In this culmination of his widely read and highly acclaimed Cultural Liturgies project, James K. A. Smith examines politics through the lens of liturgy. What if, he asks, citizens are not only thinkers or believers but also lovers? Smith explores how our analysis of political institutions would look different if we viewed them as incubators of love-shaping practices--not merely governing us but forming what we love. How would our political engagement change if we weren't simply looking for permission to express our "views" in the political sphere but actually hoped to shape the ethos of a nation, a state, or a municipality to foster a way of life that bends toward shalom? This book offers a well-rounded public theology as an alternative to contemporary debates about politics. Smith explores the religious nature of politics and the political nature of Christian worship, sketching how the worship of the church propels us to be invested in forging the common good. This book creatively merges theological and philosophical reflection with illustrations from film, novels, and music and includes helpful exposition and contemporary commentary on key figures in political theology.

This lively book reassesses a century of jurisprudential thought from a fresh perspective, and points to a malaise that currently afflicts not only legal theory but law in general. Steven Smith argues that our legal vocabulary and methods of reasoning presuppose classical ontological commitments that were explicitly articulated by thinkers from Aquinas to Coke to Blackstone, and even by Joseph Story. But these commitments are out of sync with the world view that prevails today in academic and professional thinking. So our law-talk thus degenerates into "just words"--or a kind of nonsense. The diagnosis is similar to that offered by Holmes, the Legal Realists, and other critics over the past century, except that these critics assumed that the older ontological commitments were dead, or at least on their way to extinction; so their aim was to purge legal discourse of what they saw as an archaic and fading metaphysics. Smith's argument starts with essentially the same metaphysical predicament but moves in the opposite direction. Instead of avoiding or marginalizing the "ultimate questions," he argues that we need to face up to them and consider their implications for law.

“Written in prose so clear that we absorb its images as if by mind meld, “The Last Painting” is gorgeous storytelling: wry, playful, and utterly alive, with an almost tactile awareness of the emotional contours of the human heart. Vividly detailed, acutely sensitive to stratifications of gender and class, it’s fiction that keeps you up at night — first because you’re barreling through the book, then because you’ve slowed your pace to a crawl, savoring the suspense.” —Boston Globe A New York Times Bestseller A New York Times Book Review Editor's Choice A RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH. Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city’s Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it. New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer’s marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict. Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.

A benchmark in the history of economics and of political ideas, Rothschild shows us the origins of laissez-faire economic thought and its relation to political conseratism in an unquiet world.