What is being done in worship when national holidays are celebrated, the American flag is displayed and honored, and songs are sung that extol the nation? Are these benign gestures? Or could they actually be idolatrous? In this insightful and persuasively argued study Craig M. Watts contends the inclusion of elements of American nationalism in worship is detrimental to the integrity of Christian worship. He maintains that in faithful worship the story of Jesus must be re-presented and performed in such a way that the only affections and loyalty that are fostered are those Christians everywhere rightfully share. To do otherwise opens the door to idolatry and leaves the church doing what Watts calls "bowing toward Babylon." He reviews the development of the symbols, songs, and gestures that celebrate America and how they were introduced into worship. Watts concludes that the spirituality of American Christian nationalism does not complement the faith of the church but distorts it, hindering global Christian unity and the peaceable witness of the church in a divided world.

A respected biblical scholar shows how the Book of Revelation made sense to its first readers and what it really means for Christians today.

In the face of a rising threat to both church and democracy, Baptizing America provides an urgent examination and an enlightening critique exposing the dangerous undercurrents of Christian Nationalism. How can Mainline Protestants spot such practices in their own activities? A crucial call to reckon with influences before it's too late. Christian Nationalism presents an existential threat to both Christ’s church and American democracy. Now is the time—before it is too late—to reckon with all the places its pernicious influence arises. On full display in recent elections, Christian Nationalism also exists in sanctuaries where an American flag has been displayed for decades, when we pledge allegiance to one nation “Under God,” or when the U.S. is called a Christian nation. Baptizing America critiques the concept of civil religion, arguing that such expressions are far more dangerous than we realize. Mainline Protestant congregations will likely recognize themselves in the overlooked expressions of Christian Nationalism that pop up in the activities of both church and state.

Everything changes for Sarah the day Nebuchadnezzar’s army storms Jerusalem. In an instant, her peaceful life on the farm is ripped away: her city sacked, her temple desecrated, her people enslaved. Marched across unforgiving desert sands to Babylon, Sarah and the remaining Judean people must find a way to keep their faith alive in a new and unforgiving home. Displaced within an empire of strange gods and unimaginable wealth, Sarah and her descendants bear witness to palace intrigue, betrayal, brutal sacrifice, regicide, and a new war brewing in the east. Through every trial, the Hebrew people attempt to preserve their religion. Uri, Sarah’s son, transcribes incredible stories of prophets and visions, Creation and Exodus—stories that establish the central tenets of the Hebrew faith.

By the Rivers of Babylon presents the early life of the prophet Ezekiel, from his childhood to his service in the Temple to the Babylonian Captivity, where he was enslaved among the exiles along the River Chebar. Ezekiel, a bricklayer, is simple and timid. He is not yet a priest, and his visions have not yet begun. He stands in the midst of the Jewish exiles as they struggle to build a town of their own, to remain faithful to God's covenant without the Temple, and to discern the various forces that threaten to divide them and erode their faith. All of these experiences flow like streams into Ezekiel's later mission to rally his people from inner destruction. What makes a prophet? Why was this man chosen? Michael O'Brien offers an intimate glimpse into the mind and heart of a visionary.

Pentecostal and Mennonite contributors to this volume have been enriched by mutual hospitality. Through friendships across their respective traditions, they have shared and received the benefits of theological, experiential, and ministry convergence. In celebration of their common journeys, they offer their collective lives as Mennocostals. You will enjoy inspiring, honest, and vulnerable accounts of formation and ministry from academics, pastors, and missionaries. If you find these Mennocostal stories compelling, you will invariably want to discover your own story alongside and beyond the stories in this volume.

Various Christian traditions mark their calendars to reflect the biblical and ecclesial narrative and enhance public worship. Such efforts safeguard against secularization’s encroachment in the church’s life. Setting the Spiritual Clock serves as a guide and traveling companion for the liturgical year, which circles the glorious Son as he breaks through the secular eclipse.

Unbinding Christianity is a book that will be good news for some readers while stretching others in uncomfortable ways. It begins with the premise that traditional Christian teaching is focused on right beliefs while the life and teachings of Jesus was all about right living. The book represents a fresh voice for Christians who struggle to accept traditional beliefs by assuring them that Jesus himself said much more about right values than he did right beliefs. The goal of this book is to unbind Christianity from the wrappings of creeds, doctrines, dogma, and beliefs in order to make room for an understanding of what it means to be Christian defined by values that invites unity among Christians without the need for conformity of beliefs. One of the important by-products of a values-based Christianity is that it paves the way for Christians with different beliefs to find common ground with one another while also freeing them to build bridges of understanding with non-Christian. WORDS OF PRAISE If you have found it impossible to continue believing in some of the doctrines the church has taught to be essential and don't know if you can continue being a Christian, Jan Linn offers some much needed guidance. --Craig Watts Unbinding Christianity is a thought-provoking argument for expansion of Christianity's often employed litmus tests of inclusion and rejection. --Joshua Santana This book is a wake-up call to all of us who choose to follow Jesus, a challenge for us to rethink what it truly means to be Christian. --Heather Cargill

Although cinema was invented in the mid-1890s, it was a decade more before the concept of a “film spectator” emerged. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown—vaudeville, dime museums, fairgrounds—a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale. In Babel and Babylon, Miriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere. Hansen builds a critical framework for understanding the cultural formation of spectatorship, drawing on the Frankfurt School’s debates on mass culture and the public sphere. Focusing on exemplary moments in the American silent era, she explains how the concept of the spectator evolved as a crucial part of the classical Hollywood paradigm—as one of the new industry’s strategies to integrate ethnically, socially, and sexually differentiated audiences into a modern culture of consumption. In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience. After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D. W. Griffith’s Intolerance (1916), and of the cult surrounding a single star, Rudolph Valentino. In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of the female consumer. Babel and Babylon recasts the debate on early American cinema—and by implication on American film as a whole. It is a model study in the field of cinema studies, mediating the concerns of recent film theory with those of recent film history.