A century and a half ago, Herman Melville (he wrote Moby Dick, but don't hold that against him) observed, "In certain moods, no man can weigh this world without throwing in something, somehow like Original Sin, to strike the uneven balance." It's remarkable to me that even today artists often come to the same conclusion: human experience doesn't quite make sense without some provision for inborn and radical evil. Even Hollywood has explored this theme in recent years. There Will Be Blood is a chilling story of humanity's incorrigible greed. Cormac McCarthy's novel (and the Cohen brothers' movie) No Country for Old Men deals directly with the concept of incarnate evil through Anton Chigurh, a villain who toys with human life mostly out of boredom. Apparently screenwriters are beginning to ask questions novelists have been asking for years.
G. K. Chesterton called sin "a fact as practical as potatoes" and original sin "the only part of Christian theology which can really be proved." Of course, not everyone takes it so seriously. Comedian Eddie Izzard calls it a "hellish idea. People have to go, ?Father, bless me for I?did an original sin. I poked a badger with a spoon.'" And there are those, too, like Oprah and Eckhart Tolle, who think too highly of human potential to entertain the idea of depravity.
But it's not only non-believers who lampoon the doctrine. Many Christians consider it an Augustinian idiosyncrasy that unfortunately made its way into Christian dogma - the invention of a guilt-ridden philanderer. An appeal to Martin Luther is little help; he'd no doubt be on antidepressants were he alive today.
However you feel about it, though, either embracing or rejecting the doctrine has its consequences. In his new book, Original ...