Customer Reviews

Creation (Truth and the Christian Imagination)

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This beautiful book is very different from Alistair McGrath's general writing on theology. His introductory Christian theology book is a standard text used in seminaries around the English-speaking world; his work on Christian spirituality and historical theology is essential reading, in my opinion. In this book, McGrath departs from the typical academic text to look at the topic of creation (generally one of the major topics in systematic theology); he explores the theme of creation in a very creative way.

McGrath looks at creation lyrically, poetically, spiritually, and visually. The first thing that will strike the reader is the incredible colour and images of famous paintings throughout the book. McGrath uses seven key paintings to illustrate, focusing upon small pieces as well as broad strokes of the canvases. McGrath uses the following seven paintings:

`The Ancient of Days' by William Blake
`Adam and Eve in Paradise' by Jan Bruegel
`Landscape with a Rainbow' by Peter Paul Rubens
`The Sower' by Vincent van Gogh
`The Marriage Feast at Cana' by Juan de Flandes
`The Creation of Adam' (a detail of the Sistine Chapel ceiling) by Michelangelo
`Tower of Babel' by Pieter Bruegel

Each of these paintings has made an impact on artists, theologians, and the general public in many different ways. McGrath uses these images to go beyond the simple exposition of theology in rational and academic terms to look at theological ideas imaginatively, for artistic _expression touches the soul in diverse ways. McGrath writes that `we must discover a discipleship of the imagination, in which we allow the great themes of the Christian faith to control, nourish and delight our glorious vision of the God-created world.'

Developing ideas from Blake's painting, McGrath warns against an `excessively rational approach to God as creator' while not discounting the proper use of reason in theological development. McGrath uses Rubens' painting in connection with a poem by George Herbert and St. Patrick's `Deer's Cry' (the Breastplate) to explore spiritual dimensions of creation, showing delight in creation that goes beyond doctrines and dogmas.

McGrath draws references widely to other creative images, including the Hebrew scriptural image of God as a potter at the potter's wheel, and Dorothy Sayers' analogy of God as the author of a book. Some images are grand, and others are down-to-earth; some are exalted and power, whereas others are homespun and inviting.

The production value of the text is superb - the multi-colour process printing brings out the vivid details of the paintings, and catches the subtle shadings in paintings such as Rubens and Flandes (one can even see in the mirror on the wall in Flandes' painting the details of the scene in front of it).

This is a wonderful book, and makes a great gift for one's friends and oneself.

I would recommend this book even though when I ordered it I thought it was about the first part of Genesis dealing with the creation of the Heaven's and the earth and man. But as I read the forward I was surprised and happy to read what the author was saying and the premise from which he was coming not only intrigued me, but also showed that the author was starting with Scripture and then going to the topic he was talking about. I enjoyed reading this book.

I respectfully disagree with the prior reviewer. McGrath explores the Christian doctrine of Creation without himself engaging in any new and exciting methods of creation. This book, steeped in tradition, does not move beyond traditional thinking. If you are seeking an exploration of traditional thinking about Creation from the Christian perspective, reflected upon through age-old traditional works of art, then you may enjoy this book. McGrath continues to conform (rather than transform) to conservative tradition with terms such as "Old Testament," God as "He," and Eve as the initial instigator of apple-handling. Seeking the cutting edge? Do not be fooled by the slick packaging or the short comment on the back-cover by Archbishop Rowan Williams. (I expect more from Archbishop Williams.)