Romantic writers had found in Christianity a poetic cult of the imagination, an assertion of the spiritual quality of beauty in an age of vulgar materialism. The decadents, a diverse movement of writers, were the climax and exhaustion of this romantic tradition. In their art, they enacted the romance of faith as a protest against the dreariness of modern life. Ellis Hanson teases out two strands--eroticism and aestheticism--that rendered the decadent interest in Catholicism extraordinary. More than any other literary movement, the decadents explored the powerful historical relationship between homoeroticism and Roman Catholicism. Why, throughout history, have so many homosexuals been attracted to Catholic institutions that vociferously condemn homosexuality? This perplexing question is pursued in this elegant and innovative book. Late-nineteenth-century aesthetes found in the Church a peculiar language that gave them a means of artistic and sexual expression. The brilliant cast of characters that parades through this book includes Oscar Wilde, Charles Baudelaire, J.-K. Huysmans, Walter Pater, and Paul Verlaine. Art for these writers was a mystical and erotic experience. In decadent Catholicism we can glimpse the beginnings of a postmodern valorization of perversity and performativity. Catholicism offered both the hysterical symptom and the last hope for paganism amid the dullness of Victorian puritanism and bourgeois materialism.

From the New York Times columnist and bestselling author of Bad Religion, a “clever and stimulating” (The New York Times Book Review) portrait of how our turbulent age is defined by dark forces seemingly beyond our control. The era of the coronavirus has tested America, and our leaders and institutions have conspicuously failed. That failure shouldn’t be surprising: Beneath social-media frenzy and reality-television politics, our era’s deep truths are elite incompetence, cultural exhaustion, and the flight from reality into fantasy. Casting a cold eye on these trends, The Decadent Society explains what happens when a powerful society ceases advancing—how the combination of wealth and technological proficiency with economic stagnation, political stalemate, and demographic decline creates a unique civilizational crisis. Ranging from the futility of our ideological debates to the repetitions of our pop culture, from the decline of sex and childbearing to the escapism of drug use, Ross Douthat argues that our age is defined by disappointment—by the feeling that all the frontiers are closed, that the paths forward lead only to the grave. Correcting both optimism and despair, Douthat provides an enlightening explanation of how we got here, how long our frustrations might last, and how, in renaissance or catastrophe, our decadence might ultimately end.

Tracing the movement of literary decadence from the writers of the fin de siècle - Oscar Wilde, Aubrey Beardsley, Ernest Dowson, and Lionel Johnson - to the modernist writers of the following generation, this book charts the legacy of decadent Catholicism in the fiction and poetry of British and Irish modernists. Linking the later writers with their literary predecessors, Martin Lockerd examines the shifts in representation of Catholic decadence in the works of W. B. Yeats through Ezra Pound to T.S. Eliot; the adoption and transformation of anti-Catholicism in Irish writers George Moore and James Joyce; the Catholic literary revival as portrayed in Evelyn Waugh's Brideshead Revisited; and the attraction to decadent Catholicism still felt by postmodernist writers D.B.C. Pierre and Alan Hollinghurst. Drawing on new archival research, this study revisits some of the central works of modernist literature and undermines existing myths of modernist newness and secularism to supplant them with a record of spiritual turmoil, metaphysical uncertainty, and a project of cultural subversion that paradoxically relied upon the institutional bulwark of European Christianity. Lockerd explores the aesthetic, sexual, and political implications of the relationship between decadent art and Catholicism as it found a new voice in the works of iconoclastic modernist writers.

A New York Times columnist and one of America’s leading conservative thinkers considers Pope Francis’s efforts to change the church he governs in a book that is “must reading for every Christian who cares about the fate of the West and the future of global Christianity” (Rod Dreher, author of The Benedict Option). Born Jorge Mario Bergoglio in 1936, today Pope Francis is the 266th pope of the Roman Catholic Church. Pope Francis’s stewardship of the Church, while perceived as a revelation by many, has provoked division throughout the world. “If a conclave were to be held today,” one Roman source told The New Yorker, “Francis would be lucky to get ten votes.” In his “concise, rhetorically agile…adroit, perceptive, gripping account (The New York Times Book Review), Ross Douthat explains why the particular debate Francis has opened—over communion for the divorced and the remarried—is so dangerous: How it cuts to the heart of the larger argument over how Christianity should respond to the sexual revolution and modernity itself, how it promises or threatens to separate the church from its own deep past, and how it divides Catholicism along geographical and cultural lines. Douthat argues that the Francis era is a crucial experiment for all of Western civilization, which is facing resurgent external enemies (from ISIS to Putin) even as it struggles with its own internal divisions, its decadence, and self-doubt. Whether Francis or his critics are right won’t just determine whether he ends up as a hero or a tragic figure for Catholics. It will determine whether he’s a hero, or a gambler who’s betraying both his church and his civilization into the hands of its enemies. “A balanced look at the struggle for the future of Catholicism…To Change the Church is a fascinating look at the church under Pope Francis” (Kirkus Reviews). Engaging and provocative, this is “a pot-boiler of a history that examines a growing ecclesial crisis” (Washington Independent Review of Books).

