Skilled pastoral caregiving, Susan Dunlap argues, requires an understanding of the culture of the local congregation where it is practiced. An engaging example par excellence, Caring Cultures looks closely at three very different congregations’ responses to the body in times of illness: an African American congregation in the Apostolic Holiness tradition; a Euro-American mainstream Protestant church; and the Latino members in a Roman Catholic parish.

With vivid examples drawn from the author’s interviews and observations, this beautifully written book shows how each congregation has developed divergent ways of thinking about the body, habits of responding to it, and understandings of God’s response to the body’s pain or peril. The author offers unusually rich descriptions of care-giving as it is displayed in these three congregations, integrating both well-explained theory and moving personal stories.

The Catholic Epistles and Apostolic Tradition asks two questions: Can the Catholic Epistles from James to Jude be fruitfully examined in relation to each other, without contrasting them with the Pauline Epistles? And, if so, will we learn something new about them and early Christianity? The essayists here answer “yes” and “yes,” offering provocative perspectives on James, the Johannine epistles, the Petrine epistles, and Jude.

Additional contributors are Ernst Baasland (Church of Norway), Lutz Doering (University of London—King’s College), Reinhard Felmeier (University of Göttingen), Jörg Frey (University of Munich), Scott J. Hafemann (Gordon-Conwell Seminary), Patrick J. Hartin (Gonzaga University), John S. Kloppenborg (University of Toronto), Matthias Konradt (University of Berne), David R. Nienhuis (Seattle Pacific University), and John Painter (Charles Sturt University).

The largest Protestant denomination in the United States is in the midst of a serious identity crisis; many Baptists are revisiting or turning away from the tradition, leaving others to become increasingly uncertain that the denomination can remain viable. Here, however, noted Baptist historian Bill Leonard wades through the murky waters of the Baptist past and explores the historic commitments of this unique people—all in an effort to shed light on its contemporary dilemmas and evaluate the prospects for a Baptist future. While encouraging members of the faith to thoroughly and fairly evaluate their heritage—and its many blunders along the way—Leonard ultimately argues that the Baptists’ contentious “audacious witness” shown throughout its history still has a worthy role to play in the twenty-first century.

The literary giant G. K. Chesterton is often praised as the"Great Optimist"—God's rotund jester. In this fresh and daring endeavor, Ralph Wood turns a critical eye on Chesterton's corpus to reveal the beef-and-ale believer's darker vision of the world and those who live in it. During an age when the words grace, love, and gospel, sound more hackneyed than genuine, Wood argues for a recovery of Chesterton's primary contentions: First, that the incarnation of Jesus was necessary reveals a world full not of a righteous creation but of tragedy, terror, and nightmare, and second, that the problem of evil is only compounded by a Christianity that seeks progress, political control, and cultural triumph.

Wood’s sharp literary critique moves beyond formulaic or overly pious readings to show that, rather than fleeing from the ghoulish horrors of his time, Chesterton located God's mysterious goodness within the existence of evil. Chesterton seeks to reclaim the keen theological voice of this literary authority who wrestled often with the counterclaims of paganism. In doing so, it argues that Christians may have more to learn from the unbelieving world than is often supposed.

Although most prevalent and obvious during the early decades of the Republic, the influence of classical antiquity on American politics persists even into the 21st century. This study tracks the movement of classicism throughout U.S. history and illustrates how the ancient Greeks and Romans continue to influence political theory and determine policy in the United States, from the education of the Founders to the War in Iraq.

Few characters were as ubiquitous in the collective consciousness of early modern Spain as the Virgin Mary. By the 1600s, the cult of the Immaculate Conception had become so popularized that the Hapsburg monarchy issued a decree in defense of the Virgin's purity. In a climate of political disharmony, however, this revered icon—often pictured as the passive, chaste, and pious mother of God—would become an archetype of paradox within the Spanish imagination. In The Comedia of Virginity, Mirzam Perez underscores how the character of the Virgin Mary was represented on the theater stage. Following a concise account of the historical, academic, and political forces operating within Hapsburg Spain, Perez dissects three comedias—three-act productions featuring both drama and comedy—and draws out their multivalent interpretations of Mary. In their own ways, these secular comedias reproduced an uncommonly empowering feminine vision while making light of the Virgin's purity. The Mary of the stage was an active, sinuous, even sensual force whom playwrights would ultimately use to support a fracturing monarchy.

When the Baptist movement began four centuries ago, revolutionary forces had destabilized the centers of social control that had long kept women in their place. In the early seventeenth century, Baptist women began to speak their minds. Through their prophetic writings, these women came to exercise considerable influence and authority among the early churches. When Baptists became more institutionalized later in the century, the egalitarian distinction dissipated and women’s voices again, for a long history, were silenced. However, long ago, in early Baptist life in England, women did preach—well and often. In A Company of Women Preachers, Curtis Freeman collects and presents a critical edition of these prophetic women’s texts, retrieving their voices so that their messages and contributions to the tradition may once again be recognized.

Conservative and liberal commentators alike have long argued that social bias exists in American higher education. Yet those arguments have largely lacked much supporting evidence. In this first systematic attempt to substantiate social bias in higher education, George Yancey embarks on a quantitative and qualitative analysis of the social biases and attitudes of faculties in American universities—surveying professors in disciplines from political science to experimental biology and then examining the blogs of 42 sociology professors. In so doing, Yancey finds that politically—and, even more so, religiously—conservative academics are at a distinct disadvantage in our institutions of learning, threatening the free exchange of ideas to which our institutions aspire and leaving many scientific inquiries unexplored.

Uncovering what is really at stake in American religious identity

Does the Devil lie at the heart of the creative process? In The Devil as Muse, Fred Parker offers an entirely fresh reflection on the age-old question, echoing William Blake’s famous statement: “the true poet is of the Devil’s party." Expertly examining three literary interpretations of the Devil and his influence upon the artist—Milton’s Satan in Paradise Lost, the Mephistopheles of Goethe’s Faust, and the one who offers daimonic creativity in Thomas Mann’s Doctor Faustus—Parker unveils a radical tension between the ethical and the aesthetic. While the Devil is the artist’s necessary collaborator and liberating muse, from an ethical standpoint the price paid for such creativity is nothing less damnable than the Faustian pact—and the artist who is creative in that way is seen as accursed, alienated, morally disturbing. In their own different ways, Parker shows, Blake, Byron, and Mann all reflect and acknowledge that tension in their work, and model ways to resolve it through their writing. Linking these literary conceptions with scholarship on the genesis of the historical conception of the Devil and recent work on the role of “otherness” in creativity, Parker insightfully suggests how creative literature can feel its way back along the processes—both theological and psychological—that lie behind such constructions of the Adversary.