Vincent Ferrer (1350–1419), a celebrated Dominican preacher from Valencia, was revered as a living saint during his lifetime, receiving papal canonization within fifty years of his death. In The Saint and the Chopped-Up Baby, Laura Ackerman Smoller recounts the fascinating story of how Vincent became the subject of widespread devotion, ranging from the saint's tomb in Brittany to cult centers in Spain, Italy, France, Germany, and Latin America, where Vincent is still venerated today. Along the way, Smoller traces the long and sometimes contentious process of establishing a stable image of a new saint.Vincent came to be epitomized by a singularly arresting miracle tale in which a mother kills, chops up, and cooks her own baby, only to have the child restored to life by the saint's intercession. This miracle became a key emblem in the official portrayal of the saint promoted by the papal court and the Dominican order, still haunted by the memory of the Great Schism (1378–1414) that had rent the Catholic Church for nearly forty years. Vincent, however, proved to be a potent religious symbol for others whose agendas did not necessarily align with those of Rome. Whether shoring up the political legitimacy of Breton or Aragonese rulers, proclaiming a new plague saint, or trumpeting their own holiness, individuals imposed their own meanings on the Dominican saint.Drawing on nuanced readings of canonization inquests, hagiography, liturgical sources, art, and devotional materials, Smoller tracks these various appropriations from the time of Vincent’s 1455 canonization through the eve of the Enlightenment. In the process, she brings to life a long, raucous discussion ranging over many centuries. The Saint and the Chopped-Up Baby restores the voices of that conversation in all its complexity.

Vincent Ferrer (1350–1419), a celebrated Dominican preacher from Valencia, was revered as a living saint during his lifetime, receiving papal canonization within fifty years of his death. In The Saint and the Chopped-Up Baby, Laura Ackerman Smoller recounts the fascinating story of how Vincent became the subject of widespread devotion, ranging from the saint's tomb in Brittany to cult centers in Spain, Italy, France, Germany, and Latin America, where Vincent is still venerated today. Along the way, Smoller traces the long and sometimes contentious process of establishing a stable image of a new saint. Vincent came to be epitomized by a singularly arresting miracle tale in which a mother kills, chops up, and cooks her own baby, only to have the child restored to life by the saint’s intercession. This miracle became a key emblem in the official portrayal of the saint promoted by the papal court and the Dominican order, still haunted by the memory of the Great Schism (1378–1414) that had rent the Catholic Church for nearly forty years. Vincent, however, proved to be a potent religious symbol for others whose agendas did not necessarily align with those of Rome. Whether shoring up the political legitimacy of Breton or Aragonese rulers, proclaiming a new plague saint, or trumpeting their own holiness, individuals imposed their own meanings on the Dominican saint. Drawing on nuanced readings of canonization inquests, hagiography, liturgical sources, art, and devotional materials, Smoller tracks these various appropriations from the time of Vincent’s 1455 canonization through the eve of the Enlightenment. In the process, she brings to life a long, raucous discussion ranging over many centuries. The Saint and the Chopped-Up Baby restores the voices of that conversation in all its complexity.

