In The Fingerprints of God best-selling author Robert Farrar Capon takes readers on a sleuthing project, using his own uniquely developed history of images to find evidence of the Divine Suspect in our midst." "Capon first explores various images that prompt proper talk about God and the nature of Scripture. The Bible, he says, is the mystery story of God's hidden presence as the Divine Suspect behind all history. Capon discusses the misuse of Scripture due to literalist interpretation, looks at the ways Christ has suffered at the hands of human image-makers, and proposes a novel understanding of salvation history that clarifies the proper roles of Scripture, the Holy Spirit, and Jesus." "In the second part of the book Capon turns his magnifying glass on major thinkers from church history - Irenaeus, Athanasius, Anselm, Luther, Melanchthon, Calvin, Julian of Norwich, and others - pointing out both the strong and the weak images they have produced. Throughout the centuries, Capon sees God as the "Divine Bowler" trying to knock down the faulty "pins" of ideas that have been set up in the lanes of religious history, while also disclosing himself in profound and powerful ways
Robert Farrar Capon was a lifelong New Yorker and served for almost 30 years as a parish priest in the Episcopal Church. His first book, Bed and Board, was published in 1965 and by 1977 left full-time ministry to devote more time to writing books, though he continued to serve the church in various capacities such as assisting priest and Canon Theologian. He has written twenty books on theology, cooking and family life.
His lifelong interest in food intersected with his writing and led to his becoming food columnist for Newsday and The New York Times and also teaching cooking classes.
Thanks to Jeremy for tuning me in to this guy some time back.
Here's more radical grace from Capon. At times Capon very nearly reduces sola gratia to absurdity, but then, he seems to like it that way. If you're secure enough to embrace paradox in theology, then this is an enjoyable jaunt through history. Here, Incarnation is everywhere.
I consider Capon's work to be the sweet potatoe pie on my theological plate. (Most narratives are warm homemade bread and many histories are like those good greens, while propositional theology is becoming rancid meat to me.) Anyway, physicians recommend a balanced diet, so a helping of Capon every now and again is a fine treat.
Upfront and witty style, informed and creative ideas, sometimes over the top, but refreshing even then.
As with a lot of Capon, there is more here than can be processed in a single reading. I didn’t get as “sucked in” to this one as I have others, but I found it compelling nevertheless. It was more academic than some of his others that wade down in the mud with the ordinary folk, but I feel I needed to spend time with this book. I will again I’m sure.
Rambling in a very Capon way that is both endearing and sometimes annoying, but it earns 5 stars from me for delivering what is promised: a history and vocabulary of images that have already lodged in my brain and given me new language for my faith.
With a brilliant sense of humor and amazing erudition, the author of this book examines certain key images which are essential to a deep understanding of the Bible. His method is to see the Bible as a whole and see the recapitulation of all things in Christ. His way of describing redemption moves us away from transactionalism and toward a view of God's continual work of creation and redemption before, during and since the time of Christ.
Thanks to Father Capon, the glory of God's grace throughout the ages is even more apparent. Let us drink in the subjectivity of others as they experience their encounter with God, so that our own understanding might grow. This book will greatly aids that process. Glory to the Father, and to the Son, and to the Holy Spirit.
brilliant. capon uses figures from christian history to have a candid conversation about christianity. he shows the reader that the Word of God has been present throughout history and that some of the images we use to try and grapple our faith just simply aren't good enough.