By Umberto Eco, Carlo Maria Martini
An enlightened, lively alternate that may resonate with believers and nonbelievers alike.
One is the cherished writer of The identify of the Rose, a celebrated pupil, thinker, and self-declared secularist; the opposite is a preeminent clergyman and a revered professional at the New testomony. during this intellectually stimulating discussion, frequently hostile yet continually amicable, those nice males, who stand on contrary aspects of the church door, talk about the most arguable problems with our day, together with the apocalypse, abortion, ladies within the clergy, and ethics. As we voyage onward into the recent millennium, they body a debate approximately concerns that experience already all started to rage, continuously conscious of the gulf among trust and nonbelief that separates them, always probing and not easy, but in addition respectful of the other’s standpoint. For believers and nonbelievers alike, the result's either edifying and illuminating. “Their correspondence,” writes Professor Harvey Cox in his creation, “lifts the potential for clever dialog on faith to a brand new level.”
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Extra resources for Belief or Nonbelief?: A Confrontation
Questioner: How is one to be intelligent? Krishnamurti: What is implied in this question? You want a method by which to be intelligent—which implies that you know what intelligence is. When you want to go some place, you already know your destination and you only have to ask the way. Similarly, you think you know what intelligence is, and you want a method by which you can be intelligent. Intelligence is the very questioning of the method. Fear destroys intelligence, does it not? Fear prevents you from examining, questioning, inquiring; it prevents you from finding out what is true.
Have you noticed that? People who are afraid imitate others; they cling to tradition, to their parents, to their wives, to their brothers, to their husbands. And imitation destroys initiative. You know, when you draw or paint a tree, you do not imitate the tree, you do not copy it exactly as it is, which would be mere photography. To be free to paint a tree, or a flower, or a sunset, you have to feel what it conveys to you, the significance, the meaning of it. This is very important—to try to convey the significance of what you see and not merely copy it, for then you begin to awaken the creative process.
Now, can you look at your fear? If you want to examine a bird, observe the shape of its wings, its legs, its beak, you must go very close to it, must you not? Similarly, if you are afraid, you must look very closely at your fear. When you run away from it you only increase fear. Say, for instance, you want to give your life to something which you really love, but your parents tell you that you must not do it and threaten you with something terrible if you do.