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4 This God is akin to Hamlet, a personality deeply riven by internal conflicts and tensions, wrought by indecision, and ultimately silenced by his own action. Not surprisingly, given the influence of the Bible and monotheism on the Western imagination, this Hamlet-God has become the model for Western humanity (1995: 407-08). All modern Westerners are now Hamlets—composite, lonely selves, 'divided images' of a divine, 'divided original' (1995: 408; cf. 5-7, 23-24). While this divine characterization is innovative, it is not without precedent.

The lost Lukan passage is particularly revealing: 'When you see the sky BLACK Lost Prophecies! Scholars Amazed! 41 flashing the colour of grass, know that my return is imminent' (Jeffries 1997b: 9). Closer to home, disastrous winter weather constitutes another sign of Jesus' return (which, through the above-mentioned article, we understand as his self-revelation and the resumption of his preaching). '; Sanford 1997; 'Weather Disasters are a Sure Sign Christ Will Return to Earth Soon'; Sanford 1998b).

Morrow's basic ideology is clearer if we compare his trilogy to a more recent novel by Laurence Cosse, A Corner of the Veil (1999). In that novel, God never appears, but an irrefutable proof for his existence falls into the hands of the Jesuits. The novel, then, portends the earthshaking consequences of the death of secularization. In particular, the terror with which political, religious, and economic leaders greet the proof is strongly reminiscent of Dostoyevsky's The Grand Inquisitor'. The contrast with Morrow's trilogy in which no great changes follow the publication of the death of God is obvious.

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