Abstract

In this essay, I interrogate the nature and grounds of Milbank's understanding of taste as it applies to differing mythic sensibilities, arguing that it is insufficiently responsive to the priority of God's action and so inadequate to a Christian theological account of the interplay of mythoi. By reading Milbank in light of The Song of Songs and Jean-Louis Chrétien's phenomenology of prayer, I suggest that rather than the subject embracing a mythos, it is instead the mythos which first embraces the subject. Thus one no longer requires recourse to the implicitly violent language of ‘out-narration’, but can speak instead of willing seduction by God. By approaching taste in this way, especially in relation to ‘mythic sensibilities’, a more truly Christian approach to difference becomes possible.