Jantar Mantar Road, a short passageway through the administrative center of New Delhi, takes its name from a complex of gigantic red astronomical instruments at its north terminus, built by Maharaja Jai Singh II in 1724. The Jantar Mantar consists of a series of geometric jungle gyms that surround the all-important shadow of the Supreme Instrument, a four-story, right-triangular sundial surrounded by semi-circular wings. The complex reflects the style of politics practiced by its autocratic creator — one based on charting the positions of the sun and planets across the zodiac with maximum pomp and precision.

The road named after the Jantar Mantar, however, better reflects the aspirations of India’s past few decades as the world’s most populous democracy. In the space of several hundred yards between two sets of hand-painted red-and-yellow police barricades, an assortment of political and religious outfits have set up tents, encampments and shrines each dedicated to some particular cause — for the prosecution of a high-placed rapist, for the rights of migrant workers, for various flavors of spiritual-social awakening. Several tents contain men on hunger strikes, each reclining on a couch and nursed by supporters, on behalf of a petition like airline employee pensions or voting rights for Indians living abroad. Despite the amplified speeches and droning chants, Jantar Mantar Road is a respite from Delhi’s non-stop hustle; people slowly mill through to listen, strike up conversations and eat deep-fried snacks.

Read the rest at Waging Nonviolence or openDemocracy.

For as long as I’ve been interested in the search for proofs about the existence of God, I’ve been interested in drawing them. Words and equations just didn’t seem like enough; to wrap my head around what these constructs were expressing, and to try to communicate them to others, I had to make pictures. As I wrote my new book, God in Proof: The Story of a Search from the Ancients to the Internet, I was drawing every step of the way — and my publisher, University of California Press, let me stick some of my pictures in the text.

In doing, I soon discovered, I was retracing the history of proof itself. Long before the mathematical symbols and notation we generally use today, ancient proofs were drawn in diagrams and images.

Now that the book is finished, I want to share the fun I’ve been having by making these drawings with you. The press has agreed to pony up some free books for a drawing contest, and here’s how to win one: Draw a proof of something, divine or otherwise, and tweet a scan or photo of it to #GodInProof, along with any explanation you’d like to add. (You can also email them to [email protected].) Selected proofs will appear here, where they’ll be entered for a chance to win a free book. Entries with the highest number of social media shares win. Multiple submissions are allowed, but only one book is allowed per winning author.

Download the PDF version of the contest postcard here.

Most of my writer friends are used to me extolling the virtues of Midori MD notebooks, these fabulous little buggers from Japan: tough signature-bound pages, bendability for comfy back-pocket storage (unlike your average Moleskine), and the ability to lie flat, on any page, at a moment’s notice.

The toughness was especially useful when I took my first Midori on a reporting trip in Costa Rica, where the moisture in the air makes short work of flimsy books.?Back-pocket storage was often necessary while reporting on Occupy Wall Street, when at a moment’s notice I’d have to take off my reporters’ hat and help out on something with both hands. Lying flat, then, came especially in handy on my recent trip to Israel/Palestine when, for fear of the notorious security at Ben Gurion Airport and Israel’s anxiety about anyone seeing its occupation up close, I decided to photograph my entire notebook, upload it, and leave the book itself behind.

Thanks to the Midori’s marvelous ability to lie down on a dime, photographing the whole 176 page notebook took only a few minutes, with no need for fingers in the way to hold the pages to the table.

So get your Midori MD today; the more of us in the United States who do, the more likely they’ll continue being available here. I buy them from?the good folks at MyMaido.com, based in California, who’ve given me great service and the best prices I can find on this side of the Pacific.

And if you want to read about about I saw and did in the Holy Land, start with my first dispatch at Waging Nonviolence. More to come.

A lifelong Episcopalian and inveterate Bible-thumper, Stringfellow was a Protestant in the most etymological sense. He saw Christianity as a call to dissent. The great Reformed theologian Karl Barth recognized this, and urged an audience at the University of Chicago in 1962 to “Listen to this man!” Barth saw in Stringfellow’s writing a “theology of freedom” more concerned with proclaiming the gospel than with catering to the habits and fads of American society—a theology unwilling, as Stringfellow put it, “to interpret the Bible for the convenience of America.” Barth also saw in him a way of doing theology free from the pomp and insularity of academia.

