"So poignant that it brought tears to my eyes." Goodreads review. She will not be silenced! Brilliant, corseted, and haunted by spirits from the Borderlands, a young girl turns her back on the constrictions of Victorian society and strikes out on her own, becoming a mystic marriage counselor. Sharing what she views as essential sexual knowledge puts her in the crosshairs of Anthony Comstock, the nation’s Anti-Obscenity Postal Inspector. He promises to silence her forever. She vows to bring him down. With prison looming, Ida and her angel lover must prepare for a battle they may not be able to win. CENSORED ANGEL is based on the life of mystic marriage counselor and First Amendment defender, Ida C. Craddock, the woman who helped bring down Anthony Comstock, of Comstock Law infamy, and whose defense led to the formation of the Free Speech league, antecedent of the ACLU.

After a series of sex scandals rocked the film industry in 1922, movie moguls hired Will Hays to clear the image of movies. Hays tried a variety of ways to regulate movies before adopting what became known as the production code. Written in 1930 by a St Louis priest, the code stipulated that movies stress proper behaviour, respect for government, and 'Christian values'. The Catholic Church reinforced these efforts by launching its Legion of Decency in 1934. Intended to force Hays and Hollywood to censor films, the Legion of Decency engineered the appointment of Joseph Breen as head of the Production Code Administration. For the next three decades, Breen, Hays, and the Catholic Legion of Decency virtually controlled the content of all Hollywood films.

A drama is appended to each number of v. 1-2

From 1934 to 1954 Joseph I. Breen, a media-savvy Victorian Irishman, reigned over the Production Code Administration, the Hollywood office tasked with censoring the American screen. Though little known outside the ranks of the studio system, this former journalist and public relations agent was one of the most powerful men in the motion picture industry. As enforcer of the puritanical Production Code, Breen dictated "final cut" over more movies than anyone in the history of American cinema. His editorial decisions profoundly influenced the images and values projected by Hollywood during the Great Depression, World War II, and the Cold War. Cultural historian Thomas Doherty tells the absorbing story of Breen's ascent to power and the widespread effects of his reign. Breen vetted story lines, blue-penciled dialogue, and excised footage (a process that came to be known as "Breening") to fit the demands of his strict moral framework. Empowered by industry insiders and millions of like-minded Catholics who supported his missionary zeal, Breen strove to protect innocent souls from the temptations beckoning from the motion picture screen. There were few elements of cinematic production beyond Breen's reach he oversaw the editing of A-list feature films, low-budget B movies, short subjects, previews of coming attractions, and even cartoons. Populated by a colorful cast of characters, including Catholic priests, Jewish moguls, visionary auteurs, hardnosed journalists, and bluenose agitators, Doherty's insightful, behind-the-scenes portrait brings a tumultuous era and an individual both feared and admired to vivid life.

Sanctifying Texts, Transforming Rituals: Encounters in Liturgical Studies explores the dynamics of Christian ritual practices in their relation to a broader cultural framework. The nineteen essays, written in honour of the liturgist Gerard A.M. Rouwhorst (Tilburg University), study liturgical developments in times of transition, in which religious and cultural changes set the development of worship practices in motion. The chapters in the first part (Texts) concentrate on the close connection between narrative texts and liturgical practice. In part two (Rituals), the focus shifts to the significance of liturgy as it expresses itself in rituals, and to the understanding of ritual acting. This section includes a variety of ritual aspects of liturgy, including the performance of the sacraments and the persons involved, as well as the relation between the liturgical ritual and material objects, such as images and relics. Section three (Encounters) crosses the borders of the discipline of liturgical studies. This final section of the book studies (ritual) relations between Christians and non-Christians through history, and includes contributions that study the dialogues between different liturgical languages and media. Contributors are: Elizabeth Boddens Hosang, Paul Bradshaw, Harald Buchinger, Charles Caspers, Paul van Geest, Bert Groen, Martin Klöckener, Bart Koet, Clemens Leonhard, Ruben van Luijk, Gerard Lukken, Daniela Müller, Willemien Otten, Marcel Poorthuis, Paul Post, Ilia Rodov, Els Rose, Joshua Schwartz, Louis van Tongeren, and Nienke Vos.