St. Augustine’s Press

"Is not modern democracy the finally-found form of the religion of Humanity?" (2007)
     The Religion of Humanity: The Illusion of Our Times is the first anthology in any language of the writings of the contemporary French political philosopher, Pierre Manent, on “the religion of Humanity.”  The striking phrase comes from nineteenth-century French thinker, Auguste Comte (1798–1857). Comte coined the phrase and indeed created an atheistic religion of a self-adoring Humanity.  In the aftermath of the Cold War, Manent observed victorious democracy interpreting itself in a similar framework. He took it upon himself to track this development, analyze it, and warn his fellow Europeans of its deleterious political, intellectual, moral, and spiritual effects. With conceptual precision and (most often) a sober tone, many contemporary sacred cows were gored.   But in addition to cursing the humanitarian darkness, he also lit many candles of judicious political, philosophical, moral, and spiritual analysis. This anthology is thus almost unique in its subject matter, and certainly unique in its treatment of the subject. It is a rarity and gem: a first-rate work of political philosophy.

The concept of nature has drawn criticism from many quarters, including the natural sciences, ethics, metaphysics and theology. In these essays, distinguished thomistic philosophers and theologians seek to recover nature for their disciplines. The volume contains extensive treatment of nature’s much disputed role in ethics, as well as its importance for the philosophy of science (including biology), philosophical anthropology, metaphysics, the philosophy of art, theology and other areas.

Savrola is Winston Churchill’s first major literary effort and his only full-length work of fiction. Published in 1900, the novel’s subtitle, A Tale of the Revolution in Laurania, reflects the story’s modern political focus. Laurania, a long-established republic, is subjected to the autocratic rule of President Antonio Molara, a former general who has become known as the Dictator. Savrola, the man of the multitude, leads the democratic effort to restore the political liberties of the people. When the register of eligible electors is mutilated and the popular franchise compromised, a riot breaks out and the stage is set for a fight to the death between Molara and Savrola over who will rule Laurania. General Molara enlists the assistance of his beautiful wife, Lucile, to undermine Savrola’s influence with the people. But Lucile falls in love with Savrola, who is equally moved by the beauty and charm of the First Lady. As is indicated by the last chapter’s title, “Life’s Compensations,” all ends well in Laurania. After the violent troubles of the revolution, Molara is dead, Lucile and Savrola are united, and the Mediterranean republic returns to peace and prosperity.

Compelling theological questions converge with contemporary concerns in Françoise Breynaert's exposition of the doctrine surrounding Christ's second coming. Why must Christ come again? What will become of this earth as the dominion of man is more and more power concentrated in the hands of the few? Ideologies associated with the pursuit of power promise salvation––of the world, the planet, of humanity itself––through politics, technology, and science. But Breynaert draws answers to both questions instead from Scripture and with this book prepares us for what lies ahead. She points to the spiritual journey that is humanity's true destiny, along which man will encounter the temptation to accept the claims of power and its promises of fulfillment in this life, and the traps laid for the man who does not wish to be challenged for the victory of his soul. Breynaert's account of the second coming and the false promises of today's world also remind us of the assurances given in Scripture for mercy and triumph, an optimism that offers much needed strength of spirit.

After a long life with Shakespeare, seeing, reading, studying, playing, and teaching the works, Michael Platt has bequeathed to after-livers an appreciation of some of the many wonders of Shakespeare. Seven discerned here are: first, how vast his learning is; second, how witty in expression, how rich in thought, and inventive in coinage his language; third, that he is the first poet ever to write both comedy and tragedy, and beyond that, history, thus making him the English Aristophanes, Sophocles, and Thucydides; fourth, that, unlike his great poetic predecessors, he presents life without the presence of the gods or God and yet, though hidden, everywhere Christian teachings illuminate life; fifth, that he so abundantly multiplies instances, so skillfully juxtaposes them, and so frames them with wisdom, that to understand him you must become philosophic; sixth, that each of his near nine hundred characters is so himself, speaking like no other, that we marvel how a man is is what he is like others, and yet who he is is utterly self-referential and seventh, though Shakespeare is invisible in his own works, like water in water, still in one brief run of words, he tells himself the secrets of all his artful life.

