Orthodox theologian and general Christian provocateur David Bentley Hart laments the lameness of the New Atheism (which he thoroughly eviscerated in this book):

If I were to choose from among the New Atheists a single figure who to my mind epitomizes the spiritual chasm that separates Nietzsche's unbelief from theirs, I think it would be the philosopher and essayist A.C. Grayling. For a short time I entertained the misguided hope that he might produce an atheist manifesto somewhat richer than the others currently on offer. Unfortunately, all his efforts in that direction suffer from the same defects as those of his fellows: the historical errors, the sententious moralism, the glib sophistry. Their great virtue, however, is that they are mercifully short. One essay of his in particular, called "Religion and Reason," can be read in a matter of minutes and provides an almost perfect distillation of the whole New Atheist project.

The essay is even, at least momentarily, interesting. Couched at one juncture among its various arguments (all of which are pretty poor), there is something resembling a cogent point. Among the defenses of Christianity an apologist might adduce, says Grayling, would be a purely aesthetic cultural argument: But for Christianity, there would be no Renaissance art—no Annunciations or Madonnas—and would we not all be much the poorer if that were so? But, in fact, no, counters Grayling; we might rather profit from a far greater number of canvasses devoted to the lovely mythical themes of classical antiquity, and only a macabre sensibility could fail to see that "an Aphrodite emerging from the Paphian foam is an infinitely more life-enhancing image than a Deposition from the Cross." Here Grayling almost achieves a Nietzschean moment of moral clarity.

Ignoring that leaden and almost perfectly ductile phrase "life-enhancing," I, too—red of blood and rude of health—would have to say I generally prefer the sight of nubile beauty to that of a murdered man's shattered corpse. The question of whether Grayling might be accused of a certain deficiency of tragic sense can be deferred here. But perhaps he would have done well, in choosing this comparison, to have reflected on the sheer strangeness, and the significance, of the historical and cultural changes that made it possible in the first place for the death of a common man at the hands of a duly appointed legal authority to become the captivating center of an entire civilization's moral and aesthetic contemplations—and for the deaths of all common men and women perhaps to be invested thereby with a gravity that the ancient order would never have accorded them.

Here, displayed with an altogether elegant incomprehensibility in Grayling's casual juxtaposition of the sea-born goddess and the crucified God (who is a crucified man), one catches a glimpse of the enigma of the Christian event, which Nietzsche understood and Grayling does not: the lightning bolt that broke from the cloudless sky of pagan antiquity, the long revolution that overturned the hierarchies of heaven and earth alike. One does not have to believe any of it, of course—the Christian story, its moral claims, its metaphysical systems, and so forth. But anyone who chooses to lament that event should also be willing, first, to see this image of the God-man, broken at the foot of the cross, for what it is, in the full mystery of its historical contingency, spiritual pathos, and moral novelty: that tender agony of the soul that finds the glory of God in the most abject and defeated of human forms. Only if one has succeeded in doing this can it be of any significance if one still, then, elects to turn away.

Here's the whole thing.