On a snowy Thursday night in Chicago, there is a knock on Detective Hank Purcell’s door. Sister Mary Philomena has seen something terrible at Saint Fidelis Church?—?a violation of all she holds sacred. The next Monday, she is found murdered in the convent basement, next to a furnace stuffed with old papers and photographs. And Margaret, Hank’s teenage daughter, has disappeared. Hank and his unconventional partner Marvin Bondarowicz try to force their way through a wall of ecclesiastical silence to find the killer, while their search for Margaret takes them from swank lakeside flats to drug dens to south-side basement blues clubs…and the snow keeps falling.

"I am 13 years old. I just realized that I'm not as good-looking as my mom led me to believe. I wear two pairs of underwear . everywhere. These are my stories." It was 1985, and if you weren't a diehard Knight Rider fan then you probably wouldn't survive on the savage and perilous playground of St. Charles private school. It was a time unlike any other, filled with strange fashion choices, schoolyard extortion rackets, and first dates. It was a time for kids who stuck firecrackers in cats' asses, a time for pretending to be murdered to freak out neighbors, and a time for realizing that no one really liked you. It was the perfect time for a "Dirty Little Altar Boy." Middle-class, middle child, way uncool hair-these are the true confessions of a 13-year-old at the crossroads of junior high and hellfire eternity.

A childhood after the war: The leather pants are bought in a flea market behind the church, food is scarce and going to a movie is not even in the picture. But Hansi and his three best friends always have a solution up their sleeves. They find some excitement with no money at all. They explore ruins, secret tunnels, old buildings; and sneak into the public pool, drink secretly from the beer they have to buy and dream about careers as soccer stars. Olaf Maly tells amusing, realistic short stories from old Munich. They arouse memories of a time when little boys could survive an adventure and didn’t have to fear anything. Except their mothers or a few girls. Although these stories play in Munich, the content is certainly universal.

Between Heaven and Earth explores the relationships men, women, and children have formed with the Virgin Mary and the saints in twentieth-century American Catholic history, and reflects, more broadly, on how people live in the company of sacred figures and how these relationships shape the ties between people on earth. In this boldly argued and beautifully written book, Robert Orsi also considers how scholars of religion occupy the ground in between belief and analysis, faith and scholarship. Orsi infuses his analysis with an autobiographical voice steeped in his own Italian-American Catholic background--from the devotion of his uncle Sal, who had cerebral palsy, to a "crippled saint," Margaret of Castello; to the bond of his Tuscan grandmother with Saint Gemma Galgani. Religion exists not as a medium of making meanings, Orsi maintains, but as a network of relationships between heaven and earth involving people of all ages as well as the many sacred figures they hold dear. Orsi argues that modern academic theorizing about religion has long sanctioned dubious distinctions between "good" or "real" religious expression on the one hand and "bad" or "bogus" religion on the other, which marginalize these everyday relationships with sacred figures. This book is a brilliant critical inquiry into the lives that people make, for better or worse, between heaven and earth, and into the ways scholars of religion could better study of these worlds.

This book is the first comprehensive scholarly study of religious images in popular music. Examining bestsellers from 1906 to 1971, the work explores the role religious images have in the secularization of American culture. Popular music lyrics that express an adherence to a sacred order are couched in inoffensive, content-less language. These lyrics of civility reflect and shape the increasing secularization of American culture in the twentieth century. The analysis focuses primarily on the way these lyrics reduce the meaning of the terms and theology of the Biblical faith. The aesthetic of civility carries over into theology, the narratives, and the accompanying instrumental arrangements of songs that adhere to the Biblical sacred order. On the other hand, lyrics that reject the Biblical tradition use content-filled, offensive language. The result is that displaced adherents withdraw from the Biblical tradition and turn to alternative cultural religions, or idols of attraction, including popular music, that offer meaning to fill a void in the individual. The secularization of American society, therefore, is not a withdrawal from the idea of religion itself. The analysis focuses on the two dominant themes in songs that include religious images: prayer and heaven. The author explores the songs of the two world wars, the hit parade era, the rhythm and blues and doo-wop of the 1950s, the new folk singer movement, soul music and rock music of the 1960s, and the revival rock of the early 1970s. The work demonstrates the capacity of one form of popular culture to separate adherents from a subculture through diluting the meaning of the language of the subculture's elemental thought. (Ph.D. dissertation, Bowling Green State University, 1994; revised with new preface, bibliography, and index)