In this theological work, readers are seated in a metaphorical balcony as a counter melody is composed within America’s operatic tradition. By using imaginary opera glasses, readers are invited to critically view American society and history. The most popular folk songs of white Southerners, Western settlers, and Northern elites were composed from chords of colonialism, white supremacy, patriarchy, hegemony, and xenophobia—forms of anthropological poverty. These songs were, and remain, the most discordant melodies heard by indigenous and enslaved persons in America. Indicting the “church” for its complicity in these oppressions, this work offers the reader a historical glimpse at the philosophical and religious underpinnings of systemic racism. A new healing hermeneutic, the balcony hermeneutic, enables the reader to view, critique, assess, correct, and reverse the devastating consequences of anthropological poverty. By taking a “reversed gaze” of traditional Western Eurocentric systems of knowledge production, through theomusicology, this work privileges the voices of indigenous scholars—philosophers, anthropologists, theologians, and performers—to sing a new song as we correct negative narratives and lyrics through resistance operatic performances.

In this theological work, readers are seated in a metaphorical balcony as a counter melody is composed within America’s operatic tradition. By using imaginary opera glasses, readers are invited to critically view American society and history. The most popular folk songs of white Southerners, Western settlers, and Northern elites were composed from chords of colonialism, white supremacy, patriarchy, hegemony, and xenophobia—forms of anthropological poverty. These songs were, and remain, the most discordant melodies heard by indigenous and enslaved persons in America. Indicting the “church” for its complicity in these oppressions, this work offers the reader a historical glimpse at the philosophical and religious underpinnings of systemic racism. A new healing hermeneutic, the balcony hermeneutic, enables the reader to view, critique, assess, correct, and reverse the devastating consequences of anthropological poverty. By taking a “reversed gaze” of traditional Western Eurocentric systems of knowledge production, through theomusicology, this work privileges the voices of indigenous scholars—philosophers, anthropologists, theologians, and performers—to sing a new song as we correct negative narratives and lyrics through resistance operatic performances.

Using opera glasses as a captivating metaphor the anamnestic approach of this theological and cultural research uses a Womanist's "Balcony View" to examine American history. I argue opera to be a reflective experience through which an America entrenched in racism and xenophobia might be examined and critiqued. As such, this artistic genre becomes a useful tool of resistance and creates countercultural, corrective narratives about Black bodies, black culture, and the creative genius of African American opera performers. The intersectionality of Womanist Theology, Womanist and Black Feminist Anthropology, and Black Performance Theory lays the methodological framework through which the theory of Anthropological Poverty of Fr. Engelbert Mveng is contrasted against the systemic institutional racism operating within American culture and society. In doing so, it determines to unearth and reframe the underpinnings of Western philosophical ideologies that invented and birthed a global racial hierarchy that paved the way for worldwide colonialism and the enslavement of Africans in America. The development of a "Balcony Hermeneutic" esteems the voices and agency of indigenous theologians, anthropologists, philosophers, and performers of color to Shift the Gaze from Western epistemological systems as the primary lens through which to engage and evaluate all human artistic expressions. The opera Margaret Garner is the lens through which the collective memory recons with America's historical amnesia and the cultural traumas inflicted by the radical evil of slavery and its aftermath.

In Solentiname, a remote archipelago in Lake Nicaragua, the people gathered each Sunday to reflect together on the Gospel reading. From recordings of their dialogue, this extraordinary document of faith in the midst of struggle was composed. First published in four volumes, The Gospel in Solentiname was immediately acclaimed as a classic of liberation theology—a radical reading of the good news of Jesus from the perspective of the poor and the oppressed. (It was also banned by the Somoza dictatorship.) Forty years later The Gospel in Solentiname retains its freshness and power. Though times may have changed, the message of Jesus—as heard by these peasants—continues to challenge the rulers of our age and to inspire the poor with the hope of a different world.

“Burlesque is the background . . . [and] the background is perfect. Recommended for the readers who feel better when their eyebrows are raised.” —The New Yorker A mystery set in the underworld of burlesque theater, The G-String Murders was penned in 1941 by the legendary queen of the stripteasers—the witty and wisecracking Gypsy Rose Lee. Narrating a twisted tale of a backstage double murder, Lee provides a fascinating look behind the scenes of burlesque, richly populated by the likes of strippers Lolita LaVerne and Gee Gee Graham, comic Biff Brannigan and Siggy the g-string salesman. This is a world where women struggle to earn a living performing bumps and grinds, have gangster boyfriends, sip beer between acts and pay their own way at dinner. Femmes Fatales restores to print the best of women’s writing in the classic pulp genres of the mid-20th century. From mystery to hard-boiled noir to taboo lesbian romance, these rediscovered queens of pulp offer subversive perspectives on a turbulent era. Enjoy the series: Bedelia; Bunny Lake Is Missing; By Cecile; The G-String Murders; The Girls in 3-B; Laura; The Man Who Loved His Wife; Mother Finds a Body; Now, Voyager; Return to Lesbos; Skyscraper; Stranger on Lesbos; Stella Dallas; Women’s Barracks. “[Lee’s] novel is a rich and lusty job, brimming over with infectious vitality and a hilarious jargon of her own.” —Life “A lurid, witty and highly competent detective story . . . Rich show business vocabulary and stage door gags make her book almost a social document . . . The G-String Murders builds up to a hair-raising climax.” —Time

A collection of essays that are "like being seated beside the most entertaining guest at a dinner party" (Atlanta Journal Constitution)—from the New York Times bestselling author of American Housewives “Thank you Helen Ellis for writing down the Southern Lady Code so that others may learn.” —Ann Patchett, bestselling author of The Dutch House Helen Ellis has a mantra: “If you don't have something nice to say, say something not-so-nice in a nice way.” Say “weathered” instead of “she looks like a cake left out in the rain” and “I’m not in charge” instead of “they’re doing it wrong.” In these twenty-three raucous essays, Ellis transforms herself into a dominatrix Donna Reed to save her marriage, inadvertently steals a Burberry trench coat, avoids a neck lift, and finds a black-tie gown that gives her the confidence of a drag queen. While she may have left Alabama for New York City, Helen Ellis is clinging to her Southern accent like mayonnaise to white bread, and offering readers a hilarious, completely singular view on womanhood for both sides of the Mason-Dixon.