If Is the Only Peacemaker explores the drama of Shakespeare through a cultural lens that can be shown to be central to the formation of this theatrical art: fourteenth- to sixteenth-century Catholic Humanism. Part I of this book traces this tradition through key figures in Medieval and Renaissance Humanism, including Dante, Chaucer, Erasmus, and Thomas More. The latter two, especially, convey Catholic Humanism to Shakespeare's England, and help to establish a rhetorical ideal: the union of eloquentia and sapientia, of wit and wisdom. Part II then closely reads one of Shakespeare's major comedies, As You Like It, through this ideal, finding in this play an outstanding example of the Catholic Humanist rhetoric central to Shakespeare's art. This part of the book also mingles rhetorical and performance criticism, citing six different productions of As You Like It.

Dear White Peacemakers is a breakup letter to division, a love letter to God’s beloved community, and an eviction notice to the violent powers that have sustained racism for centuries. Race is one of the hardest topics to discuss in America. Many white Christians avoid talking about it altogether. But a commitment to peacemaking requires white people to step out of their comfort and privilege and into the work of anti-racism. Dear White Peacemakers is an invitation to white Christians to come to the table and join this hard work and holy calling. Rooted in the life, ministry, and teachings of Jesus, this book is a challenging call to transform white shame, fragility, saviorism, and privilege, in order to work together to build the Beloved Community as anti-racism peacemakers. Written in the wake of George Floyd’s death, Dear White Peacemakers draws on the Sermon on the Mount, Spirituals, and personal stories from author Osheta Moore’s work as a pastor in St. Paul, Minnesota. Enter into this story of shalom and join in the urgent work of anti-racism peacemaking.

Born of Mohawk and Cayuga descent, musical icon Robbie Robertson learned the story of Hiawatha and his spiritual guide, the Peacemaker, as part of the Iroquois oral tradition. Now he shares the same gift of storytelling with a new generation. Hiawatha was a strong and articulate Mohawk who was chosen to translate the Peacemaker’s message of unity for the five warring Iroquois nations during the 14th century. This message not only succeeded in uniting the tribes but also forever changed how the Iroquois governed themselves—a blueprint for democracy that would later inspire the authors of the U.S. Constitution. Caldecott Honor–winning illustrator David Shannon brings the journey of Hiawatha and the Peacemaker to life with arresting oil paintings. Together, the team of Robertson and Shannon has crafted a new children’s classic that will both educate and inspire readers of all ages. Includes a CD featuring an original song written and performed by Robbie Robertson.

In Worldly Shakespeare Richard Wilson proposes that the universalism proclaimed in the name of Shakespeare's playhouse was tempered by his own worldliness, the performative idea that runs through his plays, that if 'All the world's a stage', then 'all the men and women in it' are 'merely players'. Situating this playacting in the context of current concerns about the difference between globalization and mondialisation, the book considers how this drama offers itself as a model for a planet governed not according to universal toleration, but the right to offend: 'But with good will'. For when he asks us to think we 'have but slumbered' throughout his offensive plays, Wilson suggests, Shakespeare is presenting a drama without catharsis, which anticipates post-structuralist thinkers like Jacques Rancire and Slavoj A iA ek, who insist the essence of democracy is dissent, and 'the presence of two worlds in one'. Living out his scenario of the guest who destroys the host, by welcoming the religious terrorist, paranoid queen, veiled woman, papist diehard, or puritan fundamentalist into his play-world, Worldly Shakespeare concludes, the dramatist instead provides a pretext for our globalized communities in a time of Facebook and fatwa, as we also come to depend on the right to offend 'with our good will'.

Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference explores how Shakespeare’s plays dramatize key issues of the Elizabethan Reformation, the conflict between the sacred, the critical, and the disenchanted; alternatively, the Catholic, the Protestant, and the secular. Each play imagines their reconciliation or the failure of reconcilation. The Catholic sacred is shadowed by its degeneration into superstition, Protestant critique by its unintended (fissaparous) consequences, the secular ordinary by stark disenchantment. Shakespeare shows how all three perspectives are needed if society is to face its intractable problems, thus providing a powerful model for our own ecumenical dialogues. Shakespeare begins with history plays contrasting the saintly but impractical King Henry VI, whose assassination is the ”primal crime,” with the pragmatic and secular Henry IV, until imagining in the later 1590’s how Hal can reconnect with sacred sources. At the same time in his comedies, Shakespeare imagines cooperative ways of resolving the national ”comedy of errors,” of sorting out erotic and marital and contemplative confusions by applying his triple lens. His late Elizabethan comedies achieve a polished balance of wit and devotion, ordinary and the sacred, old and new orders. Hamlet is Shakespeare’s ultimate Elizabethan consideration of these issues, its so-called lack of objective correlation a response to the unsorted trauma of the Reformation.