This book is about the culture of American Christianity and what it does to our understanding of God, self, and community as reflected in the way Christians worship.

The bestselling author of Why Catholics Can't Sing returns with a brilliant and witty portrait of American Catholic culture that is sure to offend--and delight--everyone. "(Day) accurately and wittingly skewers what passes for culture in American Catholicism".--Publishers Weekly.

Why Stay Catholic? is a lively, timely book about the "good stuff" within the Catholic Church today.

How Catholic churches are being sapped of their spiritual vitality and what you can do about it The problem with new-style churches isn't just that they're ugly they actually distort the Faith and lead Catholics away from Catholicism. So argues Michel S. Rose in these eye-opening pages, which banish forever the notion that lovers of traditional-style churches are motivated simply by taste or nostalgia. In terms that non-architects can understand (and modern architects can't dismiss!), Rose shows that far more is at stake: modern churches actually violate the three natural laws of church architecture and lead Catholics to worship, quite simply, a false god.

Throughout the history of Christianity, Mary has been a beacon of hope to many who look to her. While Christians have always prayed to Mary, they have also sung to her in times of joy and sorrow. Sing of Mary analyzes Marian hymnody throughout Christianity—and particularly in the Roman Catholic Church in the United States from 1854 to today—focusing not only on the texts and music but also on the contexts out of which these hymns came. By using a holistic methodology—drawing from anthropology, history, liturgy, musicology, psychology, sociology, and theology—this study takes an interdisciplinary approach toward studying Marian theology and devotion through the lens of hymnody. This volume, accessible to both laypeople and academics, provides readers with a clear and full understanding of Marian hymnody by looking at many examples throughout the history of Christianity up through the present, thus shedding light on the history of Marian devotion and theology. The work concludes by providing hope for the future of Marian congregational song, particularly by exploring how the Magnificat can help Marian congregational song be meaningful to a wide range of Christians.

In the discussions and debates surrounding liturgical music of the past fifty years, music theorists, critics, and historians have contributed little, and their counsel has rarely been sought. Whenever the matter of liturgical music arises, most often in parishes, but sometimes in episcopal conferences or in the academy or in Vatican documents, the nature of the music, as music, almost never affects the discussion. With Sacred Treasure, Joseph Swain, a distinguished musicologist and accomplished performer, attempts to change that. He offers a theory for building authentic traditions of liturgical music for Roman Catholic parishes. This book is an exercise in pragmatic music criticism. By providing a rational basis for evaluating the essential issues, Swain seeks to show how a spiritually wholesome stability might supplant the confusion. Sacred Treasure shows how the hard facts of music must be taken into account in any holistic conception and any lasting form of liturgical music.

Gustaf Aulen's classic work, 'Christus Victor', has long been a standard text on the atonement. Aulen applies history of ideas' methodology to historical theology in tracing the development of three views of the atonement. Aulen asserts that in traditional histories of the doctrine of the atonement only two views have usually been presented, the objective/Anselmian and the subjective/Aberlardian views. According to Aulen, however, there is another type of atonement doctrine in which Christ overcomes the hostile powers that hold humanity in subjection, at the same time that God in Christ reconciles the world to Himself. This view he calls the "classic" idea of the atonement. Because of its predominance in the New Testament, in patristic writings, and in the theology of Luther, Aulen holds that the classic type may be called the distinctively Christian idea of the atonement.

In this informative and entertaining critique of music in the Catholic Church, Thomas Day outlines a stinging indictment of the influence of popular culture on American Catholicism, particularly as expressed in church music. Taking aim at the Irish-American repertoire of songs that overwhelms Catholic music in America, Day assails the secularization of liturgical practices that began, in the author's view, with the Second Vatican Council in 1962. And while targeting the demise of services, Day remains optimistic, offering several key solutions to revitalize and nurture the latent vitality that remains among the parishioners of the American Catholic Church.