Heresy studies is a new interdisciplinary, supra-religious, and humanist field of study that focuses on borderlands of dogma, probes the intersections between orthodoxy and heterodoxy, and explores the realms of dissent in religion, art, and literature. Free from confessional agendas and tolerant of both religious and non-religious perspectives, heresy studies fulfill an important gap in scholarly inquiry and artistic production. Divided into four parts, the volume explores intersections between heresy and modern literature, it discusses intricacies of medieval heresies, it analyzes issues of heresy in contemporary theology, and it demonstrates how heresy operates as an artistic stimulant. Rather than treating matters of heresy, blasphemy, unbelief, dissent, and non-conformism as subjects to be shunned or naively championed, the essays in this collection chart a middle course, energized by the dynamics of heterodoxy, dissent, and provocation, yet shining a critical light on both the challenges and the revelations of disruptive kinds of thinking and acting.

"An all-out women-driven, queer, transgender, multiracial takeover of the Old West . . . and that's exactly what Melissa Lenhardt delivers in her unapologetically badass western, Heresy." - New York Times "Lenhardt has created a bold new story where women have taken their rightful place in the narrative of the Outlaw Western genre; where wit, wisdom and wiles could mean the difference between life and death, and where the fellowship of women bested every challenge." -- Kathleen Kent Margaret Parker and Hattie LaCour never intended to turn outlaw. After being run off their ranch by a greedy cattleman, their family is left destitute. As women alone they have few choices: marriage, lying on their backs for money, or holding a gun. For Margaret and Hattie the choice is simple. With their small makeshift family, the gang pulls off a series of heists across the West. Though the newspapers refuse to give the female gang credit, their exploits don't go unnoticed. Pinkertons are on their trail, a rival male gang is determined to destroy them, and secrets among the group threaten to tear them apart. Now, Margaret and Hattie must find a way to protect their family, finish one last job, and avoid the hangman's noose. "Readers who relish an unusual narrative structure will enjoy this unique take on the traditional western." -- Booklist

Heresy studies is a new interdisciplinary, supra-religious, and humanist field of study that focuses on borderlands of dogma, probes the intersections between orthodoxy and heterodoxy, and explores the realms of dissent in religion, art, and literature. Free from confessional agendas and tolerant of both religious and non-religious perspectives, heresy studies fulfill an important gap in scholarly inquiry and artistic production. Divided into four parts, the volume explores intersections between heresy and modern literature, it discusses intricacies of medieval heresies, it analyzes issues of heresy in contemporary theology, and it demonstrates how heresy operates as an artistic stimulant. Rather than treating matters of heresy, blasphemy, unbelief, dissent, and non-conformism as subjects to be shunned or naively championed, the essays in this collection chart a middle course, energized by the dynamics of heterodoxy, dissent, and provocation, yet shining a critical light on both the challenges and the revelations of disruptive kinds of thinking and acting.

Burning Bodies interrogates the ideas that the authors of historical and theological texts in the medieval West associated with the burning alive of Christian heretics. Michael Barbezat traces these instances from the eleventh century until the advent of the internal crusades of the thirteenth century, depicting the exclusionary fires of hell and judicial execution, the purifying fire of post-mortem purgation, and the unifying fire of God's love that medieval authors used to describe processes of social inclusion and exclusion. Burning Bodies analyses how the accounts of burning heretics alive referenced, affirmed, and elaborated upon wider discourses of community and eschatology. Descriptions of burning supposed heretics alive were profoundly related to ideas of a redemptive Christian community based upon a divine, unifying love, and medieval understandings of what these burnings could have meant to contemporaries cannot be fully appreciated outside of this discourse of communal love. For them, human communities were bodies on fire. Medieval theologians and academics often described the corporate identity of the Christian world as a body joined together by the love of God. This love was like a fire, melting individuals together into one whole. Those who did not spiritually burn with God's love were destined to burn literally in the fires of Hell or Purgatory, and the fires of execution were often described as an earthly extension of these fires. Through this analysis, Barbezat demonstrates how presentations of heresy, and to some extent actual responses to perceived heretics, were shaped by long-standing images of biblical commentary and exegesis. He finds that this imagery is more than a literary curiosity; it is, in fact, a formative historical agent.

A driven art critic’s plan to steal a painting leads to murder in this classic neo-noir novel by the author of the Hoke Moseley series. Fast-talking, backstabbing, womanizing, and fiercely ambitious art critic James Figueras will do anything—blackmail, burglary, and beyond—to make a name for himself. When an unscrupulous collector offers Figueras a career-making chance to interview Jacques Debierue, the greatest living—and most reclusive—artist, the critic must decide how far he will go to become the art-world celebrity he hungers to be. Will Figueras stop at the opportunity to skim some cream for himself or push beyond morality’s limits to a bigger payoff? Crossing the art world with the underworld, Willeford creates a novel of dark hue and high aesthetic polish. The Burnt Orange Heresy—the 1970s crime classic now back in print—has lost none of its savage delights as it re-creates the making of a murderer, calmly and with exquisite tension, while satirizing the workings of the art world as the ultimate con. Now a major motion picture starring Donald Sutherland and Mick Jagger Praise for The Burnt Orange Heresy “Stunning . . . A novel full of genuine fun that also manages to make a level statement about the art world and its hermetic credulities.” —New Yorker

"Padura’s Heretics spans and defies literary categories . . . ingenious." —Maureen Corrigan, Fresh Air A sweeping novel of art theft, anti-Semitism, contemporary Cuba, and crime from a renowned Cuban author, Heretics is Leonardo Padura's greatest detective work yet. In 1939, the Saint Louis sails from Hamburg into Havana’s port with hundreds of Jewish refugees seeking asylum from the Nazi regime. From the docks, nine-year-old Daniel Kaminsky watches as the passengers, including his mother, father, and sister, become embroiled in a fiasco of Cuban corruption. But the Kaminskys have a treasure that they hope will save them: a small Rembrandt portrait of Christ. Yet six days later the vessel is forced to leave the harbor with the family, bound for the horrors of Europe. The Kaminskys, along with their priceless heirloom, disappear. Nearly seven decades later, the Rembrandt reappears in an auction house in London, prompting Daniel’s son to travel to Cuba to track down the story of his family’s lost masterpiece. He hires the down-on-his-luck private detective Mario Conde, and together they navigate a web of deception and violence in the morally complex city of Havana. In Heretics, Leonardo Padura takes us from the tenements and beaches of Cuba to Rembrandt’s gloomy studio in seventeenth-century Amsterdam, telling the story of people forced to choose between the tenets of their faith and the realities of the world, between their personal desires and the demands of their times. A grand detective story and a moving historical drama, Padura’s novel is as compelling, mysterious, and enduring as the painting at its center.

"The hunters have become the hunted. The Night Lords flee to the dark fringes of the Imperioum to escape their relentless puruers--the eldar of Craftworld Ulthwe. Their flight takes them to the carrion world of Tsagualsa, where their primarch died and their Legion was broken. There, history will repeat itself as a deadly assassin stalks the shadows, and the Night Lords are drawn into a battle they are destined to lose"--P. [4] of cover.