Lindsay Harding, a young hospital chaplain in the tiny town of Mount Moriah, North Carolina, just wants to help people. But her eagerness to help draws her into a dark world of secrets and lies when a beloved Civil War re-enactor is murdered in front of hundreds of on-lookers. As Lindsay races to find the killer and avoid becoming the next victim, she draws upon her courage, her friends, and her own irreverant brand of religion. All the while Lindsay is torn between her attraction to the hospital's new doctor, an Adonis in surgical scrubs, and her fractious, flirtatious relationship with the (sort-of) married detective investigating the murder. When Lindsay threatens to expose century-old sins that shaped the very soul of Mount Moriah, the murderer gets to close for comfort and threatens Lindsay's chance at a happy ending.

“Mt. Moriah’s Wake is an eloquent novel in which a woman experiences a spiritual homecoming and embraces love.” —Foreword Clarion Reviews Orphaned at age eight, JoAnna Wilson was raised by her eccentric aunt in the bucolic southern community of Mt. Moriah. Now a twenty-six-year old would-be writer, JoAnna faces several crossroads: in her marriage, in her career, and in her faith. She left home for Chicago in 1997 immediately following the murder of her best friend, Grace. Now she comes back to Mt. Moriah for the first time in four years to attend her aunt’s funeral—and realizes that she must confront both the profound sorrow she feels over Grace’s death and the mysterious guilt she carries. She must finally grieve. A hauntingly sweet story of love and loss that alternates between JoAnna’s childhood in Mt. Moriah, her life in Chicago and her present encounters upon returning home, Mt. Moriah’s Wake ponders deep questions: When we experience unspeakable tragedy, do we see ourselves as victim or survivor? Is it possible to regain happiness in the face of such? And how do we find our faith again, once it is lost? As her past and present worlds collide, JoAnna grapples with these questions—and her journey moves toward an unexpected conclusion.

Nestled on a mountainous plateau overlooking Deadwood's downtown core district is one of the premier historic cemeteries in Black Hills: Mount Moriah Cemetery. Established in 1878, this cemetery contains some of North America's most recognized Western legends, including James Butler "Wild Bill" Hickok, Martha "Calamity Jane" Canary, Seth Bullock, John "Potato Creek Johnny" Perrett, and Henry Weston "Preacher" Smith. They represent a small portion of the more than 3,600 people buried in Mount Moriah whose memories have been carved, chiseled, and etched into the monuments within this cemetery. Deadwood's Mount Moriah Cemetery is a combination of historic and contemporary photographs chronicling the history of the cemetery and the stories of the individuals--both colorful and illustrious--who helped carve Deadwood into the annals of the American West.

Combining theology, politics and historical analysis, “theorizes what might be at stake—ethically—for America’s current political life” (Andrew Taylor, Journal of American History). Conventional wisdom holds that attempts to combine religion and politics will produce unlimited violence. Concepts such as jihad, crusade, and sacrifice need to be rooted out, the story goes, for the sake of more bounded and secular understandings of violence. Ted Smith upends this dominant view, drawing on Walter Benjamin, Giorgio Agamben, and others to trace the ways that seemingly secular politics produce their own forms of violence without limit. He brings this argument to life—and digs deep into the American political imagination—through a string of surprising reflections on John Brown, the nineteenth-century abolitionist who took up arms against the state in the name of a higher law. Smith argues that the key to limiting violence is not its separation from religion, but its connection to richer and more critical modes of religious reflection. Weird John Brown develops a negative political theology that challenges both the ways we remember American history and the ways we think about the nature, meaning, and exercise of violence. “Powerfully combines theology and political theory. . . . Recommended.” —R. J. Meagher, Choice “Smith illustrates how an ethical and philosophical reading of history can help us to better understand the world we live in.” —Franklin Rausch, New Books in Christian Studies “A brilliantly original and compelling book.” —John Stauffer, Harvard University “A very sophisticated philosophical and theological reflection on John Brown and the question of divine violence.” —Willie James Jennings, Duke University

