination. Set in a Ukranian village in the year 1649, this haunting play takes place in the aftermath of a pogrom. Only two Jews, Berish the innkeeper and his daughter Hannah, have survived the brutal Cossack raids. When three itinerant actors arrive in town to perform a Purim play, Berish demands that they stage a mock trial of God instead, indicting Him for His silence in the face of evil. Berish, a latter-day Job, is ready to take on the role of prosecutor. But who will defend God? A mysterious stranger named Sam, who seems oddly familiar to everyone present, shows up just in time to volunteer. The idea for this play came from an event that Elie Wiesel witnessed as a boy in Auschwitz: “Three rabbis—all erudite and pious men—decided one evening to indict God for allowing His children to be massacred. I remember: I was there, and I felt like crying. But there nobody cried.” Inspired and challenged by this play, Christian theologians Robert McAfee Brown and Matthew Fox, in a new Introduction and Afterword, join Elie Wiesel in the search for faith in a world where God is silent.

The Trial of God (as it was held on February 25, 1649, in Shamgorod) A Play by Elie Wiesel Translated by Marion Wiesel Introduction by Robert McAfee Brown Afterword by Matthew Fox Where is God when innocent human beings suffer? This drama lays bare the most vexing questions confronting the moral imagination. Set in a Ukranian village in the year 1649, this haunting play takes place in the aftermath of a pogrom. Only two Jews, Berish the innkeeper and his daughter Hannah, have survived the brutal Cossack raids. When three itinerant actors arrive in town to perform a Purim play, Berish demands that they stage a mock trial of God instead, indicting Him for His silence in the face of evil. Berish, a latter-day Job, is ready to take on the role of prosecutor. But who will defend God? A mysterious stranger named Sam, who seems oddly familiar to everyone present, shows up just in time to volunteer. The idea for this play came from an event that Elie Wiesel witnessed as a boy in Auschwitz: “Three rabbis—all erudite and pious men—decided one evening to indict God for allowing His children to be massacred. I remember: I was there, and I felt like crying. But there nobody cried.” Inspired and challenged by this play, Christian theologians Robert McAfee Brown and Matthew Fox, in a new Introduction and Afterword, join Elie Wiesel in the search for faith in a world where God is silent.

Many scholars find the legal metaphor of an Oath of Innocence inappropriate, though for different reasons. Some liberal scholars opt for an aesthetic, not a moral, resolution of the question of evil in the world. They find a sublime beauty in God's review of the animal and physical worlds, Behemoth and Leviathan. But that is all they find. They find no suggestions of moral purpose in God's creation and control of evil. Indeed, they feel none could be forthcoming. God is beyond good and evil so no moral resolution is possible. Since no moral resolution is possible, a legal mataphor such as a lawsuit dramatizing the moral question is inappropriate. They interpret Job to understand that position. And they interpret him to retract the lawsuit in its entirety. This author feels such liberal scholars miss a moral resolution for five reasons. (a) First, they fail to give adequate weight to Satan's first speech in heaven setting out the moral solution. (b) Second, they misinterpret Job's struggle with God to be a request for a restoration of his former position, rather than a request to know the reason behind evil in the world. (c) Third, they fail to appreciate the moral restrictions under which God has to operate. God cannot reveal any moral answers directly without defeating his very purpose in the creation and control of evil. As a result, they miss the suggestions of moral purpose in God's two speeches and the inferences God would have Job draw. (d) Fourth, they fail to fully appreciate the legal dynamics of the enforcement mechanism of Job's Oath of Innocence. In particular, they fail to appreciate the distinction between causal responsibility and moral blameworthiness. Thus, they do not understand God's comments concerning vindication and condemnation in his first speech to Job. And they do not understand Job's hesitation to proceed beyond his own vindication to a condemnation of God in Job's first speech to God. Ultimately, they fail to see Job's adjournment and continuation of his Oath of Innocence implied by the allusion to the story of Abraham and Sodom and Gomorrah in Job's final speech. (e) Finally, they fail to give full expression to God's ultimate judgement on Job. Job and only Job spoke rightly about God. In the face of such a judgement, there is no room to deny the ultimate propriety of the moral and legal question as a way of framing man's encounter with God. Some conservative scholars opt for a moral resolution of the question of evil in the world, but their resolution is equally unsatisfying. They interpret Job's so-called excessive words and his Oath of Innocence to be sins of presumption. Thus they would have Job retract his lawsuit in its entirety and repent morally for either his so-called excessive words, his raising of the lawsuit or both. This author feels such conservative scholars miss a satisfactory moral resolution for three reasons. (a) First, they fail to understand the depth of Satan's challenge to God. It is not merely that Job will curse God. It is that God is wrong in his judgement on Job's goodness. God missed sin in Job's life. Such scholars think their moral resolution is possible, because although Job sins, Job does not actually curse God. Their resolution actually makes Satan right in his challenge of God so that God should step down from his throne and destroy mankind. (b) Second, they fail to give proper weight to Job's blamelessness and integrity. The raising of the Oath of Innocence is an expression of that blamelessness and integrity. It is what God expects of Job, though he cannot tell him that directly. (c) Finally, they fail to give full expression of God's ultimate judgement on Job. Job and only Job spoke rightly about God. In the face of such a judgement, there is no room to attribute sin or wrongdoing to Job for either his so-called excessive words or for his Oath of Innocence. My personal interpretation charts a new middle course between these two-fold horrors

