In A Diabolical Voice, Justine L. Trombley traces the afterlife of the Mirror of Simple Souls, which circulated anonymously for two centuries in four languages, though not without controversy or condemnation. Widely recognized as one of the most unusual and important mystical treatises of the late Middle Ages, the Mirror was condemned in Paris in 1310 as a heretical work, and its author, Marguerite Porete, was burned at the stake. Trombley identifies alongside the work's increasing positive reception a parallel trend of opposition and condemnation centered specifically around its Latin translation. She's discovered fourteenth- and fifteenth-century theologians, canon lawyers, inquisitors, and other churchmen who were entirely ignorant of the Mirror's author and its condemnation and saw in the work dangerous heresies that demanded refutation and condemnation of their own. Using new evidence from the Mirror's largely overlooked Latin manuscript tradition, A Diabolical Voice charts the range of negative reactions to the Mirror, from confiscations and physical destruction to academic refutations and vicious denunciations of its supposedly fiendish doctrines. This parallel story of opposition shows how heresy remained an integral part of the Mirror's history well beyond the events of 1310, revealing how seriously churchmen took Marguerite Porete's ideas on their own terms, in contexts entirely removed from Marguerite's identity and her fate. Emphasizing the complexity of the Mirror of Simple Souls and its reception, Trombley makes clear that this influential book continues to yield new perspectives and understandings.

Decibella is a loud talker. A really loud talker. She’s so loud, she’s hurting ears, startling wait staff, disrupting classmates, and annoying moviegoers. She doesn’t realize different environments and situations sometimes demand a softer, quieter voice. That is until a caring teacher introduces her to the silly-sounding word “Slurpadoodle” and the five volumes of voice (Whisper, 6-inch, Table Talk, Strong Speaker, and Outside).

The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.

It would have been better if they had remained confined to myth and legend... A chilling tale by a British master!

“I see God,” wrote Norman Mailer, “as a Creator, as the greatest artist. I see human beings as His most developed artworks.” In these moving, amusing, and probing dialogues conducted in the years before his death, Mailer establishes his own system of belief, rejecting both organized religion and atheism. He avows that sensual pleasures were bestowed on us by God; he finds fault with the Ten Commandments; and he holds that technology was the Devil’s most brilliant creation. In short, Mailer is original and unpredictable in this inspiring journey, in which “God needs us as much as we need God.” Praise for On God “[Norman Mailer’s] theology is not theoretical to him. After eight decades, it is what he believes. He expects no adherents, and does not profess to be a prophet, but he has worked to forge his beliefs into a coherent catechism.”—New York “The glory of an original mind in full provocation.”—USA Today “At once illuminating and exciting . . . a chance to see Mailer’s intellect as well as his lively conversational style of speech.”—American Jewish Life “Remarkable . . . [Mailer’s] a believer—in his own fashion. . . . He has made [God] into a complex character.”—The Globe and Mail Praise for Norman Mailer “[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation.”—The New York Times “A writer of the greatest and most reckless talent.”—The New Yorker “Mailer is indispensable, an American treasure.”—The Washington Post “A devastatingly alive and original creative mind.”—Life “Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance.”—The New York Review of Books “The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book.”—Chicago Tribune “Mailer is a master of his craft. His language carries you through the story like a leaf on a stream.”—The Cincinnati Post