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The Everlasting Man is a Christian apologetics book written by G. K. Chesterton, published in 1925.It is, to some extent, a deliberate rebuttal of H. G. Wells' The Outline of History, disputing Wells' portrayals of human life and civilisation as a seamless development from animal life and of Jesus Christ as merely another charismatic figure.
Gilbert Keith Chesterton KC*SG (29 May 1874 – 14 June 1936) was an English author, philosopher, Christian apologist, and literary and art critic. [2]Chesterton created the fictional priest-detective Father Brown, [3] and wrote on apologetics, such as his works Orthodoxy and The Everlasting Man.
The Man Who Knew Too Much: And Other Stories (1922) is a book of detective stories by English writer G. K. Chesterton, published in 1922 by Cassell and Company in the United Kingdom, and Harper Brothers in the United States.
Cover of The Napoleon of Notting Hill. Chesterton, Gilbert Keith (1900), Greybeards at Play (poetry), London: R. Brimley Johnson. ——— (1900), The Wild Knight and Other Poems (poetry).
Orthodoxy is a 1908 book by G. K. Chesterton which he described as a "spiritual autobiography". It has become a classic of Christian apologetics. [1]Chesterton considered this book a companion to his other work, Heretics, which was a collection of essays aimed at refuting prevalent secular views of his time and defending the Christian orthodoxy. [2]
Heretics is a collection of 20 essays by English writer G. K. Chesterton published by John Lane in 1905. [1] In it, Chesterton quotes at length and argues extensively against atheist Joseph McCabe and delivers diatribes about his close personal friend and intellectual rival George Bernard Shaw, as well as about Friedrich Nietzsche, H. G. Wells, Rudyard Kipling, and an array of other major ...
In the Christian interpretation Ouroboros is a symbol of the limited confines of the material world and the self-consuming transitory nature of a mere "worldly existence", and Chesterton, in The Everlasting Man, uses it as a symbol of the circular and self-defeating nature of pantheistic mysticism and of most modern philosophy.
In the orderly Christian cosmos, in which Chesterton wanted to believe, nothing is finally tragic, still less absurd. The world is a divine comedy, the ultimate significance of which is never in doubt. In The Man Who Was Thursday, the world is illegible and may well be nonsensical. This was the nightmare he struggled, for the most part ...