What do we do when we read? Reading can be an act of consumption or an act of creation. Our "work reading" overlaps with our "pleasure reading," and yet these two modes of reading engage with different parts of the self. It is sometimes passive, sometimes active, and can even be an embodied form. The contributors to this volume share their own histories of reading in order to reveal the shared pleasure that lies in this most solitary of acts - which is also, paradoxically, the act of most complete plenitude. Many of the contributors engage in academic writing, and several publish in other genres, including poetry and fiction; some contributors maintain an active online presence. All are engaged with reading's capacity to stimulate and excite as well as to frustrate and confuse. The synergies and tensions of online reading and print reading animate these thirteen contributions, generating a sense of shared community. Together, the authors open their libraries to us. This is how we read. Table of Contents // Suzanne Conklin Akbari / "Introduction: Practicing Reading, Reading Practice"Irina Dumitrescu / "Reading Lessons"Anna Wilson / "I Like Knowing What is Going to Happen"Suzanne Conklin Akbari / "Read It Out Loud"Jessica Hammer / "From When We Read"Lochin Brouillard / "De Vita Lochini, or Commentary on a Life of Reading"Chris Piuma / "How I Read"Stephanie Bahr / "How I Read, a History; or 'San Francisco Banking Contains No Trans Fats'"Alexandra Atiya / "Text to Speech"Jonathan Hsy / "Phantom Sounds"Kirsty Schut / "On Not Being a Voracious Reader"Kaitlin Heller / "Sleeping Under the Mountain"Jennifer Jordan / "Reading to Forget, Reading to Remember"Brantley Bryant / "Best Practice Tips and Strategies for Academic Reading to Maximize Your Time and Productivity"Kaitlin Heller / "Afterword: The Parlor Scene" KAITLIN HELLER is a postdoctoral fellow at Syracuse University and a former assistant editor at Del Rey Books. Between teaching courses on folklore and medievalism, Heller designs games, watches Midsomer Murders, and does the bidding of one large cat. SUZANNE CONKLIN AKBARI is Director of the Centre for Medieval Studies at the University of Toronto, but would rather be working on her new project on medieval ideas of periodization, "The Shape of Time," and/or lying on the beach in North Truro. Her books include "Seeing Through the Veil: Optical Theory and Medieval Allegory" (Toronto, 2004), "Idols in the East: European Representations of Islam and the Orient, 1100-1450" (Cornell, 2009), and four collections of essays, including "How We Write: Thirteen Ways of Looking at a Blank Page" (punctum, 2015). She is also a co-editor of the Norton Anthology of World Literature (4th ed.), and a master of structured procrastination.

A new investigation that shows how conversionary preaching to Jews was essential to the early modern Catholic Church and the Roman religious landscape Starting in the sixteenth century, Jews in Rome were forced, every Saturday, to attend a hostile sermon aimed at their conversion. Harshly policed, they were made to march en masse toward the sermon and sit through it, all the while scrutinized by local Christians, foreign visitors, and potential converts. In Catholic Spectacle and Rome’s Jews, Emily Michelson demonstrates how this display was vital to the development of early modern Catholicism. Drawing from a trove of overlooked manuscripts, Michelson reconstructs the dynamics of weekly forced preaching in Rome. As the Catholic Church began to embark on worldwide missions, sermons to Jews offered a unique opportunity to define and defend its new triumphalist, global outlook. They became a point of prestige in Rome. The city’s most important organizations invested in maintaining these spectacles, and foreign tourists eagerly attended them. The title of “Preacher to the Jews” could make a man’s career. The presence of Christian spectators, Roman and foreign, was integral to these sermons, and preachers played to the gallery. Conversionary sermons also provided an intellectual veneer to mask ongoing anti-Jewish aggressions. In response, Jews mounted a campaign of resistance, using any means available. Examining the history and content of sermons to Jews over two and a half centuries, Catholic Spectacle and Rome’s Jews argues that conversionary preaching to Jews played a fundamental role in forming early modern Catholic identity.

A companion volume for the usage of medieval miracle collections as a source, offering versatile approaches to the origins, methods, and techniques of various types of miracle narratives, as well as fascinating case studies from across Europe.

In Poets, Saints, and Visionaries of the Great Schism, Renate Blumenfeld-Kosinski looks beyond the political and ecclesiastical storm and finds an outpouring of artistic, literary, and visionary responses to one of the great calamities of the late Middle Ages.

Yolande of Aragon is one of the most intriguing of late medieval queens who contrived to be everywhere and nowhere, operating seamlessly from backstage and center stage. She is acknowledged as having been shrewd and intelligent - an éminence grise whose political and diplomatic agency secured the throne of France for her son-in-law, Charles VII.