What is "edgy" Christian fiction? Is nothing taboo anymore? When has the subjects of sex, nudity, violence, foul language been taken too far in Christian-"themed" fiction? Where do you draw the line? Should the edgy subgenre, with all its warts and bruises and very damaged characters, be examined for what it is, rather than offering up a sanitized account of what it isn't? Taboo subjects shouldn't be sugarcoated for the sake of money or fame. They should be exposed for what they are, and placed into their own separate category, not hidden "between the lines" within Christian literature. That seems like trickery. Some of these acts of trickery the Taboo author has found to be quite intentional on the edgy author's part. That just gives Christians and Christian fiction a bad rap. This book examines the edgy style from the edgy writer's point of view - and beyond.

Quaker characters have peopled many an American literary work—most notably, "Uncle Tom’s Cabin"—as Quakerism has been historically associated with progressive attitudes and the advancement of social justice. With the rise in recent years of the Christian romance market, dominated by American Evangelical companies, there has been a renewed interest in fictional Quakers. In the historical Quaker romances analyzed in this book, Quaker heroines often devote time to spiritual considerations, advocate the sanctity of marriage and promote traditional family values. However, their concern with social justice also leads them to engage in subversive behavior and to question the status quo, as illustrated by heroines who are active on the Underground Railroad or are seen organizing the Seneca Falls convention. Though relatively liberal in terms of gender, Quaker romances are considerably less progressive when it comes to race relations. Thus, they reflect America’s conflicted relationship with its history of race and gender abuse, and the country’s tendency to both resist and advocate social change. Ultimately, Quaker romances reinforce the myth of America as a White and Christian nation, here embodied by the Quaker heroine, the all-powerful savior who rescues Native Americans, African Americans and Jews while conquering the hero’s heart.

What is "edgy" Christian fiction? Is nothing taboo anymore? When has the subjects of sex, nudity, violence, foul language been taken too far in Christian-"themed" fiction? Where do you draw the line? Should the edgy subgenre, with all its warts and bruises and very damaged characters, be examined for what it is, rather than offering up a sanitized account of what it isn't? Taboo subjects shouldn't be sugarcoated for the sake of money or fame. They should be exposed for what they are, and placed into their own separate category, not hidden "between the lines" within Christian literature. That seems like trickery. Some of these acts of trickery the Taboo author has found to be quite intentional on the edgy author's part. That just gives Christians and Christian fiction a bad rap. This book examines the edgy style from the edgy writer's point of view - and beyond.

Winner of the 2017 Illumination Award Jacqueline Bussie knows that too many Christians live according to unspoken “laws” that govern the Christian life: #1: Never get angry at God; #2: Never doubt; #3: Never question; #4: Never tell your real story; #5: Always speak in clichés about evil and suffering; and #6: Always believe hope comes easy for those who truly love God. Living according to these rules is killing real Christian life; Outlaw Christian proposes a rebellious, life-giving, authentic alternative. Through captivating stories and with disarming honesty, Bussie gives concrete, practical strategies to help readers cultivate hope, seek joy, practice accompaniment, compost their pain, and rediscover the spiritual practice of lament. Tackling difficult questions without political divisiveness, Bussie speaks to both progressive and conservative Christians in ways that unite rather than divide. And in doing so, she provides a new way to handle the most difficult and troubling questions of life in a broken world that God will never abandon.

‘Mirza’s theorization of resistance is a substantive addition to feminist and postcolonial scholarship, and her rich readings of different literary texts make a valuable contribution to feminist literary studies.’ Nalini Iyer, Professor of English, Seattle University 'Resistance and its discontents in South Asian women’s fiction is a rigorous and impassioned exploration of the concept of resistance in postcolonial literature. It is an essential contribution to the field of postcolonial studies and a compelling excavation of resistance in South Asian women’s writing.' Claire Chambers, Professor of Global Literature, University of York 'Mirza’s comprehensive take on what counts as “resistance” in Anglophone fiction by women writers from South Asia and its diaspora—not just its heroic manifestations but also its limits, its contradictions, its marginality and even its absence in the reality of women’s lives—makes this a provocative theoretical inquiry into female agency. Resistance and its Discontents in South Asian Women’s Fiction makes a major contribution to postcolonial criticism as well as feminist theory.' Rajeswari Sunder Rajan, Formerly Global Distinguished Professor, New York University ‘Maryam Mirza’s new book is sure to become a major work of reference in the field of South Asian literary studies and of literature by (and on) women. Its breadth, depth, and level of detail are astonishing, and it offers a thoroughly new reboot of the genre of “resistance literature”, by enlarging and complexifying the semantic reach of the term “resistance” beyond its current remit within contemporary fictional narratives.’ Neelam Srivastava, Professor of Postcolonial and World Literature, Newcastle University This book is an examination of how English-language fiction by women writers from India, Pakistan, Bangladesh and Sri Lanka has grappled with the idea and practice of resistance. A valuable, original and timely contribution to the field of South Asian literary and cultural studies, this book extends and complicates existing debates about the meanings of resistance. It brings to the fore not only the emancipatory potential of resistance, but also the contradictions that it can encompass as well as the anxieties that it can generate, particularly for women. Focusing on novels and short fiction, the book explores fiction by Arundhati Roy, Kamila Shamsie, Tahmima Anam, Jhumpa Lahiri, Manju Kapur and Ru Freeman, amongst others.

In this age of globalization, a need for a communicative explanation of personal and group positions also motivates Christians to describe more precisely their identity in relation to other actors in society. What makes a Christian a Christian? What is specifically Christian in social acions or political calling? Is there a difference between Christian justice and justice in general – and the way Christians deal with justice? What is our calling as Christians? The contributions in this volume are the result of the 6th biannual IRTI conference in Seoul 2005 on this theme.

The volume offers contributions reflecting the understanding of Christian identity in the midst of changing cultural, socio-economic, political and religious context in a a globalized world.

Humour in Old English Literature deploys modern theories of humour to explore the style and content of surviving writing from early medieval England. The book analyses Old English riddles, wisdom literature, runic writing, the deployment of rhymes, and humour in heroic poetry, hagiography, and romance. Drawing on a fine-tuned understanding of literary technique, the book presents a revisionist view of Old English literature, partly by reclaiming often-neglected texts and partly by uncovering ironies and embarrassments within well-established works, including Beowulf. Most surprisingly, Jonathan Wilcox engages the large body of didactic literature, pinpointing humour in two anonymous homilies along with extensive use in saints’ lives. Each chapter ends by revealing a different audience that would have shared in the laughter. Wilcox suggests that the humour of Old English literature has been scantily covered in past scholarship because modern readers expect a dour and serious corpus. Humour in Old English Literature aims to break that cycle by highlighting works and moments that are as entertaining now as they were then.