Winner of the René Wellek Prize Named a Best Book of the Year by The Guardian, The Millions, and The Sydney Morning Herald This Life offers a profoundly inspiring basis for transforming our lives, demonstrating that our commitment to freedom and democracy should lead us beyond both religion and capitalism. Philosopher Martin Hägglund argues that we need to cultivate not a religious faith in eternity but a secular faith devoted to our finite life together. He shows that all spiritual questions of freedom are inseparable from economic and material conditions: what matters is how we treat one another in this life and what we do with our time. Engaging with great philosophers from Aristotle to Hegel and Marx, literary writers from Dante to Proust and Knausgaard, political economists from Mill to Keynes and Hayek, and religious thinkers from Augustine to Kierkegaard and Martin Luther King, Jr., Hägglund points the way to an emancipated life.

Excerpt from Chapter One: All Tanenbaum said was “And then what happened, Eddie?” He appeared to enter some weirdly hypnotic, catatonic trance—his already breathy voice became monotonal, his eyes glazed over, his face drained of expression—and he went on and on and on. “She said, ‘Wait until your mother hears this; this is going to break her heart.’ And I said, ‘Please don’t tell my mother, Sherrald; please don’t tell my mother, Sherrald; please don’t tell my mother.’” And while Eddie Hurdle continued to mouth that refrain, “please don’t tell my mother,” both of his hands gripped an imaginary knife and repeatedly, metronomically, plunged it down and raised it up and plunged it down and raised it up, over and over and over again. The three observers—Davin, Tanenbaum, and the stenotypist—sat in stunned silence as Eddie Hurdle reenacted his crime. * * * * “Other sins only speak; murder shrieks out,” wrote playwright John Webster in 1623, and our fascination with murder and murder trials has continued unabated to the present. Murder is, after all, the most dramatically unlawful thing a person can do to another. It runs counter to the very fundaments of human society, breaching what social philosophers have termed the social contract. Society speaks with its firmest voice in addressing the conduct of its members who kill another, and murder prosecutions have the direst of consequences of any court proceeding, as they may occasion the loss of a violator’s liberty for life or even the loss of his or her life itself. But most murder cases, while fascinating in the motives or personalities of the killers or the circumstances of the killings and the ensuing trials, receive little attention and recede into ordinariness. Only rarely does a murder case become a cause célèbre, notorious enough to capture wide attention; the O. J. Simpson–, Scott Peterson–, Claus von Bülow–type cases prove the exception rather than the rule. For the most part, the public’s perception of garden-variety murder trials quickly becomes only memory’s ashes strewn sparsely on the fields of public awareness. Brought to life by the prosecutor who tried the six “everyday murders” narrated here, three in Manhattan and three in San Francisco, these true stories prove redolent with drama, encapsulating raw human emotions that often impel man to murder—greed, lust, jealousy, hatred, as well as mere folly—and actually are quite extraordinary in their own context. Sit at the prosecution’s table with masterful prosecutor Hugh Anthony Levine as he represents the People of the State of New York or the People of the State of California in the trials of some everyday murders.

In The Gift of Death, Jacques Derrida's most sustained consideration of religion to date, he continues to explore questions introduced in Given Time about the limits of the rational and responsible that one reaches in granting or accepting death, whether by sacrifice, murder, execution, or suicide. Derrida analyzes Patocka's Heretical Essays on the History of Philosophy and develops and compares his ideas to the works of Heidegger, Levinas, and Kierkegaard. A major work, The Gift of Death resonates with much of Derrida's earlier writing and will be of interest to scholars in anthropology, philosophy, and literary criticism, along with scholars of ethics and religion. "The Gift of Death is Derrida's long-awaited deconstruction of the foundations of the project of a philosophical ethics, and it will long be regarded as one of the most significant of his many writings."—Choice "An important contribution to the critical study of ethics that commends itself to philosophers, social scientists, scholars of relgion . . . [and those] made curious by the controversy that so often attends Derrida."—Booklist "Derrida stares death in the face in this dense but rewarding inquiry. . . . Provocative."—Publishers Weekly