Updike's religious explorations are what make his writing so interesting, and Adam Begley explores them well. But he devotes too much space to trying to link fictional settings and characters with Updike's real life.
In this long, freewheeling conversation with the Heidelberg Catechism, Eberhard Busch sometimes uses the document for leverage against distortions in the contemporary church, and sometimes challenges its assumptions.
Recorded in a converted New Orleans–area church over six days, Redemption is a jambalaya of Chicago blues, New Orleans funk, and robust soul. On the standout “Chariot,” Glen David Andrews’s voice rises with gritty passion as he trails into the song’s tag, borrowed from the spiritual “Sweet Home Chariot”:
In Defending Constantine, Leithart argued that the free church tradition in general and John Howard Yoder in particular were wrong to identify the fall of the church with the conversion of Emperor Constantine and his use of the sword to advance Christianity. To various degrees these essayists say that Leithart got both Yoder and Constantine wrong.
On the mostly instrumental Pieces, JoyCut takes the sonic hallmarks of the 1980s New Wave era—from shimmering, echo-plastered guitars and propulsive picked bass to dysmorphic synthesizer pads—and reconfigures them in thrilling fashion.