In Theology as Improvisation, Nathan Crawford reimagines the possibilities for how theology thinks God within a postmodern world. By engaging a number of thinkers in conversation, he navigates the nature of thinking God in a postmodern world.

This introductory textbook establishes theatrical improvisation as a model for Christian ethics, helping Christians embody their faith in the practices of discipleship. Clearly, accessibly, and creatively written, it has been well received as a text for courses in Christian ethics. The repackaged edition has updated language and recent relevant resources, and it includes a new afterword by Wesley Vander Lugt and Benjamin D. Wayman that explores the reception and ongoing significance of the text.

In Resurrection City Peter Heltzel paints a prophetic picture of an evangelical Christianity that eschews a majority mentality and instead fights against racism, inequality, and injustice, embracing the concerns of the poor and marginalized, just as Jesus did. Placing society's needs front and center, Heltzel calls for radical change and collective activism modeled on God's love and justice. In particular, Heltzel explores the social forms that love and justice can take as religious communities join together to build "beloved cities." He proclaims the importance of "improvising for justice" -- likening the church's prophetic ministry to jazz music -- and develops a biblical theology of shalom justice. His vision draws inspiration from the black freedom struggle and the lives of Sojourner Truth, Howard Thurman, and Martin Luther King Jr. Pulsing with hope and beauty, Resurrection City compels evangelical Christians to begin "a global movement for love and justice" that truly embodies the kingdom of God.

Theology, Music and Time aims to show how music can enrich and advance theology, extending our wisdom about God and God's ways with the world. Instead of asking: what can theology do for music?, it asks: what can music do for theology? Jeremy Begbie argues that music's engagement with time gives the theologian invaluable resources for understanding how it is that God enables us to live 'peaceably' with time as a dimension of the created world. Without assuming any specialist knowledge of music, he explores a wide range of musical phenomena - rhythm, metre, resolution, repetition, improvisation - and through them opens up some of the central themes of the Christian faith - creation, salvation, eschatology, time and eternity, Eucharist, election and ecclesiology. He shows that music can not only refresh theology with new models, but also release it from damaging habits of thought which have hampered its work in the past.

Faithful and effective church leadership requires preparation in prayer, theological reflection and a wide range of pastoral, prophetic and practical skills in order to ensure that what the Church discerns as necessary the Church does. Faithful Improvisation? is both a contribution to a current and sometimes vigorous debate on how the Church trains its leaders and also a practical and theological resource for discerning what the Spirit is saying and then acting upon it in local church contexts. Part One includes the full text of the Senior Church Leadership report from the Faith and Order Commission. Part Two offers reflections by Cally Hammond, Thomas Seville, Charlotte Methuen, Jeremy Morris and David Hilborn, on practices, models and theologies of leadership in different periods of church history which informed the FAOC report. Part Three opens up a broader discussion about present and future leadership within the Church of England. Mike Higton sketches out a dialogue between Senior Church Leadership and Lord Green’s report, Talent Management for Future Leaders; Tim Harle offers a personal reflection from the perspective of the community of leadership practitioners; and Rachel Treweek concludes with an exploration of the essentially relational character of leadership.

Resonant Witness gathers together a wide, harmonious chorus of voices from across the musical and theological spectrum to show that music and theology can each learn much from the other and that the majesty and power of both are profoundly amplified when they do. With essays touching on J. S. Bach, Hildegard of Bingen, Martin Luther, Karl Barth, Olivier Messiaen, jazz improvisation, South African freedom songs, and more, this volume encourages musicians and theologians to pursue a more fruitful and sustained engagement with one another. What can theology do for music? Resonant Witness helps answer this question with an essential resource in the burgeoning interdisciplinary field of music and theology. Covering an impressively wide range of musical topics, from cosmos to culture and theology to worship, Jeremy Begbie and Steven Guthrie explore and map new territory with incisive contributions from the very best musicians, theologians, and philosophers. Bennett Zon Durham University This volume represents a burst of cross-disciplinary energy and insight that can be celebrated by musicians and theologians, music-lovers and God-lovers alike. John D. Witvliet (from afterword)

This open access book addresses the question of how God can providentially govern apparently ungovernable randomness. Medieval theologians confidently held that God is provident, that is, God is the ultimate cause of or is responsible for everything that happens. However, scientific advances since the 19th century pose serious challenges to traditional views of providence. From Darwinian evolution to quantum mechanics, randomness has become an essential part of the scientific worldview. An interdisciplinary team of Muslim, Christian and Jewish scholars—biologists, physicists, philosophers and theologians—addresses questions of randomness and providence.