That Stringfellow has remained mostly ignored in academic theology is at least in part his own doing. He would say that, for the sake of vocation, he had “died to career,” both in law and theology. Though he did quite a lot of each, he refused to define himself by the professional standards of either—they’re principalities in themselves. His writing is decidedly vernacular even when demanding, the product of reading far more from the Bible and the newspaper (as Barth urged preachers to do) than from the theological canon. “A person must come to the Bible with a certain naivety,” Stingfellow wrote; “one must forego anything that would demean God to dependence upon one’s own thoughts.” What he wrote is a model for serious, engaged, and yet decidedly lay theology, carried out with a sense of both play and dire seriousness. Caught as we are between the blogosphere rabble and the over-specialized academy, we need more of this today.

Best of all, the folks at Commonweal?realized that they had an article by Stringfellow in their archives: a 1972 call to “Impeach Nixon Now.?What’s so special about that??you might ask. Weren’t a lot of people calling for Nixon’s resignation?in 1972??The thing is, the article is dated May 26. The Watergate break-in was June 17 of that year, less than a month later. Stringfellow’s concern, though, was more serious than what ultimately brought about Nixon’s resignation: above all, the continuation of a brutal, illegal, unnecessary war.

We should have listened.

Well, it sort of is now. Read a (slightly edited) portion of what’s below the fold at Occupy Writers, or a blown-up pdf here. I’ll also be giving a talk—which was gracefully entitled for me “The Ballerina and the Charging Bull”—at Maryhouse (55 East 3rd St., New York) on January 13 at 7:45 p.m.

In the middle of the second millennium B.C., a dark cloud of noxious falling ash and a tsunami wave spread across the Mediterranean. It was enough to leave Minoan civilization—that of the Minotaur, of the bare-breasted snake goddess, of the palace at Knossos—in ruins. Some say the event might also have had some connection with the ten plagues Pharaoh endured in the book of Exodus. It now seems pretty clear that the epicenter of this cataclysm was none other than the Greek island of Santorini—the land mass of which, as I learned this past week during a sojourn there, looks like and is the rim of the crater around a gigantic sunken volcano.

The excuse for my trip was the Caldera (=“crater”) Arts & Literature Festival?hosted by Atlantis Books, one of the best bookshops in the world. (Atlantis’s name refers to the rather dubious theory that Santorini is also the legendary island nation mentioned by Plato. The size of Libya and Asia combined? Beyond the Strait of Gibraltar? Yeah, right.) The couple dozen of us in attendance enjoyed readings, musical improvisations, a lesson in taking non-sappy photos on a picturesque Greek island, and hors d’oeuvres prepared before our eyes by?Vefa Alexiadou, the kinder and more law-abiding Martha Stewart of Greece. The festival’s climax was the launch of another magnificent issue of?Five Dials?magazine.?Five Dials?editor Craig Taylor (who meanwhile released?a new book of his own) wrote to his readers about all this private revelry at the little bookshop collective the only way he could: “I know; I’m sorry.”

A short flight up and over the crater brought me back to Athens, the epicenter of another great Greek volcano of sorts, which I write about in a new post at Waging Nonviolence:

From a glance at a recent front page of The New York Times, you might guess that a political meeting in Athens this week would be full of talk about the resigning prime minister, bailout deals, and the Euro. The land that gave birth to European civilization now seems on the brink of sinking the whole continent’s economy. But, among those gathered on Monday in a basement in the neighborhood of Exarcheia—a kind of Haight-Ashbury for Greek anarchists—the agenda was completely different. They talked instead about parks, public kitchens, and barter bazaars. They even seemed pretty hopeful.

The lack of concern for political figureheads, in retrospect, was to be expected. Greek anarchists see no more reason to care about whether George Papandreou goes or stays than those at Occupy Wall Street are agonizing over Herman Cain’s sexual foibles. They have another kind of politics in mind.

The artistic collectivity of Atlantis Books turned, for me, into the political collectivity of Exarcheia. Despite all the signs past and present that the end is near, that week in Greece made it seem like everything is going to be fine.

As I read the book, I kept coming across lots of parallels with my own work-in-progress about proofs for the existence of God. One thing about both that certainly sticks out: it’s all dudes.

I’m the questioner in bold, Brook is the answerer:

You note that most of the searchers you write about, maybe “not surprisingly,” are men. Why is that not surprising? Not surprisingly, too, I’ve found something similar in my work on the search for proofs of the existence of God, which has turned itself by virtue of the fact into a study of masculinity, at least implicitly. I’ve had to think a lot myself about what thinking about proofs has to do with being male. How about you, though? What does all this thinking about Eden-searchers have to do with being a woman?

