In Collective Rage, the lives of five very different New York women named Betty collide at the intersection of anger, sex and “theat-ah.” As they meet, fall in love, rehearse, revel and rage, they realise that they've been stuck reading the same scripts for far too long. They all come from different backgrounds, and are bored or angry about different things, but the Betty's - each one numbered 1-5 - come together to rehearse a new version of Pyramus and Thisbe, the play within a play in A Midsummer Night's Dream. What follows are discoveries, transformations and raucous comedy. Hitting the ring with an electrifying soundtrack, looks to kill and spectacular routines, this outrageous comedy packs the punch to shatter lacquered femininity into a thousand glittering pieces. Strongly influenced by cabaret and female drag, this exquisite rejection of shame and stereotype will punch you in the gut, break your heart and then take you dancing. Collective Rage had its UK premiere at the Southwark Playhouse.

"Chilling...this terrific novel is...propelled by an iron-tight plot that becomes increasingly tense." --New York Times Book Review "It’s a nerve-shredding, emotionally harrowing ride. Don’t miss it.” —Megan Abbott, New York Times bestselling author The USA Today bestselling and Edgar Award–winning author of Never Look Back and If I Die Tonight asks how far a grieving mother will go to right a tragic wrong in this propulsive novel of psychological suspense. Camille Gardener is a grieving—and angry—mother who, five years after her daughter’s death, is still obsessed with the privileged young man she believes to be responsible. When her rash actions draw the attention of a secret group of women—the collective— Camille is drawn into a dark web where these mothers share their wildly different stories of loss as well as their desire for justice in a world where privilege denies accountability. Fueled by mutual rage, the collective members devise and act out retribution fantasies via precise, anonymous, highly coordinated revenge killings. As Camille struggles to comprehend whether this is a role-playing exercise or terrifying reality, she must decide if these women are truly avenging angels or monsters. Becoming more deeply enmeshed in the group, Camille learns truths about the collective—and about herself—that she may not be able to survive

Allow the Water combines an introduction to nonviolence with a deeper exploration into some of its dimensions. Though its style is mainly that of storytelling, there are also as many helpful references as possible. The book is 500 pages long, but photos and drawings make up almost half the volume. This is an exploration of the spirituality and practice of the force of love we inadequately call "nonviolence." Nonviolence is people and their stories before it is idea - a way of living and acting, not just a way of thinking. This book is one contribution to an urgently needed conversation. It is not meant to be "complete." There are questions, observations and convictions. Hopefully, in their thoroughness and simplicity, the contribute to our common search.

The Eastern Christian liturgical tradition of Lent has long included the chanting of the Songs of Ascents (Pss 120-134) as "entrance songs" of not only the special penance service known as the Liturgy of the Presanctified Gifts, but also of the season of repentance. Ruckhaus' commentary in As Though We Were Dreaming provides theological insight and exegetical breadth to this group of Psalms. Even more so, Ruckhaus drives the reader to engage the Songs of Ascents and participate in the descent and ascent of meaningful and life-changing repentance. The commentary here does more than just compare the struggle of the ancient Jews reflected in the Songs of Ascents with that of the early Christian community and our own experience. Ruckhaus insists on a "gutteral connection" between the anxiety and hope of reconstituting the people of God after the disaster of the exile and that of the passion of Jesus. "The gospel story is already genetically encoded in the story of Israel." The liturgical incorporation of the Songs of Ascents in the Liturgy of the Presanctified Gifts "grounds" the Church's participation in the Great Story. We don't borrow the ancient psalms of the Jews' struggle to reconstitute a kingdom of God; we share in that struggle.

While ancient civilizations worshipped strong, active emotions, modern societies have favored more peaceful attitudes, especially within the democratic process. We have largely forgotten the struggle to make use of thymos, the part of the soul that, following Plato, contains spirit, pride, and indignation. Rather, Christianity and psychoanalysis have promoted mutual understanding to overcome conflict. Through unique examples, Peter Sloterdijk, the preeminent posthumanist, argues exactly the opposite, showing how the history of Western civilization can be read as a suppression and return of rage. By way of reinterpreting the Iliad, Alexandre Dumas's Count of Monte Cristo, and recent Islamic political riots in Paris, Sloterdijk proves the fallacy that rage is an emotion capable of control. Global terrorism and economic frustrations have rendered strong emotions visibly resurgent, and the consequences of violent outbursts will determine international relations for decades to come. To better respond to rage and its complexity, Sloterdijk daringly breaks with entrenched dogma and contructs a new theory for confronting conflict. His approach acknowledges and respects the proper place of rage and channels it into productive political struggle.

This book defines and describes the meaning of social rage by examining the influence of social forces such as economic conditions, population diversity and power shifts. The role of media, in particular its encouragement of social rage through sensationalism, is also handled in this book. The author apporaches the issue of social rage on both an individual and a collective level with the goal of revealing its motivations and its impact.