Jeffery C. Pugh has landed every blogger’s dream: the book deal for a best-of collection of his musings. Devil’s Ink: Blog from the Basement Office is an answer to the question “What if Satan kept a blog?”—one of several (the opportunity to pun is apparently irresistible) all of which immediately parison with C.S. Lewis’s The Screwtape Letters. Pugh anticipates parison in his book’s preface, saying he offers “another way of looking at evil,” a modern way that reflects how the “locale of evil has changed,” and confronts particularly its rise in popular culture.

He certainly offers a different perspective on evil; so different, in fact, that rather than parison with Lewis, he forces it. Pugh presents only one kind of “evil” in his bloggings from the throne of Hell—and such is the nature of a blog that the action of evil can be nothing else than as he presents it. That evil is not the personal sin that Lewis explored in Screwtape’s letters on the art of temptation, but a kind of corporate, structural sin based on a view of human history as class conflict.

Pugh offers some insightful entries on pride and on munity, but he is continually caught up in the idea that evil is found in the structures of society rather than in men’s sinful hearts. In fact he rarely uses the word sin, preferring the more ambiguous “evil.” Post after post deals with war, human suffering, and the vulgarity of popular culture—all of which are valid subjects of reflection, but which totally consume the author’s ethical thoughts.

One sees flashes of Lewis in postings like “Spiritual but Not Religious,” when he warns that “Spirituality pursued without munity of faith is easily dealt with and dispersed. Discipline pursued in munity of faith makes them stronger and less susceptible to us.” But munity is not the basic moral unity—that unit is the individual person, and when Pugh says in his preface that “it is difficult sometimes to see evil when one lives in the midst of it; it is usually in retrospect that one sees how evil manifested itself,” it es clear that he does not realize where evil—where sin—is first of all to be found. The Screwtape Letters draws the reader to look inward; Devil’s Ink lets him off the hook by directing his meditation at society.

This confused es from Pugh’s view of history as a narrative of class warfare. As he writes in a post about Utopia (in which he reveals a real misunderstanding of Thomas More’s work), the Devil scores a big victory when man ceases to see revolutions as “the historical eruptions of the masses who want more and desire what the other has.” Pugh is not the writer that Lewis was, and so it is often difficult to find his voice in the Devil’s, but in this case the context makes it clear: the author’s embrace of history-as-class-warfare leads him away from a proper understanding of personal sin.

A recent post on the Devil’s Ink blog illustrates Pugh’s confusion. He is right that attention paid Kim Kardashian, Lindsay Lohan, and Anthony Weiner is attention distracted from worthwhile pursuits, but he cannot resist seating evil in the popular culture that promotes those three. “The ways [humans] construct their society, the type of human beings those environments create, and the material effects of munities” are the Devil’s prime victories, not the corruption of men’s souls. Such a view is not fundamentally different than those of Marx and Lenin, with Christianity sprinkled over the top.

What is to be mended in the book? Some of Pugh’s irony is indeed funny, as the blurbs on the back cover note. Jabs at public figures are often landed to humorous effect, although each laugh is a reminder of the author’s search for moral fault anywhere but the self. Stanley Hauerwas is quoted on the back: “Pugh’s devil is indeed deadly serious, but in this hilarious and wise book we learn to laugh at Satan. Pugh teaches us how important it is to defy evil with humor.” One is instantly reminded of Screwtape’s advice on counterinsurgency: “The fact that ‘devils’ are ic figures in the modern imagination will help you.”