You are not happy. You may enjoy periods of relative happiness and you may be happier than other people that you know, but you are not as happy as you'd like to be or as happy as you can be. How do I know? First of all, if you were completely satisfied with your life you wouldn't be holding this book in your hands right now. Second, it is very rare to find people that are in touch with certain realities regarding their existence that lead to lasting happiness. Spiritual Realism works in two ways. First, it will challenge the way you think about yourself and your personal reality construct, or in simpler terms, what you think is real. Your illusions need to be shattered in order to achieve the bliss that you desire, yet has been eluding you for so long. Second, this book will teach you a series of techniques that will make you happier and more content with your life if you practice them sincerely over an extended period of time. Spiritual Realism works. It cannot fail to work. Good luck! IMPORTANT NOTE: If you have strong religious beliefs you will likely find views in this book disturbing.

In this book Paul Contino offers a theological study of Dostoevsky’s final novel, The Brothers Karamazov. He argues that incarnational realism animates the vision of the novel, and the decisions and actions of its hero, Alyosha Fyodorovich Karamazov. The book takes a close look at Alyosha’s mentor, the Elder Zosima, and the way his role as a confessor and his vision of responsibility “to all, for all” develops and influences Alyosha. The remainder of the study, which serves as a kind of reader’s guide to the novel, follows Alyosha as he takes up the mantle of his elder, develops as a “monk in the world,” and, at the end of three days, ascends in his vision of Cana. The study attends also to Alyosha’s brothers and his ministry to them: Mitya’s struggle to become a “new man” and Ivan’s anguished groping toward responsibility. Finally, Contino traces Alyosha’s generative role with the young people he encounters, and his final message of hope.

Critical Realism and Spirituality contextualizes, delineates, explores and critiques the turn to spirituality and religion in critical realism, which has been under way since the mid-1990s, as well as telling its story. It provides incisive discussion and anaysis of the following broad questions: How does critical realism allow and facilitate the resolution of problems in the area of comparative religion? Can it help you to justify your own faith or belief? What are the implications of the new philosophy of meta-Reality for traditional religious studies and how we organize and conduct our lives? A range of distinguished critical realists, theological critical realists and scholars working with related approaches (Roland Benedikter, Roy Bhaskar, Terry Eagleton, Mervyn Hartwig, Alister McGrath, Markus Molz, Jamie Morgan, Andrew Wright and others) bring their talents to bear on this task. While their personal beliefs span the whole spectrum from theism to atheism, they are united by the desire to open up a space for dialogue of one kind or another (intra-faith, inter-faith and/or extra-faith), promoting mutual understanding, respect and the unity and capability for collective emancipatory action on a global scale that humanity is so sorely in need of. This book is therefore, essential reading for students and academics alike in Religous Studies, Theology and Philosophy.

Mark Twain is often pictured as a severe critic of religious piety, shaking his fist at God and mocking the devout. This book highlights Twain's attractions to and engagements with the variety of religious phenomena of America in his lifetime. It offers a more complicated understanding of Twain and his literary output.

Were holy men historical figures or figments of the theological imagination? Did the biographies devoted to them reflect facts or only the ideological commitments of their authors? For decades, scholars of late antiquity have wrestled with these questions when analysing such issues as the Christianization of Europe, the decline of paganism, and the 'rise of the holy man' and of the hagiographical genre. In this book Peter Turner suggests a new approach to these problems through an examination of a wide range of spiritual narrative texts from the third to the sixth centuries A.D.: pagan philosophical biographies, Greek and Latin Christian saints' lives, and autobiographical works by authors such as Julian and Augustine. Rather than scrutinizing these works for either historical facts or religious and intellectual attitudes, he argues that a deeper historicity can be found only in the interplay between these types of information. On the textual level, this analysis recognises the genuine commitment of spiritual authors to write truthfully and to record realistically a world felt to be replete with spiritual and symbolic meaning. On the historical level, it argues that holy men, expecting the same symbolism within their own lives, adopted lifestyles which ultimately provoked and confirmed this world view. Such praxis is detectable not only in the holy men who inspired biography but also in the period's scattered autobiographical writings. As much a historical as a textual phenomenon, this spiritually-minded scrutiny of the world created interpretations which were always open and contested. Therefore, this book also associates spiritual narrative texts with only one possible voice of religious experience in a constant dialogue between believers, opponents, and the sceptical undecided.

Honorable Mention, Barnard Hewitt Award from the American Society for Theater Research Explores the intersection and history of American literary realism and the performance of spiritual and racial embodiment. Recovering a series of ecstatic performances in late nineteenth- and early twentieth-century American realism, Realist Ecstasy travels from camp meetings to Native American ghost dances to storefront church revivals to explore realism’s relationship to spiritual experience. In her approach to realism as both an unruly archive of performance and a wide-ranging repertoire of media practices—including literature, photography, audio recording, and early film—Lindsay V. Reckson argues that the real was repetitively enacted and reenacted through bodily practice. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped construct and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities embedded in ecstatic performance: its production of new and immanent forms of being beside. Across her readings of Stephen Crane, James Weldon Johnson, and Nella Larsen, among others, Reckson triangulates secularism, realism, and racial formation in the post-Reconstruction moment. Realist Ecstasy shows how post-Reconstruction realist texts mobilized gestures—especially the gestures associated with religious ecstasy—to racialize secularism itself. Reckson offers us a distinctly new vision of American realism as a performative practice, a sustained account of how performance lives in and through literary archives, and a rich sense of how closely secularization and racialization were linked in Jim Crow America.