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Poet, social justice advocate, and theologian Thomas Merton (1915–1968) is arguably the most influential American Catholic author of the twentieth century. In his short lifetime, he penned over seventy books and maintained a brisk correspondence with colleagues around the globe. However, many Merton scholars and fans remain unaware of the significant body of letters that were exchanged between the Trappist monk and Victor and Carolyn Hammer. Unable to leave his home at the Abbey of Gethsemani except on special occasions, Merton developed a unique friendship with this couple from nearby Lexington, Kentucky. Carolyn, who supplied Merton with many of the books he required for his writing and teaching, was a founder of the King Library Press at the University of Kentucky. Victor was an accomplished painter, sculptor, printer, and architect. The friendship and collaborations between Merton and the Hammers reveal their shared interest in the convergence of art, literature, and spirituality. In this volume, editors F. Douglas Scutchfield and Paul Evans Holbrook Jr. have collected the trio's complete correspondence for the first time. Their letters, arranged chronologically, vividly demonstrate a blossoming intellectual camaraderie and provide a unique opportunity to understand Merton's evolving philosophies. At times humorous, often profound, the letters in this volume shed light on a rare friendship and offer new insights into the creative intellect of Thomas Merton.
This study affords an entirely new view of the nature of modern popular entertainment. American vaudeville is here regarded as the carefully elaborated ritual serving the different and paradoxical myth of the new urban folk. It demonstrates that the compulsive myth-making faculty in man is not limited to primitive ethnic groups or to serious art, that vaudeville cannot be dismissed as meaningless and irrelevant simply because it fits neither the criteria of formal criticsm or the familiar patterns of anthropological study. Using the methods for criticism developed by Susanne K. Langer and others, the author evaluates American vaudeville as a symbolic manifestation of basic values shared by the American people during the period 1885-1930. By examining vaudeville as folk ritual, the book reveals the unconscious symbolism basic to vaudeville-in its humor, magic, animal acts, music, and playlets, and also in the performers and the managers -- which gave form to the dominant American myth of success. This striking view of the new mass man as a folk and of his mythology rooted in the very empirical science devoted to dispelling myth has implications for the serious study of all forms of mass entertainment in America. The book is illustrated with a number of striking photographs.
How Catholic was Thomas Merton? Since his death in 1968, Merton’s Catholic identity has been regularly questioned, both by those who doubt the authenticity of his Catholicism given his commitment to ecumenical and interreligious dialogue and by those who admire Merton as a thinker but see him as an aberration who rebelled against his Catholicism to articulate ideas that went against the church. In this book, Gregory K. Hillis illustrates that Merton’s thought was intertwined with his identity as a Catholic priest and emerged out of a thorough immersion in the church’s liturgical, theological, and spiritual tradition. In addition to providing a substantive introduction to Merton’s life and thought, this book illustrates that Merton was fundamentally shaped by his identity as a Roman Catholic.
Thomas Merton and the Celts offers a new lens through which to view Merton's life and spirituality. By examining unpublished letters, notebooks, and taped conferences for the Trappist novices--previously unavailable to the general reader--the author breaks new ground in Merton studies, revealing Merton's growing fascination with his Welsh ancestry, Celtic monasticism, and early Irish hermit poetry. Merton, having immersed himself in reading about Celtic Christianity--not just about liturgy, but about household rituals, illuminated manuscripts, high crosses, and hermit poetry as well--recognized in these ancient hermits who lived on "water and herbs," experienced kinship with creatures, and wrote poems about the birds a mirror of his own desires. Indeed, in a profound way and at a deep level, Merton discovered himself in Celtic Christianity.
This volume of previously uncollected studies makes a notable contribution to Merton's extensive and influential legacy. This volume includes pieces on eleventh- and twelfth-century mo­nastics by Thomas Merton, perhaps the most significant American Catholic spiritual writer of the twentieth century. The essays are difficult to locate elsewhere, the conference transcriptions are available only here.
Roman Sources for the History of American Catholicism, 1763–1939 is a comprehensive reference volume, researched and compiled by Matteo Binasco, that introduces readers to the rich content of Roman archives and their vast potential for U.S. Catholic history in particular. In 2014, the University of Notre Dame’s Cushwa Center for the Study of American Catholicism hosted a seminar in Rome that examined transatlantic approaches to U.S. Catholic history and encouraged the use of the Vatican Secret Archives and other Roman repositories by today’s historians. Participants recognized the need for an English-language guide to archival sources throughout Rome that would enrich individual research projects and the field at large. This volume responds to that need. Binasco offers a groundbreaking description of materials relevant to U.S. Catholic history in fifty-nine archives and libraries of Rome. Detailed profiles describe each repository and its holdings relevant to American Catholic studies. A historical introduction by Luca Codignola and Matteo Sanfilippo reviews the intricate web of relations linking the Holy See and the American Catholic Church since the Treaty of Paris of 1763. Roman sources have become crucial in understanding the formation and development of the Catholic Church in America, and their importance will continue to grow. This timely source will meet the needs of a ready and receptive audience, which will include scholars of U.S. religious history and American Catholicism as well as Americanist scholars conducting research in Roman archives.
"These letters of two poets and solitaries betray a giddy delight in wordplay, unconstrained by rules of grammar or conventions of spelling. Puns, portmanteaus, and inside jokes abound. The thiry-year exchange began when Merton dashed off a note on June 17, 1938, after spending a week with Lax's family. The final epistle in their correspondence was written by Lax on December 8, 1968. Merton died in Bangkok five days later and never received it." "Arthur Biddle spent nearly ten years collecting every letter known to exist between Merton and Lax, a total of 346, two-thirds of which have never been published. Biddle provides chronologies of their lives and, through unobtrusive notes, places events and people in context within the letters. This volume also includes the text of a rare interview with Lax."--BOOK JACKET.
Cloistered in a remote Kentucky monastery, Thomas Merton struggled as a young man to reconcile his preferred contemplative life and his public passion for writing. Here is the remarkable development of Thomas Merton monk, poet, and social critic as documented in nearly 30 years' of correspondence with his mentor and publisher, James Laughlin.
The second volume of Thomas Merton's letters is devoted to his correspondence with friends -- relatives and family friends, longtime friends, special friends, young people he regarded as new friends, and circular letters addressed to groups of friends. They range from 1931, ten years before he became a monk, to 1968, the year in which he died at a monastic conference in Thailand.
Striking new insights into the life and thoughts of the beloved spiritual writer are presented through his rarely seen visual art produced in the last decade of his life.This collection presents 40 of the most telling examples of Merton's art, each accompanied by an excerpt from Merton's own writing on art.