Will Morrisey again considers the political dimensions of literary classics, as previously seen in Melville’s Ship of State (2019). His attention to Shakespeare’s comedies is a reader’s and playgoer’s delight. 

This is a posthumously published collection of Nalin Ranasinghe's sharp analyses of Shakespeare's five heavy dramas: Hamlet, King John, Julius Caesar, King Lear, and Antony and Cleopatra. True to form, Ranasinghe serves up philosophical and literary genius for the reader's benefit and delight.

 Acclaimed British historian examines the layers of craft and insight in Tobias Smollett, and discusses the particular nature of his genius and influence on British culture. Once again, Black acquaints the reader with the full range of a prolific writer's works and offers a backstage tour of the meaning and context of Britain's most beloved stories and story-tellers.

 “Poems so severely beautiful that they become unforgettable after one reading. . . . If you’re a reader who loves poetry whatever mood it’s in, just open Spending the Winter anywhere to find poems that hurt, enlighten, and delight.” —Rhina P. Espaillat, author of Rehearsing Absence and winner of the T.S. Eliot Prize

 The work of St. Bartholomew of Braga, O.P. (1514–1590) appears here in English for the first time despite its long and enduring influence in ecclesiastical circles. His meditations on the office of pastor have provided critical insight bishops since their initial circulation and have helped form the most famous among them, including Bartholomew's proteges Charles Borromeo. Pope Paul VI ordered a copy of Bartholomew's work to be distributed among the Catholic bishops at the Second Vatican Council. Donald Prudlo's translation situates St. Bartholomew of the Martyrs in his historical context as a lynchpin of Catholic Reform and affirms him as a figurehead of pastoral administration even in our own times.

In this concise and creative book, Nathan Lefler places G. K. Chesterton and René Girard in conversation on the art of being deceived. The campaign to get rid of (or mythicize) the Judaic and the Christian is not progress, it is a fog. Girard noted early on that returning preeminent status to the Judeo-Christian influence would have the (paradoxical) effect of clearing the air, such that humans might actually breathe and reason well again. 

Carlos José Errázuriz, Professor of Canon Law at the Pontifical University of the Holy Cross (Rome) has provided a comprehensive and insightful treatment of rights, justice, and law in the Catholic Church, beginning with the most basic questions regarding the essence of these realities.

Black is devoted to the preservation of the memory of British literary genius, and in so doing he is carving out a niche for himself. As in the Gothic novel where landscapes give quarter to influences that seem to interact with the human fates that freely wander in, reading Black is an experience of suddenly finding oneself in possession of an education, and his allure takes a cue from the horrific Gothic tempt.

In addition to examples drawn from his naval background, Shenk references Homer, Shakespeare and Milton in demonstrating forestasis to be a widely useful parallel to traditional stasis. Shenk argues that both deserve to be widely taught as prime, complementary modern techniques of invention. 

Maria Traub's translation of Gabriel Marcel's post-war plays is a window into the French philosopher's answer to his own signature questions regarding human existence. And as in the earlier collection of plays, The Invisible Threshold, the realism, passion and sincerity that frame conscience and moral duty in Marcel are most profoundly visible in the day-to-day of family life. Ideas never before presented theatrically emerge in Marcel's characters who struggle to understand their times and how best to live in them. Post-war life was as much a spiritual reckoning as it was a new society, and Marcel's treatment of introspection is a valuable key to his own work.

Marcel's dramas require characters to respond authentically and from their true selves. He thereby offers the vision of how individual compromises may build up to break the world and condemn, or, conversely, contribute to the discovery and meaning of relation and redemption. Traub's new translation will interest the player as much as the scholar, and Marcel's aptitude for theatrical writing is proven once again. His intellectual sensitivity creates characters that beckon performance, which is an added dimension to the presentation of the human condition.