 Much of Kierkegaard’s authorship explores the notion of the absurd: Job gets everything back again by virtue of the absurd (Repetition); Abraham gets a reprieve from having to sacrifice Isaac, by virtue of the absurd (Fear and Trembling); Kierkegaard hoped to get Regine back again after breaking off their engagement, by virtue of the absurd (Journals); Climacus hopes to deceive readers into the truth of Christianity by virtue of an absurd representation of Christianity’s ineffability; the Christian God is represented as absolutely transcendent of human categories yet is absurdly presented as a personal God with the human capacities to love, judge, forgive, teach, etc. Kierkegaard’s notion of the absurd subsequently became an important category for twentieth century existentialists, though usually devoid of its religious associations.