One of the most gifted literary essayists of his generation defends stylistic boldness and intellectual daring in American letters. Over the last decade William Giraldi has established himself as a charismatic and uncompromising literary essayist, “a literature-besotted Midas of prose” (Cynthia Ozick). Now, American Audacity gathers a selection of his most powerful considerations of American writers and themes—a “gorgeous fury of language and sensibility” (Walter Kirn)—including an introductory call to arms for twenty-first-century American literature, and a new appreciation of James Baldwin’s genius for nonfiction. With potent insights into the storied tradition of American letters, and written with a “commitment to the dynamism and dimensions of language,” American Audacity considers giants from the past (Herman Melville, Edgar Allan Poe, Harper Lee, Denis Johnson), some of our most well-known living critics and novelists (Harold Bloom, Stanley Fish, Katie Roiphe, Cormac McCarthy, Allan Gurganus, Elizabeth Spencer), as well as those cultural-literary themes that have concerned Giraldi as an American novelist (bestsellers, the “problem” of Catholic fiction, the art of hate mail, and his viral essay on bibliophilia). Demanding that literature be audacious, and urgent in its convictions, American Audacity is itself an act of intellectual daring, a compendium shot through with Giraldi’s “emboldened and emboldening critical voice” (Sven Birkerts). At a time when literature is threatened by ceaseless electronic bombardment, Giraldi argues that literature “must do what literature has always done: facilitate those silent spaces, remain steadfastly itself in its employment of slowness, interiority, grace, and in its marshaling of aesthetic sophistication and complexity.” American Audacity is ultimately an assertion of intelligence and discernment from a maker of “perfectly paced prose” (The New Yorker), a book that reaffirms the pleasure and wisdom of the deepest literary values.

One of the most gifted literary essayists of his generation defends stylistic boldness and intellectual daring in American letters. Over the last decade William Giraldi has established himself as a charismatic and uncompromising literary essayist, “a literature-besotted Midas of prose” (Cynthia Ozick). Now, American Audacity gathers a selection of his most powerful considerations of American writers and themes—a “gorgeous fury of language and sensibility” (Walter Kirn)—including an introductory call to arms for twenty-first-century American literature, and a new appreciation of James Baldwin’s genius for nonfiction. With potent insights into the storied tradition of American letters, and written with a “commitment to the dynamism and dimensions of language,” American Audacity considers giants from the past (Herman Melville, Edgar Allan Poe, Harper Lee, Denis Johnson), some of our most well-known living critics and novelists (Harold Bloom, Stanley Fish, Katie Roiphe, Cormac McCarthy, Allan Gurganus, Elizabeth Spencer), as well as those cultural-literary themes that have concerned Giraldi as an American novelist (bestsellers, the “problem” of Catholic fiction, the art of hate mail, and his viral essay on bibliophilia). Demanding that literature be audacious, and urgent in its convictions, American Audacity is itself an act of intellectual daring, a compendium shot through with Giraldi’s “emboldened and emboldening critical voice” (Sven Birkerts). At a time when literature is threatened by ceaseless electronic bombardment, Giraldi argues that literature “must do what literature has always done: facilitate those silent spaces, remain steadfastly itself in its employment of slowness, interiority, grace, and in its marshaling of aesthetic sophistication and complexity.” American Audacity is ultimately an assertion of intelligence and discernment from a maker of “perfectly paced prose” (The New Yorker), a book that reaffirms the pleasure and wisdom of the deepest literary values.

D.L. Hughley calls it like he sees it, discussing everything from dating to former president Barack Obama with sharp, thoughtful commentary “The best book since The Hunger Games. First he was a King of Comedy; now he’s the king of comedy authors.”—Chris Rock The American dream is in dire need of a wake-up call. A f*cked up society is like an addict: if you are in denial, then things are going to keep getting worse until you hit bottom. According to D. L. Hughley, that's the direction in which America is headed. In I Want You to Shut the F*ck Up, D.L. explains how we've become a nation of fat sissies playing Chicken Little, but in reverse: The sky is falling, but we're supposed to act like everything's fine. D.L. just points out the sobering facts: there is no standard of living by which we are the best. In terms of life expectancy, we're 36th—tied with Cuba; in terms of literacy, we're 20th—behind Kazakhstan. Things are bad now and they're only going to get worse. Unless, of course, you sit down, shut the f*ck up, and listen to what D. L. Hughley has to say. I Want You to Shut the F*ck Up is a slap to the political senses, a much needed ass-kicking of the American sense of entitlement. In these pages, D. L. Hughley calls it like he sees it, offering his hilarious yet insightful thoughts on: • Our supposedly post-racial society • The similarities between America the superpower and the drunk idiot at the bar • Why apologizing is not the answer to controversy, especially when you meant what you said • Why civil rights leaders are largely to blame for black people not being represented on television • And more!

Now a Netflix original film starring Alexander Skarsgård, Riley Keough, and Jeffrey Wright At the edge of civilization, nature and evil collide in what “stands out as one of the decade’s best books of its kind” (Alan Cheuse, Boston Globe). Written with “force and precision and grace” (John Wilwol, New York Times Book Review) Hold the Dark is a “taut and unforgettable journey into the heart of darkness” (Dennis Lehane). At the start of another pitiless winter, wolves have taken three children from the remote Alaskan village of Keelut, including the six-year-old son of Medora and Vernon Slone. Wolf expert Russell Core is called in to investigate these killings and discovers an unholy truth harbored by Medora before she disappears. When her husband returns home to discover his boy dead and his wife missing, he begins a maniacal pursuit that cuts a bloody swath across the frozen landscape. With the help of a local police detective, Core attempts to find Medora before her husband does, setting in motion a deadly chain of events in this “chilling, mysterious, and completely engaging novel” (Tim O’Brien) that marks the arrival of a major American writer.

