On the back cover of one of his most groundbreaking solo albums, . . . Nothing like the Sun of 1987, Sting (Gordon Matthew Sumner, b. 1951 in Wallsend, UK) somberly stands close to a statue of Mary, the mother of Jesus. The album was released a few months after his own mother, Audrey, died. The picture was taken on the island of Montserrat, where he was recording the album, apparently on the day of her death. "I said goodbye to my mother, as I had a recording date in Montserrat, and she died a week later." When asked by the author if his mother was particularly connected to Mary, and if this was why he chose this image, he replied "No, but I did." This evocative photograph and Sting's quick answer encapsulate the two pillars of this book: a microhistory of a specific British Catholic parish in the 1950s-60s, and the impact that growing up there had on Sting's artistic output. And beyond that, this book opens a window onto the influence of Catholic education and imagination on millions of less famous people who had similar upbringings.

"Greeley has written a lively, controversial and stimulating book in which he describes a Catholic imagination which is different from (not better or worse than) a Protestant imagination. Going beyond his own position, I believe Protestants have much to learn not just about the Catholic imagination but from it as he describes it."—Robert Bellah, coauthor of Habits of the Heart "Andrew Greeley is the most vivid sociological writer of our time. By studying artists and artisans directly, he brings David Tracy's theory of religious imagination to life. The survey data show that ordinary people have imaginations too, and that the lay person's imagination is also framed by religious tradition. This book is a tour de force."—Michael Hout, University of California, Berkeley

In every century since the renaissance, English speakers have felt compelled to possess a translation written especially for their own time of this great epic poem, the earliest and most central literary text of Western culture. That need has been thoroughly met in our century by the distinguished poet and classicist Robert Fitzgerald, whose version of "The Iliad" does justice in every way to the fluent vigor and gravity of the Homeric original.

Choosing My Religion is a luminous memoir, crafted with the eye of a journalist and the art of a novelist by New York Times Magazine writer and editor Stephen J. Dubner. By turns comic and heartbreaking, it tells the story of a family torn apart by religion, sustained by faith, and reunited by truth.

Imagine a world in which every person's pain makes them better not bitter, kind rather than angry, and selfless instead of greedy and insecure. There is messiness in each of our stories, but we can use that mess intentionally to craft a life that points to God and proclaims his glory. In Restored, prominent pastor and speaker Chris Brown recounts some of the extraordinary tragedies and trials he has experienced, including homelessness, violence, abuse, drugs, and the loss of loved ones. Reflecting on these difficult times in his own story, Chris shares his hard-won countercultural perspective on pain, offering practical tips to inspire those of us who feel disqualified or discouraged by our circumstances. No matter how messy it was, our past is a gift because it paves the way for us to develop the unique Christ-honoring message the world needs us to share.

Late in the Reagan years, three young men at Jerry Falwell's Liberty University formed the Christian rap group dc Talk. The trio put out a series of records that quickly secured their place at the forefront of contemporary Christian music. But, with their fourth studio album Jesus Freak (1995), dc Talk staked a powerful claim on the worldly market of alternative music, becoming an evangelical group with secular selling power. This book sets out to study this mid-90s crossover phenomenon-a moment of cultural convergence between Christian and secular music and an era of particular political importance for American evangelicalism. Written by two queer scholars with evangelical pasts, Jesus Freak explores the importance of a multifarious album with complex ideas about race, sexuality, gender, and politics-an album where dc Talk wonders, “What will people do when they hear that I'm a Jesus freak?” and evangelical fans stake a claim for Christ-like coolness in a secular musical world.

As lawmakers continue to use religion and religious ethics as a guide, questions of life after death are not only eternal, but urgent.