"Writing Faith demonstrates that clusters of miracles form sign systems, and that it is those systems of meaning or representation that can be historically located. Thus, rather than treating individual miracle stories as transparent sources of specific historical data, we can recognize representations common to groups of miracle stories as coherent historical formations. For instance, the negative characterizations of Muslims in the late miracles situate the stories' composition in the eleventh century, a period of rising hostility on the eve of the Crusades."--Jacket.

In the wake of the horrific 9/11 terrorist attacks we, as an increasingly secular nation, were reminded that religion is, for good and bad, still significant in the modern world. Alongside this new awareness, religion reporters adopted the tools of so-called New Journalists, reporters of the 1960s and '70s like Truman Capote and Joan Didion who inserted themselves into the stories they covered while borrowing the narrative tool kit of fiction to avail themselves of a deeper truth. At the turn of the millennium, this personal, subjective, voice-driven New Religion Journalism was employed by young writers, willing to scrutinize questions of faith and doubt while taking God-talk seriously. Articles emerged from such journalists as Kelly Baker, Ann Neumann, Patrick Blanchfield, Jeff Kripal, and Meghan O'Gieblyn, characterized by their brash, innovative, daring, and stylistically sophisticated writing and an unprecedented willingness to detail their own interaction with faith (or their lack thereof). The God Beat brings together some of the finest and most representative samples of this emerging genre. By curating and presenting them as part of a meaningful trend, this compellingly edited collection helps us understand how we talk about God in public spaces--and why it matters--in a whole new way.

Hats of Faith is a simple and striking introduction to the shared custom of religious head coverings. With bright images and a carefully researched interfaith text, this thoughtful book inspires understanding and celebrates our culturally diverse modern world.

Current digital transformations of information technology have given rise to an explosion of scholarly interest in the history of the book. Although this research has focused predominantly on the rise of movable type after Gutenberg, the second-to-fifth-century-CE transition from scroll to codex warrants renewed attention. Here, a peculiar footnote comes to the fore: Christians were early adopters of the codex for their sacred scriptures. In Writing Faith, Timothy Stanley begins with a novel investigation into Jacques Derrida’s unanswered question concerning the mediatic nature of Christianity. There, the relationship between writing and faith comes into sharper focus. It is in this light that the codex’s cosmopolitan capacity for transmitting the written word can be re-evaluated in its scrolled Greco-Roman and Jewish bibliographic contexts. Christian faith is bound up in this technical development, and can inform how religious mediation is understood after Derrida. Writing Faith aims to recover vital questions for today’s digital times.

Examines the apparent contradictions in the world and explains how the invisible, natural, and supernatural worlds might interact and affect people's daily lives.

From a world-renowned painter, an exploration of creativity’s quintessential—and often overlooked—role in the spiritual life “Makoto Fujimura’s art and writings have been a true inspiration to me. In this luminous book, he addresses the question of art and faith and their reconciliation with a quiet and moving eloquence.”—Martin Scorsese “[An] elegant treatise . . . Fujimura’s sensitive, evocative theology will appeal to believers interested in the role religion can play in the creation of art.”—Publishers Weekly Conceived over thirty years of painting and creating in his studio, this book is Makoto Fujimura’s broad and deep exploration of creativity and the spiritual aspects of “making.” What he does in the studio is theological work as much as it is aesthetic work. In between pouring precious, pulverized minerals onto handmade paper to create the prismatic, refractive surfaces of his art, he comes into the quiet space in the studio, in a discipline of awareness, waiting, prayer, and praise. Ranging from the Bible to T. S. Eliot, and from Mark Rothko to Japanese Kintsugi technique, he shows how unless we are making something, we cannot know the depth of God’s being and God’s grace permeating our lives. This poignant and beautiful book offers the perspective of, in Christian Wiman’s words, “an accidental theologian,” one who comes to spiritual questions always through the prism of art.

A collection of twenty-one essays from well-known writers who reflect on the relationship between faith and writing.