The near-sacrifice of Isaac by his father Abraham, the Father of Faith, is the most troubling of stories. It should be. Chaim Potok’s young protagonist Asher Lev remembers the shiver he felt when he first heard the story. What is most troubling is the suspicion that Abraham was right to be willing to sacrifice his son. But was he? Jeremiah says Yahweh denounced the sacrifice of children, saying “that such a thing had never entered my mind.” (Jer. 19:5) Perhaps we are right to be troubled by any notion that Abraham was right to even let the idea enter his mind and even more troubled by any thought it ever entered into God’s mind.

Bob Dylan makes a bitter burlesque of the story in his song “Highway 61 Revisited.” The “god” who requires the sacrifice is a bully, warning Abraham that if he doesn’t comply: “Next time you see me, you’d better run.” To the question: “Where do you want to see this killing done? God said out on Highway 61”, the place for “a thousand telephones that don’t ring” and where to “put some bleachers out in the sun” to stage the start of the next world war. As with so many Dylan songs, the imagery reveals a society filled with mimetic rivalry and victimization where sacrifice and war become a spectator sport.

Soren Kierkegaard’s searing Fear and Trembling is at least as troubling as the biblical story. SK’s category of the “teleological suspension of the ethical” raises fears that the author celebrates Abraham’s willingness to do the deed. (What the fancy phrase means is: anything at all God says to do is right—end of story.) However, this troublesome category is coupled with what SK called “infinite resignation.” This is what Abraham had when he was willing to kill his son by God’s command. However, infinite resignation falls far short of faith and faith is what the biblical story and SK’s book is all about. Faith is receiving back what is given with infinite resignation “by virtue of the absurd.” Still troubled?

The most clear and piercing critique of this “infinite resignation” I know of comes in the powerful poem retelling this story by the World War I poet Wilfred Owen. Abraham builds parapets and trenches around the wood, suggesting the sacrifice of sons sent off to the war. But when the angel of the Lord admonishes Abraham to “slay the ram of pride instead of him . . . the old man would not so, but slew his son,/ and half the seed of Europe one by one.” This poet, one of many young victims of the war, and the creator of the bitter irony that poets like Bob Dylan use so well, has revealed once and for all the sacrificial horror of “infinite resignation.” That is, anyone infinitely resigned to sacrifice oneself without faith will also sacrifice others, especially one’s own children, also without faith.

The typological interpretation of the story where it stands for God the Father’s being willing to sacrifice His only begotten son is also troubling. But Jesus did not go to the cross with infinite resignation. Rather, by “virtue of the absurd,” he believed that God, being the God of Abraham, Isaac, and Jacob was God, not of the dead, but of the living.” (Mt. 22:32) St. Paul says we are saved by the faith of Christ, the faith that, on the cross, embraced not death, but the life of his heavenly father. The virtuous absurd, then, is the ecstatic embrace of God’s love so filled with life that there is no room for death for anybody.