“Anne Lamott is my Oprah.” —Chicago Tribune The New York Times bestseller from the author of Dusk, Night, Dawn, Almost Everything and Bird by Bird, a powerful exploration of mercy and how we can embrace it. "Mercy is radical kindness," Anne Lamott writes in her enthralling and heartening book, Hallelujah Anyway. It's the permission you give others—and yourself—to forgive a debt, to absolve the unabsolvable, to let go of the judgment and pain that make life so difficult. In Hallelujah Anyway: Rediscovering Mercy Lamott ventures to explore where to find meaning in life. We should begin, she suggests, by "facing a great big mess, especially the great big mess of ourselves." It's up to each of us to recognize the presence and importance of mercy everywhere—"within us and outside us, all around us"—and to use it to forge a deeper understanding of ourselves and more honest connections with each other. While that can be difficult to do, Lamott argues that it's crucial, as "kindness towards others, beginning with myself, buys us a shot at a warm and generous heart, the greatest prize of all." Full of Lamott’s trademark honesty, humor and forthrightness, Hallelujah Anyway is profound and caring, funny and wise—a hopeful book of hands-on spirituality.

Poems.

A role model tells her story—and that of the nation and the church. Hallelujah, Anyhow! is the long-awaited memoir of the Rt. Rev. Barbara Harris, the first woman bishop in the Anglican Communion. Edited by Kelly Brown Douglas, Dean of the Episcopal Divinity School at Union Seminary and an author and noted theologian in her own right, the book offers previously untold stories and glimpses into Bishop Harris’ childhood and young adult years in her native Philadelphia, as well as her experiences as priest and bishop, both active and actively-retired. A participant in Dr. Martin Luther King’s march from Selma to Montgomery and crucifer at the ordination of the “Philadelphia 11,” Bishop Harris has been eyewitness to national and church history. In the book, she reflects on her experiences with the “racism, sexism, and other ‘isms’ that pervade the life of the church,” while still managing to say, “Hallelujah, Anyhow.” Photographs accompany the text and round out this portrait of a pioneer, respected outside as well as inside the church for her fierce, outspoken, and life-long advocacy for peace and justice.

How can you cope with grief, disappointment, or hurt? In this chapter book, Dan Warden unlocks his powerful and effective hope that has supernaturally carried him through unthinkable tragedy and loss, only to bounce back with unspeakable joy, laughter, and freedom.Drawing from over 80 years of life experience in following the words, will, and ways of Christ; Dan shares helpful and relatable perspectives as a husband, father, grandfather, author, preacher, prison chaplain, community leader, and Christian elder.Using his unique wit, wisdom, and winning motto to remain victorious in any circumstance, Dan invites readers to tap into the power of declaring: "When things don't go as I say or pray, Hallelujah Anyway".

Winner of the National Book Critics Circle Award for Nonfiction, this brilliantly reported and beautifully crafted book explores the clash between a medical center in California and a Laotian refugee family over their care of a child.

This book studies the working efficacy of Leonard Cohen's song Hallelujah in the context of today's network culture. Especially as recorded on YouTube, k.d. lang's interpretation(s) of Cohen's Hallelujah, embody acoustically and visually/viscerally, what Nietzsche named the 'spirit of music'. Today, the working of music is magnified and transformed by recording dynamics and mediated via Facebook exchanges, blog postings and video sites. Given the sexual/religious core of Cohen's Hallelujah, this study poses a phenomenological reading of the objectification of both men and women, raising the question of desire, including gender issues and both homosexual and heterosexual desire. A review of critical thinking about musical performance as 'currency' and consumed commodity takes up Adorno's reading of Benjamin's analysis of the work of art in the age of mechanical reproduction as applied to music/radio/sound and the persistent role of 'recording consciousness'. Ultimately, the question of what Nietzsche called the becoming-human-of-dissonance is explored in terms of both ancient tragedy and Beethoven's striking deployment of dissonance as Nietzsche analyses both as playing with suffering, discontent, and pain itself, a playing for the sake not of language or sense but musically, as joy.