A detailed examination of five recent landmark court battles over the separation of church and state offers coverage of the cases from both sides, from the 1989 challenge of a cross in a San Diego public park to the 2004 fight by parents who objected to the Dover, Pennsylvania, school board's decision to mandate the teaching of intelligent design.

Originally published: New York: Random House, Ã1976.

Ilya Kaminsky’s astonishing parable in poems asks us, What is silence? Deaf Republic opens in an occupied country in a time of political unrest. When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear—they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya’s girls, heroically teaching signing by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Ilya Kaminsky’s long-awaited Deaf Republic confronts our time’s vicious atrocities and our collective silence in the face of them.

Welcome to The Sunbearer Trials, where teen semidioses compete in a series of challenges with the highest of stakes, in this electric new Mexican-inspired fantasy from Aiden Thomas, the New York Times bestselling author of Cemetery Boys. “Only the most powerful and honorable semidioses get chosen. I’m just a Jade. I’m not a real hero.” As each new decade begins, the Sun’s power must be replenished so that Sol can keep traveling along the sky and keep the chaotic Obsidian gods at bay. Sol selects ten of the most worthy semidioses to compete in the Sunbearer Trials. The winner carries light and life to all the temples of Reino del Sol, but the loser has the greatest honor of all—they will be sacrificed to Sol, their body melted down to refuel the Sun Stones, protecting the world for another ten years. Teo, a seventeen-year-old Jade semidiós and the trans son of the goddess of birds, isn't worried about the Trials . . . at least, not for himself. His best friend, Niya is a Gold semidiós and a shoo-in for the Trials, and while he trusts her abilities, the odds of becoming the sacrifice is one-in-ten. But then, for the first time in over a century, the impossible happens. Sol chooses not one, but two Jade competitors. Teo, and Xio, the thirteen-year-old child of the god of bad luck. Now they must compete in five trials against Gold opponents who are more powerful and better trained. Worst of all, Teo’s annoyingly handsome ex-best friend and famous semidiós Hero, Aurelio is favored to win. Teo is determined to get himself and his friends through the trials unscathed—for fame, glory, and their own survival.

Invoking the biblical motif of Jacob's struggle with the Face of God (Genesis 32), Simon D. Podmore undertakes a constructive theological account of 'spiritual trial' (tentatio; known in German mystical and Lutheran tradition as Anfechtung) in relation to enduring questions of the otherness and hiddenness of God and the self, the problem of suffering and evil, the freedom of Spirit, and the anxious relationship between temptation and ordeal, fear and desire. This book traces a genealogy of spiritual trial from medieval German mystical theology, through Lutheran and Pietistic thought (Tauler; Luther; Arndt; Boehme), and reconstructs Kierkegaard's innovative yet under-examined recovery of the category (AnfAegtelse: a Danish cognate for Anfechtung) within the modern context of the 'spiritless' decline of Christendom. Developing the relationship between struggle (Anfechtung) and release (Gelassenheit), Podmore proposes a Kierkegaardian theology of spiritual trial which elaborates the kenosis of the self before God in terms of Spirit's restless longing to rest transparently in God. Offering an original rehabilitation of the temptation of spiritual trial, this book strives for a renewed theological hermeneutic which speaks to the enduring human struggle to realise the unchanging love of God in the face of spiritual darkness.