Sting And Religion

On the back cover of one of his most groundbreaking solo albums, . . . Nothing like the Sun of 1987, Sting (Gordon Matthew Sumner, b. 1951 in Wallsend, UK) somberly stands close to a statue of Mary, the mother of Jesus. The album was released a few months after his own mother, Audrey, died. The picture was taken on the island of Montserrat, where he was recording the album, apparently on the day of her death. "I said goodbye to my mother, as I had a recording date in Montserrat, and she died a week later." When asked by the author if his mother was particularly connected to Mary, and if this was why he chose this image, he replied "No, but I did." This evocative photograph and Sting's quick answer encapsulate the two pillars of this book: a microhistory of a specific British Catholic parish in the 1950s-60s, and the impact that growing up there had on Sting's artistic output. And beyond that, this book opens a window onto the influence of Catholic education and imagination on millions of less famous people who had similar upbringings.

A comprehensive study of the Catholic worldview, as distinguished from the Protestant perspective, discusses the central motifs of Catholicism including Sacrament, Salvation, and Community, linking these themes to Catholic art and culture and arguing that they encourage a perception of divine imminence.

In every century since the renaissance, English speakers have felt compelled to possess a translation written especially for their own time of this great epic poem, the earliest and most central literary text of Western culture. That need has been thoroughly met in our century by the distinguished poet and classicist Robert Fitzgerald, whose version of "The Iliad" does justice in every way to the fluent vigor and gravity of the Homeric original.

Choosing My Religion is a luminous memoir, crafted with the eye of a journalist and the art of a novelist by New York Times Magazine writer and editor Stephen J. Dubner. By turns comic and heartbreaking, it tells the story of a family torn apart by religion, sustained by faith, and reunited by truth.

This comprehensive study of the intersection of death and religion offers a unique look at how religious people approach death in the twenty-first century. Previous scholarship has largely focused on traditional beliefs and paid little attention to how religious traditions evolve in relation to their changing social context. Employing a sociological approach, "Death and Religion in a Changing World" describes how people from a wide variety of faiths draw on and adapt traditional beliefs and practices as they deal with death in modern societies. The book includes coverage of newly emerging social and religious phenomena that are only just beginning to be analyzed by religion scholars, such as public shrines, the role of the media, spiritual bereavement groups, and the use of the Internet in death practices.

Mod may have been born in the ballrooms and nightclubs around London but it soon rampaged throughout the country. Young kids soon found a passion for sharp clothes, music and dancing, but for some it was pills, thrills and violence. The original Mod generation tell it exactly how it was, in their very own words. First hand accounts of the times from the people who were actually on the scene. Top faces, scooterboys, DJs, promoters and musicians build up a vivid, exciting snapshot of what it was really like to be with the in-crowd. Packed with rare pictures, ephemera, art and graphics of the era. Featuring interviews with Eddie Floyd, Martha Reeves, Ian McLagan, Chris Farlowe and many more.

Late in the Reagan years, three young men at Jerry Falwell's Liberty University formed the Christian rap group dc Talk. The trio put out a series of records that quickly secured their place at the forefront of contemporary Christian music. But, with their fourth studio album Jesus Freak (1995), dc Talk staked a powerful claim on the worldly market of alternative music, becoming an evangelical group with secular selling power. This book sets out to study this mid-90s crossover phenomenon-a moment of cultural convergence between Christian and secular music and an era of particular political importance for American evangelicalism. Written by two queer scholars with evangelical pasts, Jesus Freak explores the importance of a multifarious album with complex ideas about race, sexuality, gender, and politics-an album where dc Talk wonders, “What will people do when they hear that I'm a Jesus freak?” and evangelical fans stake a claim for Christ-like coolness in a secular musical world.

In this frank, funny, and often challenging memoir about life in and out of the church, twenty-something Patton Dodd reveals his quest for an authentic experience of God. On his journey he attempts to pinpoint and justify his belief in God, first with the fervent absolutes that characterize a new believer’s faith but then with a growing awareness of the cultural complexities that define his faith and encompass his understanding of Christianity. When a spiritual awakening in his last year of high school wrenches Dodd out of his rebellious party days, he embarks on a quest for God. He exchanges pot smoking for worship dancing, gives up MTV for Christian pop, and enrolls at a Christian university. Soon, however, he finds himself ill at ease with the other Christians around him and with the cloying superficiality of the Christian subculture. Dodd tells his story in contradictory terms—conversion and confusion, acceptance and rejection, spiritual highs and psychological lows. With painstaking honesty, he tries to negotiate a relationship with his faith apart from the cultural trappings that often clothe it. Dodd’s moving story paints a nuanced and multilayered portrait of an earnest quest for God: the hunger for genuine faith, the bleak encounters with doubt, and the consuming questions that challenge the intellect and the soul. This is a story that will resonate with the emerging generation of young adults attempting to break new ground within their own faith tradition.