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What happens at synagogue doesnt always stay at synagogue. This lively tale of a cantor and her congregation provides a second look at the Reform Jewish world. At Temple Beth Shalom, Brunhild takes you inside the life of well-respected Cantor Abbey Rosen, thrown into the tangled ethical web involving temple finance manager, Willard Lubarsky. Lubarskys own insatiable sexual desires cause him more grief than he ever imagined, and it all comes back to haunt him in an explosive conclusion. Brunhild builds tension at the temple as well as the Lubarsky household, as Willards deceit and reckless ways involve him with the underworld and Cantor Rosen in a most unlikely scenario . Youll cheer for other characters such as Charlie Hammer, who becomes a central figure in Abbeys present and future world. The High Holidays at your temple never had drama like this. Brunhilds other works include: MISHBUCHA, THE FAMILY; WORLDS INTERTWINED; THE EXTRAORDINARY WOMAN NEXT DOOR; MAYHEM IN THE MIST and KINFOLK AND WHISKEY.
Starlight is raised by a family of racists, who actually believe that if she is gets too close to any Black people, their skin secretions will adhere to her skin, and she will never be able to rub it off! Aunt Myrtle, from northern Wisconsin, warnng her that the odor of the Black people is very pugnant, and will make her vomit, if she gets to close to the. Later in her teens, when the handsome Black boys followed her around town, her Father told her: "You will not be allowed to return home, if you ever bring one of them to the house." It was revealed at her Mother's funeral,that her Uncle LeRoy was a leader in the KluKlux Klan in the 1930's-60's. Starlight tells the sometimes humorous, insanely serious, and the eventual peace she made with the hate and fear that suirrounded her. She shares her redemptive tale of connecting with the the African-American people, in her 40 years of teaching across America.
This is a book about the tensions between Christian ideals of love and the concrete realities of everyday monastic life. Based on a study of Cistercian monasteries in France, it develops a novel conceptualization of fraternal relations and addresses how monks and nuns strive to accomplish such relationships within their communities. By focusing on the main interaction contexts of monasteries as a form of voluntary total institution, the book shows how attempts to generate collective solidarity, relate to other members as equals and avoid preferential relations conflict with practices of everyday life. Although fraternal ideals are similar for monks and nuns, the analysis reveals significant gender differences regarding the legitimacy of different forms of interaction and relationships as well as how to control them. The book appeals to readers with an interest in total institutions, sociology of religion, sociology of friendship, sociology of intimacy and also to scholars with an interest in theology of love and practical theology.
In the vein of The Chosen, Catcher in the Rye, and The Kite Runner comes Adam Unrehearsed, a “hilarious, deeply moving, coming-of-age comedy” (Yossi Klein Halevi). From the moment he’s mugged on the subway home from Bat Day at Yankee Stadium, things go wrong for twelve-year-old Adam Miller. He is in the Special Program for brainy kids, but his new junior high is on triple shift. When he gets on the wrong side of several gangs and needs them most, his friends disappear. As if that’s not enough, Adam discovers that his older brother has become a Zionist militant, his synagogue is repeatedly vandalized, and despite Adam’s “skinny voice,” his crazy new Cantor has grandiose plans for his Bar Mitzvah. Meanwhile, Adam dreams of his summer camp girlfriend in far off New Rochelle, but he’s too shy to pick up the phone. He even fails at shoplifting. Bewildered and alone, Adam finds his only solace onstage, where he discovers the power of theater to bridge social divides. As he learns to stand out and stand up for himself, friends appear in the most unexpected places and Adam Miller discovers his own voice. Adam Unrehearsed is a story of friendship, betrayal, life, death, and acting. Colum McCann called it “comical…lyrical…menacing…gritty…tender…compassionate and propulsive.” Adam Unrehearsed will do for Flushing what Philip Roth did for Newark. Set in New York in 1970, just as American Jewry is coming of age, this is the next generation of great American Jewish fiction.
“Ellison’s stories punch where it hurts . . .and span from baroque far future speculations to near future warnings” (Science Fiction Ruminations). Over the course of his legendary career, Harlan Ellison has defied—and sometimes defined—modern fantasy literature, all while refusing to allow any genre to claim him. A Grand Master of the Science Fiction Writers of America, winner of the Lifetime Achievement Award from the Horror Writers Association, as well as winner of countless awards, including the Hugo, Nebula, Edgar, and Bram Stoker, Ellison is as unpredictable as he is unique, irrepressible as he is infuriating. Over thirty titles in Ellison’s brilliant catalog are now available in an elegant new package featuring Ellison himself. Genius never felt so combustible. The New York Times called him “relentlessly honest” and then used him as the subject of its famous Sunday Acrostic. People said there was no one like him, then cursed him for preventing easy sleep. But in these stories, Harlan Ellison outdoes himself, rampaging like a mad thing through love (“Cold Friend,” “Kiss of Fire,” “Paulie Charmed the Sleeping Woman”), hate (“Knox,” “Silent in Gehenna”), sex (“Catman,” “Erotophobia”), lost childhood (“One Life, Furnished in Early Poverty”), and into such bizarre subjects as the problems of blue‐skinned, eleven‐armed Yiddish aliens, what it is like to witness the end of the world, and what happens on the day the planet Earth swallows Barbra Streisand. Oh yeah, this one is a doozy!
As someone who clocked more time in mosh pits and at pro–choice rallies than kneeling in a pew, Kaya Oakes was not necessarily the kind of Catholic girl the Vatican was after. But even while she immersed herself in the punk rock scene and proudly called herself an atheist, something kept pulling her back to the religion of her Irish roots. After running away from the Church for thirty years, Kaya decides to return. Her marriage is under stress, her job is no longer satisfying, and with multiple deaths in her family, a darkness looms large. In spite of her frustration with Catholic conservatism, nothing brings her peace like Mass. After years of searching to no avail for a better religious fit, she realizes that the only way to find harmony—in her faith and her personal life—is to confront the Church she'd left behind. Rebellious and hypercritical, Kaya relearns the catechisms and achieves the sacraments, all while trying to reconcile her liberal beliefs with contemporary Church philosophy. Along the way she meets a group of feisty feminist nuns, a "pray–and–bitch" circle, an all–too handsome Italian priest, and a motley crew of misfits doing their best to find their voices in an outdated institution. This is a story of transformation, not only of Kaya's from ex–Catholic to amateur theologian, but ultimately of the cultural and ethical pushes for change that are rocking the world's largest religion to its core.
Irving Berlin is considered one of the greatest American songwriters. "God Bless America" is his most famous song. This middle-reader biography follows Berlin's dramatic childhood, starting with an escape from pogroms in Russia, to his triumphant music career in New York.
The wife of the ex-governor of Massachusetts tells of her struggle to overcome her addiction to alcohol and pills.
In this in depth look at hymns, Brian Wren explores the theological significance of congregational song, asks how music has meaning for its singers, and considers the importance of contemporary worship music. He argues that a hymn is a complex art form, deserving of recognition and study for its contributions to worship, education, and pastoral care.
The autobiography Member of the Working Class provides a rich, unusually detailed portrait of the early working-class life of Milton Wolff during the 1920s and 1930s.