Preachers Dare is adapted from Will Willimon’s Lyman Beecher Lectures on Preaching at Yale and is inspired by a quote from the great theologian Karl Barth. In a world in which sermons too often become hackneyed conventional wisdom or tame common sense, preachers dare to speak about the God who speaks to us as Jesus Christ. Willimon draws upon his decades of preaching, as well as his many books on the practice of homiletics, to present a bold theology of preaching. This work emphasizes preaching as a distinctively theological endeavor that begins with and is enabled by God. God speaks, preachers dare to speak the speech of God, and the church dares to listen. By moving from the biblical text to the contemporary context, preachers dare to speak up for God so that God might speak today. With fresh biblical insights, creativity and pointed humor, Willimon gives today’s preachers and congregations encouragement to speak with the God who has so graciously and effusively spoken to us.

A memoir of motorcycles and muscles, of obsession and grief, and of a young man who learned how to stay alive through literature. At just forty-seven years old, William Giraldi’s father was killed in a horrific motorcycle crash while racing on a country road. This tragedy, which forever altered the young Giraldi and devastated his family, provides the pulse for The Hero’s Body. In the tradition of Andre Dubus III’s Townie, this is a deep-seeing investigation into two generations of men from the working-class town of Manville, New Jersey, including Giraldi’s own forays into obsessive bodybuilding as a teenager desperate to be worthy of his family’s pitiless, exacting codes of manhood. Lauded by The New Yorker for his “unrelenting, perfectly paced prose,” Giraldi writes here with daring, searing honesty about the fragility and might of the American male. An unflinching memoir of luminous sorrow, a son’s tale of a lost father and the ancient family strictures of extreme masculinity, The Hero’s Body is a work of lasting beauty by one of our most fearless writers.

“The best literary present . . . has a delicate sweetness that shows through at just the right moments.”—Ron Charles, Washington Post Book World Echoing a narrative line that includes Kurt Vonnegut and Joseph Heller, William Giraldi’s Busy Monsters has been hailed as one of the most exciting fiction debuts in years. Penned with a linguistic bravado that explores the diaphanous line between fiction and fact, this “very funny, very inventive début novel” (The New Yorker) has at last revived the great American picaresque tradition.

The local pastor’s go-to resource for weekly sermon and worship planning. Each week’s entry consists of two pages, face-to-face. The pages include: 1. Preaching Themes -Fleshed out with brief, pithy nuggets of thought, idea jump-starters, or questions •These are designed to spur the preacher’s imagination and sermon development process •They will offer fresh, intriguing ideas •They will point the reader/preacher in a good direction; the reader takes it from there 2. Secondary or Parallel Themes -2 or 3 themes or streams of thought that are related to but separate from the primary theme offered. These might arise from different parts of the lectionary text. This may also include questions, or alternative ways of thinking about the primary theme. 3. Worship Helps •Gathering Prayer •Collect, Pastoral Prayer, Congregational Prayer, Responsive Reading, or some other liturgical element •Closing Prayer or Benediction Homiletical Topic Essays (3) These 700-word essays cover a variety of current and critical topics for the preacher. Each essay focuses on one particular topic. Topics could include the practice of preaching, sermon writing, current issues for the preacher, emerging trends in preaching, and emerging ideas or cultural trends that are important for the church and preacher. Essays are contributed by leading homileticians. Sermon Series Ideas This section will briefly outline and describe ideas for unique sermon series based on lectionary readings. Most if not all of these will come from non-NT texts, helping preachers to include a wider range of scripture in their preaching. (Many pastors preach primarily from NT passages almost exclusively.)

In 1946, in the hardscrabble industrial city of Trenton, New Jersey, a woman kills her army veteran husband in a domestic brawl—and then assumes his identity. As Abe Kunstler, he secures a factory job, buys a car, and successfully woos a young woman with whom he makes a home. But for Abe, this is not enough: to complete his transformation, he needs a son. Fast-forward to 1971, and the certainties of midcentury triumphalism are a distant, bitter memory, Trenton’s heyday as a factory town is long past, and the family life Abe has so carefully constructed is crumbling under the intolerable pressures of his long ruse. Written in brilliantly stylized prose, Trenton Makes is the indelibly told story of a woman determined to carve out her share of the American Dream.

We are where we’ve been and what we’ve read, aren’t we? Where else do we get the experience we need to evocatively live? At once a memoir, a reading journal, and a novel, Fragments of a Mortal Mind is a daring, contemporary commonplace book. Donald Anderson, critically acclaimed author of Gathering Noise from My Life and Below Freezing, shows us how the disparate elements of our lives collect to construct our deepest selves and help us to make sense of it all. Anderson layers his personal experiences and reflections with those of others who have wrestled with inner and outer social, cultural, and political memories that are not as accurate as history might suggest but that each of us believe nonetheless. He challenges the reader’s sense of memory and fact, downplaying the latter in explaining how each of us crafts our own personal histories. As Anderson weaves his voice among numerous other voices and ideas that rest upon other ideas, we are faced with larger issues of human existence: war, memory, trauma, mortality, religion, fear, joy, ugliness, and occasional beauty. What we have here is a meditation on living in America. We are shown how the world we consume becomes us as we metabolize it. How we, as humans, through our own fragments of memories, influences, and experiences become our true selves. By charting fragments of thoughts over a lifetime, Anderson exposes a way of thinking and perceiving the world that is refreshingly intuitive and desperately needed. Fragments of a Mortal Mind is a powerful masterpiece that closely resembles our lived experiences and is a vivid reflection of our time.