In this series of notes, opinions, experiences, and reflections, Thomas Merton examines some of the most urgent questions of our age. With his characteristic forcefulness and candor, he brings the reader face-to-face with such provocative and controversial issues as the “death of God,” politics, modern life and values, and racial strife–issues that are as relevant today as they were fifty years ago. Conjectures of a Guilty Bystander is Merton at his best–detached but not unpassionate, humorous yet sensitive, at all times alive and searching, with a gift for language which has made him one of the most widely read and influential spiritual writers of our time.

A kidnapped boy! A terrified blonde! A fortune in stolen pearls! Hardboiled Max Thursday, on-time private eye, had given up being a detective. But when the kidnapped boy turned out to be his own son and the frightened blonde his beautiful ex-wife, Max went into action with blazing fury in his heart. In four of the most hectic and hazardous days of his career Max got himself shot at, beaten up, and accused of murder before he caught a kidnapper, solved a puzzle in pearls and dealt out justice to a guilty bystander!

Eric is the new kid in seventh grade. Griffin wants to be his friend. When you're new in town, it's hard to know who to hang out with—and who to avoid. Griffin seems cool, confident, and popular. But something isn't right about Griffin. He always seems to be in the middle of bad things. And if Griffin doesn't like you, you'd better watch your back. There might be a target on it. As Eric gets drawn deeper into Griffin's dark world, he begins to see the truth about Griffin: he's a liar, a bully, a thief. Eric wants to break away, do the right thing. But in one shocking moment, he goes from being a bystander . . . to the bully's next victim. This title has Common Core connections.

Work as center of life has such an important role in our lives; it bears a standard by which we measure our success. It is a major component of self-actualization and well-being. Professional life offers the hope of rewarding work, not just financially but work that is fulfilling. However, professions are also riddled with complexities and ethical conflicts that obstruct the goal of meaningful work. Our jobs are fraught with moral ambiguities and dilemmas; these become sources of frustration and alienation. What is needed is a transformation, a renewal of our professional lives and the institutional contexts in which we operate, to humanize the alienating aspects of work and professions. Thomas Merton (1915-1968), though a cloistered monk, wrote extensively on spiritual and social issues. He has been called "a spiritual master" for contemporary times. He possessed an uncanny sense of self-awareness and moral imagination. His life and writings have inspired countless persons on life’s spiritual journey. Yet, while people have looked to Merton for guidance on spiritual issues, the implications of his thought for several other areas of life are open to exploration. This book focuses on the significance of his reflections in Conjectures of a Guilty Bystander, which offer one the confidence to embark on a journey that seeks to transcend the complexities of professional life, and courage to transform the negative features of workplaces and organizations through reasoned moral action, moral imagination, and leadership.

The year 1955 was a watershed one for New York’s film industry: Elia Kazan’s On the Waterfront took home eight Oscars, and, more quietly, Stanley Kubrick released the low-budget classic Killer’s Kiss. A wave of films that changed how American movies were made soon followed, led by directors such as Sidney Lumet, William Friedkin, Francis Ford Coppola, and Martin Scorsese. Yet this resurgence could not have occurred without a deeply rooted tradition of local film production. Richard Koszarski chronicles the compelling and often surprising origins of New York’s postwar film renaissance, looking beyond such classics as Naked City, Kiss of Death, and Portrait of Jennie. He examines the social, cultural, and economic forces that shaped New York filmmaking, from city politics to union regulations, and shows how decades of low-budget independent production taught local filmmakers how to capture the city’s grit, liveliness, and allure. He reveals the importance of “race films”—all-Black productions intended for segregated African American audiences—that not only helped keep the film business afloat but also nurtured a core group of writers, directors, designers, and technicians. Detailed production histories of On the Waterfront and Killer’s Kiss—films that appear here in a completely new light—illustrate the distinctive characteristics of New York cinema. Drawing on a vast array of research—including studio libraries, censorship records, union archives, and interviews with participants—“Keep ’Em in the East” rewrites a crucial chapter in the history of American cinema.

Why do bad things happen, even to good people? If there is a God, why aren't God's existence and God's will for humans more apparent? And if God really does miracles for some people, why not for others? This book examines these three problems of evil – suffering, divine hiddenness, and unfairness if miracles happen as believers claim – to explore how different ideas of God's power relate to the problem of evil. Keller argues that as long as God is believed to be all-powerful, there are no adequate answers to these problems, nor is it enough for theists simply to claim that human ignorance makes these problems insoluble. Arguing that there are no good grounds for the belief that God is all-powerful, Keller instead defends the understanding of God and God's power found in process theism and shows how it makes possible an adequate solution to the problems of evil while providing a concept of God that is religiously adequate.

Although rarely distinguished from the detective story, the crime novel offers readers a quite different experience. In the detective novel, a sympathetic detective figure uses reason and intuition to solve the puzzle, restore order, and reassure readers that "right" will always prevail. In the crime novel, by contrast, the "hero" is either the killer, the victim, a guilty bystander, or someone falsely accused, and the crime may never be satisfactorily solved. These and other fundamental differences are set out by Tony Hilfer in The Crime Novel, the first book that completely defines and explores this popular genre. Hilfer offers convincing evidence that the crime novel should be regarded as a genre distinct from the detective novel, whose conventions it subverts to develop conventions of its own. Hilfer provides in-depth analyses of novels by Georges Simenon, Margaret Millar, Patricia Highsmith, and Jim Thompson. He also treats such British novelists as Patrick Hamilton, Shelley Smith, and Marie Belloc Lowndes, as well as the American novelists Cornell Woolrich, John Franklin Bardin, James M. Cain, and Fredric Brown. In addition, he defines the distinctions between the American crime novel and the British, showing how their differences correspond to differences in American and British detective fiction. This well-written study will appeal to a general audience, as well as teachers and students of detective and mystery fiction. For anyone interested in the genre, it offers valuable suggestions of "what to read next."