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People who participate in debates about the causes and cures of poverty often speak from religious conviction. But those convictions are rarely made explicit or debated on their own terms. Rarely is the influence of personal religious commitment on policy decisions examined. Two of the nation's foremost scholars and policy advocates break the mold in this lively volume, the first to be published in the new Pew Forum Dialogues on Religion and Public Life. The authors bring their faith traditions, policy experience, academic expertise, and political commitments together in this moving, pointed, and informed discussion of poverty, one of our most vexing public issues. Mary Jo Bane writes of her experiences running social service agencies, work that has been informed by "Catholic social teaching, and a Catholic sensibility that is shaped every day by prayer and worship." Policy analysis, she writes, is often "indeterminate" and "inconclusive." It requires grappling with "competing values that must be balanced." It demands judgment calls, and Bane's Catholic sensibility informs the calls she makes. Drawing from various Christian traditions, Lawrence Mead's essay discusses the role of nurturing Christian virtues and personal responsibility as a means of transforming a "defeatist culture" and combating poverty. Quoting Shelley, Mead describes theologians as the "unacknowledged legislators of mankind" and argues that even nonbelievers can look to the Christian tradition as "the crucible that formed the moral values of modern politics." Bane emphasizes the social justice claims of her tradition, and Mead challenges the view of many who see economic poverty as a biblical priority that deserves "preference ahead of other social concerns." But both assert that an engagement with religious traditions is indispensable to an honest and searching debate about poverty, policy choices, and the public purposes of religion.
"A winner!” —Ed Greenwood, internationally-bestselling creator of The Forgotten Realms® In the Four Kingdoms, the Holy Clerisy preaches that the gods are dead, and prayer is the path to Hell. Anyone who defies doctrine is punished for heresy. But blind faith can damn a soul as surely as betrayal. Ryn Ruscroft, once sworn to serve as the Clerisy’s loyal soldier, finds himself torn between conscience and duty one bitter winter’s night. Those slain include his best friend, felled by his own hand. Josalind Aumbrae has been tormented all her life by the Voices and their visions—an affliction that could have her facing a witch’s pyre. If only she could understand what they want. Banished to Dragon’s Claw Abbey at the edge of the world, Ryn and Josalind discover a place built on more than penance and forgetting. What they find at the Claw will turn them into fugitives hunted by hellspawn, heretics, and Ryn’s former commander. But more sinister forces have awoken—ancient things eager to settle old scores and find pawns among the outcast. When they cry for vengeance, the Living Sword must have a hand to wield it. A mortal it can reshape into the Earth Breaker, the Soul Taker, the Bane of All Things.
Faced with Eudora Welty's preference for the oblique in literary performances, some have assumed that Welty was not concerned with issues of race, or even that she was perhaps ambivalent toward racism. This collection counters those assumptions as it examines Welty's handling of race, the color line, and Jim Crow segregation and sheds new light on her views about the patterns, insensitivities, blindness, and atrocities of whiteness. Contributors to this volume show that Welty addressed whiteness and race in her earliest stories, her photography, and her first novel, Delta Wedding. In subsequent work, including The Golden Apples, The Optimist's Daughter, and her memoir, One Writer's Beginnings, she made the color line and white privilege visible, revealing the gaping distances between lives lived in shared space but separated by social hierarchy and segregation. Even when black characters hover in the margins of her fiction, they point readers toward complex lives, and the black body is itself full of meaning in her work. Several essays suggest that Welty represented race, like gender and power, as a performance scripted by whiteness. Her black characters in particular recognize whiteface and blackface as performances, especially comical when white characters are unaware of their role play. Eudora Welty, Whiteness, and Race also makes clear that Welty recognized white material advantage and black economic deprivation as part of a cycle of race and poverty in America and that she connected this history to lives on either side of the color line, to relationships across it, and to an uneasy hierarchy of white classes within the presumed monolith of whiteness. Contributors: Mae Miller Claxton, Susan V. Donaldson, Julia Eichelberger, Sarah Ford, Jean C. Griffith, Rebecca Mark, Suzanne Marrs, Donnie McMahand, David McWhirter, Harriet Pollack, Keri Watson, Patricia Yaeger.
PRAISE FOR THE WORLDWIDE CHURCH OF THE HANDICAPPED: '.irreverent.vibrant.sensitive without ever approaching sanctimony."-Publisher's Weekly, starred review 'It's a wonderful book!"-Bill Holm, Minnesota Author of The Heart Can Be Filled Anywhere on Earth 'Worldwide Church is an absolute joy."-Anne Lamott, author of Traveling Mercies and Bird by Bird 'This is a wonderful book."-Dave Wood, Minneapolis Star-Tribune 'It is one of the most important books of our time."-Carol Bly, author of Changing the Bully Who Rules the World, and winner of the Minnesota Book Award 'I have not, in long time, read stories that affected me so much."-Howard Zinn, author of A People's History of the United States "[Williams'] characters are unique and unforgettable.This is a disarming, disturbing book."-Maxine Kumin, winner of the Pulitzer Prize PRAISE FOR THE WEEKEND GIRL: 'Read these stories and be changed.Marie Sheppard Williams is an original and necessary voice in American Fiction."-Frederick Smock, former editor of The American Voice '.tender stories.deliciously simple dialogue.sly humor.and you suddenly know you are reading about life and death."-Howard Zinn 'The Weekend Girl and other stories is a compelling and poignant brew of wisdom, humor, and compassion."-Ronald Spatz, editor, Alaska Quarterly Review 'As Walt Whitman might have said: 'Who touches this book touches a [wo]man.'"-Bill Holm