The beginning of the storm. Tomes I & II of Chateaubriand’s Génie du Christianisme arrive like a cathedral built from ash and memory — the Romantic resurrection of faith in a world hollowed by revolution. These volumes don’t preach. They haunt.

Every page drips with ruin and reverence — the idea that Christianity isn’t proven, but felt: in silence, in art, in the way light moves through trees at dusk. Chateaubriand defends faith the way one defends music or mourning — not with arguments, but with beauty sharpened to a blade.

This set marks the threshold: the moment when religion becomes literature, and literature starts to pray

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