The “not surprisingly” is just my little bitter feminist joke. It actually was sort of surprising, or certainly disappointing to me as a woman writer working on this book, not to find any full-fledged Eden-seeking women. I kept running into historical women on the edge of the search, who were always sort of “tsk-tsking” dreamier male Eden-seekers. The feminist Victoria Woodhull gave an entire lecture in 1871 refuting the idea; she said that any “schoolboy over the age of 12” who would read Genesis 2 and think it describes a literal place “ought to be reprimanded for his stupidity.” Others were more diplomatic. Gertrude Bell, who lived in Iraq for much of her adult life, only mentioned Eden once in her diaries: her friend William Willcocks had come to town, to discuss “Eden and other reasonable things.” She called him “dear old thing.”

I feel like this kind of biblical musing was a creative canvas for men, but it brought out a certain practical streak in women. Then of course there’s the stereotypical demonization of Eve—if Eden is the origin of women’s villainy and/or victimization, why would we want to go back there?

Also, keep an eye out for the review of Paradise Lust in the New York Times Book Review this weekend.

He brought back a sack full of Afghan scarves, and offered me my pick of them. The one I chose, the yellow one, is what I’m wearing now. What the picture doesn’t show, but which was the first thing I noticed when I put it on, is the smell. One scarf smells strongly; the smell of Eric’s sack of them is tremendous. He didn’t notice it when he was in Kabul, because everything smells this way there. With my scarf on, I’m carrying that city with me today, into the new year. I’m breathing the city that my country has occupied for nearly a decade now.

I can try to describe it, but I’ll never succeed. It’s a bit like the smell of a wood fire, but there’s much more too. There’s also the trace of burning trash, which people use to supplement their insufficient wood and coal, for heat and cooking. There’s smog in it too, from a city where people can’t afford anything but the lowest-grade gasoline in cars, and where the snow-capped mountains all around trap it in. There’s also dust, because the cars are driving over mostly unpaved roads. And there’s the hint of unnamable filth, from the scattered sewers that run along the roads, open to the air. This would be just unsanitary in a city of thousands. But Kabul has swelled to four million, thanks to impoverished refugees pouring in from the war-ravaged countryside, their ancestral land lost and trading good, clean air for what I’m smelling now.

In late 2001, I met a woman who worked at the Pentagon. When she learned I had been protesting the invasion, she argued with me. She said, as we parted, that someday I’d understand that this was right. I’d get over it. Well, I still don’t. I haven’t.

The year to come will only really be new if we make it that way. Let our mere prayers for peace be made acceptable by our actions, by our willingness to shed the pride and importunity that keeps us trying to have our way with drone strikes and night raids. They will fail. There is no victory from making widows and orphans. In a new year made truly new, we will no longer accept the waste and horror of war as the policy of normalcy. We will stop trying to take what isn’t ours. We will starve the bottomless hunger for revenge, and sit down with our enemies, and eat together.

Let God be the first to know, and Congress second: it’s a new year. War, the demon-mother of poverty, is no good in our sight, and we are the ones who can stop it. This year, may the four million human beings in Kabul breathe clean air again. Amen; let this be done.

The gods—and, of course, I include under this title that whole ‘hemisphere of magic fiction’ which flows indirectly from them—the gods were not to paganism what they are to us. In classical poetry we hear plenty of them as objects of worship, of fear, of hatred; even comic characters. But pure aesthetic contemplation of their eternity, their remoteness, and their peace, for its own sake, is curiously rare. There is, I think, only the one passage in all Homer; and it is echoed only by Lucretius [Odyssey, vi, 41 & Lucretius?De Rerum Nat. iii, 18]. But Lucretius was an atheist; and that is precisely why he sees the beauty of the gods. For he himself, in another place, has laid his finger on the secret: it is?religio that hides them. No religion, so long as it believed, can have that kind of beauty which we find in the gods of Titian, of Botticelli, or of our own romantic poets. To this day you cannot make poetry?of that sort out of the Christian heaven and hell. The gods must be, as it were, disinfected of belief; the last taint of the sacrifice, and of the urgent practical interest, the selfish prayer, must be washed away from them, before that other divinity can come to light in the imagination. For poetry to spread its wings fully, there must be, besides the believed religion, a marvellous that knows itself as myth. For this to come about, the old marvellous, which once was taken as fact, must be stored up somewhere, not wholly dead, but in a winter sleep, waiting its time. If it is not so stored up, if it is allowed to perish, then the imagination is impoverished. Such a sleeping-place was provided for the gods by allegory. Allegory may seem, at first, to have killed them; but it killed only as the sower kills, for gods, like other creatures, must die to live.

The Allegory of Love (Oxford, 1958 [1936]), p. 82.