Rich in family drama, passion, and human affinity, critically acclaimed author Frederick Buechner's contemporary retelling of this captivating and timeless biblical saga revitalizes the ancient story of Jacob, delighted our senses and modern sensibilities and gracing us with his exceptional eloquence and wit.

Paul’s passionate Letter to the Galatians has occasioned various perspectives (old, new, radical new, apocalyptic, etc.) for explaining Paul’s defense of the “truth of the gospel” in it. This book makes an audacious claim that the allegorical passage of 4:21–5:1 is the best vantage point for configuring Paul’s theological vision and logic in the letter. Offering a fresh approach for understanding Paul’s allegorical practice, it demonstrates how both the Abraham narrative and the book of Isaiah function as a formative matrix for Paul’s theology. With an in-depth analysis of these scriptural texts, Paul’s two identifications for believers in Christ—belonging to the “Jerusalem above” and being “children of promise” in the pattern of Isaac—receive new clarity and precision. The investigative journey in this book discusses key concepts and texts from Galatians, and addresses questions concerning the shape of Paul’s retelling of Israel’s story in relation to Jews and Gentiles. The result is a well-grounded interpretation of Paul’s conception of the gospel that made him new and continues to bring about new creation in our world.

Uncovering an archive of laughter, from the forbidden giggle to the explosive guffaw. Most of our theories of laughter are not concerned with laughter. Rather, their focus is the laughable object, whether conceived of as the comic, the humorous, jokes, the grotesque, the ridiculous, or the ludicrous. In Laughter, Anca Parvulescu proposes a return to the materiality of the burst of laughter itself. She sets out to uncover an archive of laughter, inviting us to follow its rhythms and listen to its tones. Historically, laughter—especially the passionate burst of laughter—has often been a faux pas. Manuals for conduct, abetted by philosophical treatises and literary and visual texts, warned against it, offering special injunctions to ladies to avoid jollity that was too boisterous. Returning laughter to the history of the passions, Parvulescu anchors it at the point where the history of the grimacing face meets the history of noise. In the civilizing process that leads to laughter's “falling into disrepute,” as Nietzsche famously put it, we can see the formless, contorted face in laughter being slowly corrected into a calm, social smile. How did the twentieth century laugh? Parvulescu points to a gallery of twentieth-century laughers and friends of laughter, arguing that it is through Georges Bataille that the century laughed its most distinct laugh. In Bataille's wake, laughter becomes the passion at the heart of poststructuralism. Looking back at the century from this vantage point, Parvulescu revisits four of its most challenging projects: modernism, the philosophical avant-gardes, feminism, and cinema. The result is an overview of the twentieth century as seen through the laughs that burst at some of its most convoluted junctures.

"Christian laughter is a maze: you could easily get snarled up within it." So says Michael A. Screech in his note to readers preceding this collection of fifty-three elegant and pithy essays. As Screech reveals, the question of whether laughter is acceptable to the god of the Old and New Testaments is a dangerous one. But we are fortunate in our gu

"The Laughter of Peterkin" by William Sharp is a storybook about the Celtic Wonderworld. The old tales reveal interesting facts about Celtic myths and legends. Excerpt: "At the rising of the moon, Peterkin awoke, and laughed. He was in his little white bed near the open window, so that when a moonbeam wavered from amid the branches of the great poplar, falling suddenly upon his tangled curls and yellowing them with a ripple of pale gold, it was as though a living thing stole in out of the June night. He had not awaked at first. The moonbeam seemed caught in a tangle: then it glanced along a crescent tress on the pillow: sprang back like a startled bird: flickered hither and thither above the little sleeping face: and at last played idly on the closed eyelids with their long dark eyelashes. It was then that Peterkin awoke."

The laughter of delight has gone unheard in the Western tradition. This work brings new light to the notion, and has a consistent leitmotif: the delighted laughter of the matriarch Sarah in the book of Genesis, when she gives birth to her son Isaac. This laughter is "heard" through biblical commentaries and twentieth-century theorists of laughter.