This essay is an appreciative engagement with Karl Peters's Dancing with the Sacred (2002). Peters achieves a naturalistic theology of great power. Two themes are covered here. The first is how Peters gives ontological footing for a naturalistic conception of God conceived as the process of creativity in nature. Peters achieves this by conceiving creativity in terms of Darwinian random variation and natural selection combined with the notion of nonequilibrium thermodynamics. He gives ontological reference for a conception of God similar (...) to Henry Nelson Wieman's idea of creative transformation. The second theme is how Peters succeeds in translating this nonpersonal conception of God into a powerful view of naturalistic religion that can shape a religious form of life. The key is that Peters's God can be understood as present in experience. Peters provides naturalistic interpretations of grace and the cruciform structure of creativity; the latter addresses the problem of evil in a nuanced fashion. I conclude with three critical comments about Peters's environmental ethics, his use of the notion of mystery, and his failure to have a robust conception of human fault or sin. (shrink)

Too many theologies beg the question about the nature of religion by building metaphysically substantive assumptions into its description. Typically these assumptions are: the object of religious devotion must be both absolute and personal, final causality must be true, and there must be a cosmic conservation of value. Theological naturalism, exemplified in the thought of Henry Nelson Wieman, articulates an entirely formal, yet not substantively empty, conception of religion which does not beg these questions and which is consequently more descriptively (...) adequate to the nature of religion. It cannot therefore be assumed, without begging the question, that religious adequacy requires the metaphysical falsity of philosophical naturalism. (shrink)