"Freedman's final book is a tour de force that examines the history of Jewish involvement in the decadent art movement. While decadent art's most notorious practitioner was Oscar Wilde, as a movement it spread through western Europe and even included a few adherents in Russia. Jewish writers and artists such as Catulle Mèndes, Gustav Kahn, and Simeon Solomon would portray non-stereotyped characters and produce highly influential works. After decadent art's peak, Walter Benjamin, Marcel Proust, and Sigmund Freud would take up the idiom of decadence and carry it with them during the cultural transition to modernism. Freedman expertly and elegantly takes readers through this transition and beyond, showing the lineage of Jewish decadence all the way through to the end of the twentieth century"--

Edited by Jane Desmarais and David Weir.

New Orleans’s reputation as a decadent city stems in part from its environmental precariousness, its Francophilia, its Afro-Caribbean connections, its Catholicism, and its litany of alleged “vices,” encompassing prostitution, miscegenation, homosexuality, and any number of the seven deadly sins. An evocative work of cultural criticism, Robert Azzarello’s Three Hundred Years of Decadence argues that decadence can convey a more nuanced meaning than simple decay or decline conceived in physical, social, or moral terms. Instead, within New Orleans literature, decadence possesses a complex, even paradoxical relationship with concepts like beauty and health, progress, and technological advance. Azzarello presents the concept of decadence, along with its perception and the uneasy social relations that result, as a suggestive avenue for decoding the long, shifting story of New Orleans and its position in the transatlantic world. By analyzing literary works that span from the late seventeenth century to contemporary speculations about the city’s future, Azzarello uncovers how decadence often names a transfiguration of values, in which ideas about supposed good and bad cannot maintain their stability and end up morphing into one another. These evolving representations of a decadent New Orleans, which Azzarello traces with attention to both details of local history and insights from critical theory, reveal the extent to which the city functions as a contact zone for peoples and cultures from Europe, Africa, and the Americas. Drawing on a deep and understudied archive of New Orleans literature, Azzarello considers texts from multiple genres (fiction, poetry, drama, song, and travel writing), including many written in languages other than English. His analysis includes such works of transcription and translation as George Washington Cable’s “Creole Slave Songs” and Mary Haas’s Tunica Texts, which he places in dialogue with canonical and recent works about the city, as well as with neglected texts like Ludwig von Reizenstein’s German-language serial The Mysteries of New Orleans and Charles Chesnutt’s novel Paul Marchand, F.M.C. With its careful analysis and focused scope, Three Hundred Years of Decadence uncovers the immense significance—historically, politically, and aesthetically—that literary imaginings of a decadent New Orleans hold for understanding the city’s position as a multicultural, transatlantic contact zone.

The 1960 publication of We Hold These Truths marked a significant event in the history of modern American thought. Since that time, Sheed & Ward has kept the book in print and has published several studies of John Courtney Murray's life and work. We are proud to present a new edition of this classic text, which features a comprehensive introduction by Peter Lawler that places Murray in the context of Catholic and American history and thought while revealing his relevance today. From the new Introduction by Peter Lawler: The Jesuit John Courtney Murray (1904-67) was, in his time, probably the best known and most widely respected American Catholic writer on the relationship between Catholic philosophy and theology and his country's political life. The highpoint of his influence was the publication of We Hold These Truths in the same year as an election of our country's first Catholic president. Those two events were celebrated by a Time cover story (December 12, 1960) on Murray's work and influence. The story's author, Protestant Douglas Auchincloss, reported that it was "The most relentlessly intellectual cover story I've done." His amazingly wide ranging and dense-if not altogether accurate-account of Murray's thought was crowned with a smart and pointed conclusion: "If anyone can help U.S. Catholics and their non-Catholic countrymen toward the disagreement that precedes understanding-John Courtney Murray can." . . . Murray's work, of course, is treated with great respect and has had considerable influence, but now it's time to begin to think of him as one of America's very few genuine political philosophers. His disarmingly lucid and accessible prose has caused his book to be widely cited and celebrated, but it still is not well understood. It is both praised and blamed for reconciling Catholic faith with the fundamental premises of American political life. It is praised by liberals for paving the way for Vatican II's embrace of the American idea of religious liberty, and it is

"And so the way we worship apparently matters less to God than the way we make love. The diagnosis may not be limited to Roman Catholicism, for today Jewish, Protestant, and Muslim communities also struggle to decide what the next world holds for their sexual dissidents. Curiously, debates over where gay people belong now feed into debates over how much equality women deserve in the West's three major faith traditions."--BOOK JACKET.

Some Christians decry the deism of our Founding Fathers, claiming that outright anti-Christian principles lie at the heart of our Declaration of Independence and Constitution, crippling from birth our beloved republic. Here philosopher Timothy Gordon forcefully disagrees, arguing that while anti-Catholic bias kept them from admitting their reliance on Aristotle, Aquinas, and the early Jesuits, our Protestant and Enlightenment Founding Fathers secretly held Catholic views about politics and nature. Had they fully adhered to Catholic principles, argues Gordon, the Catholic republic that is America from its birth would not today be on the verge of social collapse. The instinctive Catholicism of our Founders would have prevented the cancerous growth of the state, our subsequent loss of liberties, the destruction of families, abortion on demand, the death of free markets, and the horrors of today's pervasive pagan culture. In Catholic Republic, Gordon recounts our nation's clandestine history of publicly repudiating, yet privately relying on, Catholic ideas about politics and nature. At this late hour in the life of the Church and the world, America still can be saved, claims Gordon, if only we soon return to the Catholic principles that are the indispensable foundation of all successful republics.