Critical humorists and religion are steeped in a long-standing cultural antagonism. This book recounts the dramatic skirmishes between religion--its dogma and edicts, political manifestations, and the nature of faith--and the satire, parody, jokes and hyperbole of popular wits. The writings of Twain, Vonnegut, Mencken and Hitchens are included, along with the films of Monty Python, the cartoons of Charlie Hebdo, the animated television series The Simpsons and South Park, the comedy of George Carlin and Bill Maher, the music of Randy Newman and Pussy Riot, the performance monologue of Julia Sweeney and the magic of Penn Jillette.

Winner of the 2016 Religious Communication Association Book of the Year Award In God Mocks, Terry Lindvall ventures into the muddy and dangerous realm of religious satire, chronicling its evolution from the biblical wit and humor of the Hebrew prophets through the Roman Era and the Middle Ages all the way up to the present. He takes the reader on a journey through the work of Chaucer and his Canterbury Tales, Cervantes, Jonathan Swift, and Mark Twain, and ending with the mediated entertainment of modern wags like Stephen Colbert. Lindvall finds that there is a method to the madness of these mockers: true satire, he argues, is at its heart moral outrage expressed in laughter. But there are remarkable differences in how these religious satirists express their outrage.The changing costumes of religious satirists fit their times. The earthy coarse language of Martin Luther and Sir Thomas More during the carnival spirit of the late medieval period was refined with the enlightened wit of Alexander Pope. The sacrilege of Monty Python does not translate well to the ironic voices of Soren Kierkegaard. The religious satirist does not even need to be part of the community of faith. All he needs is an eye and ear for the folly and chicanery of religious poseurs. To follow the paths of the satirist, writes Lindvall, is to encounter the odd and peculiar treasures who are God’s mouthpieces. In God Mocks, he offers an engaging look at their religious use of humor toward moral ends.

How we feel is as vital to our survival as how we think. This claim, based on the premise that emotions are largely adaptive, serves as the organizing theme of Why We Need Religion. This book is a novel pathway in a well-trodden field of religious studies and philosophy of religion. Stephen Asma argues that, like art, religion has direct access to our emotional lives in ways that science does not. Yes, science can give us emotional feelings of wonder and the sublime--we can feel the sacred depths of nature--but there are many forms of human suffering and vulnerability that are beyond the reach of help from science. Different emotional stresses require different kinds of rescue. Unlike secular authors who praise religion's ethical and civilizing function, Asma argues that its core value lies in its emotionally therapeutic power. No theorist of religion has failed to notice the importance of emotions in spiritual and ritual life, but truly systematic research has only recently delivered concrete data on the neurology, psychology, and anthropology of the emotional systems. This very recent "affective turn" has begun to map out a powerful territory of embodied cognition. Why We Need Religion incorporates new data from these affective sciences into the philosophy of religion. It goes on to describe the way in which religion manages those systems--rage, play, lust, care, grief, and so on. Finally, it argues that religion is still the best cultural apparatus for doing this adaptive work. In short, the book is a Darwinian defense of religious emotions and the cultural systems that manage them.

Few vocations share more in common with preaching than stand-up comedy. Each profession demands attention to the speaker’s bodily and facial gestures, tone and inflection, timing, and thoughtful engagement with contemporary contexts. Furthermore, both preaching and stand-up arise out of creative tension with homiletic or comedic traditions, respectively. Every time the preacher steps into the pulpit or the comedian steps onto the stage, they must measure their words and gestures against their audience’s expectations and assumptions. They participate in a kind of dance that is at once choreographed and open to improvisation. It is these and similar commonalities between preaching and stand-up comedy that this book engages. Stand-Up Preaching does not aim to help preachers tell better jokes. The focus of this book is far more expansive. Given the recent popularity of comedy specials, preachers have greater access to a broad array of emerging comics who showcase fresh comedic styles and variations on comedic traditions. Coupled with the perennial Def Comedy Jams on HBO, preachers also have ready access to the work of classic comics who have exhibited great storytelling and stage presence. This book will offer readers tools to discern what is homiletically significant in historical and contemporary stand-up routines, equipping them with fresh ways to riff off of their respective preaching traditions, and nuanced ways to engage issues of contemporary sociopolitical importance.

Sacred centers -- The difference race makes: Native American Religions, Hinduism, and Judaism -- American Christianity, part 1: backwards neighbors -- American Christianity, part 2: American Christianities as dangerous threats -- Stigma, stupidity, and exclusion: "cults" and Muslims -- List of episodes referenced