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In these ten stories (three of which appear here for the first time), Levi S. Peterson demonstrates his continuing engagement to take seriously the duty of the fiction writer to illuminate and entertain. His subject remains Latter-day Saints caught between the polarities of conscience and passion. Among the stories are sober tellings of rape and misogyny, defiant statements of ascendant feminism and the worship of Heavenly Mother, and—most abundantly—narratives about impermissible love that sometimes lead to heartbreak and other times forges unexpected couplings destined to last a lifetime. Once again, Peterson shows himself as a peerless master of the English language, the tools of his craft, and the artistry of creative fiction.

Few books have explored in depth the lack of men in the churches. Podles’ book The Church Impotent: The Feminization of Christianity was the first book-length attempt to examine this phenomenon. David Murrow’s Why Men Hate Going to Church was a popular presentation of Podles’ material. Marta Trzebiatowska’s and Steve Bruce’s short Why Are Women More Religious than Men? confines itself almost entirely to modern British and American examples.
      Losing the Good Portion: Why Men Are Alienated from Christianity explores the causes and consequences of the almost millennium-old disparity between the participation of lay men and lay women in the churches of Western Christianity. Podles considers both the anecdotal and statistical evidence for the lack of men: sermons, church rolls, censuses, and sociological analyses.
     Podles sees the intellectual roots of lack of men in the Aristotelian understanding of male and female as active and passive, an understanding which has formed all discussion of masculinity and femininity, from Aquinas through Schleiermacher, Barth, and Hans Urs von Balthasar, all of whom saw femininity as more compatible with Christianity than masculinity. Men, according to anthropologists and psychologists, go through a difficult process to attain masculinity and therefore distance themselves from threats to that masculine identity, including Christianity.
     Men suspected the clergy was effeminate and sexually irregular. Historians of violence have examined the decline in violence in Europe and the civilizing role of the clergy, a role which further alienated men and led to violent anticlericalism
      Podles examines the presentation of Jesus’ masculinity in Scripture and images of Jesus’ masculinity in art, the role of thumos in spirituality, and the various movements that have helped keep men connected to the churches. He makes suggestions for possible outreach to men.

An examination of the relationship between literature and classical Hollywood cinema reveals a profound longing for plot in modernist fiction.

The modernist novel sought to escape what Virginia Woolf called the “tyranny” of plot. Yet even as twentieth-century writers pushed against the constraints of plot-driven Victorian novels, plot kept its hold on them through the influence of another medium: the cinema. Focusing on the novels of Nella Larsen, Djuna Barnes, and William Faulkner—writers known for their affinities and connections to classical Hollywood—Pardis Dabashi links the moviegoing practices of these writers to the tensions between the formal properties of their novels and the characters in them. Even when they did not feature outright happy endings, classical Hollywood films often provided satisfying formal resolutions and promoted normative social and political values. Watching these films, modernist authors were reminded of what they were leaving behind—both formally and in the name of aesthetic experimentalism—by losing the plot.

Most everyone, voters, political scientists, even lawmakers, think Congress is dysfunctional. Instead of solving problems, Democrats and Republicans spend their time playing politics. These days Capitol Hill seems more a place to bicker, not to pass laws. The reality is more complicated. Yes, sometimes Congress is broken. But sometimes it is productive. What explains this variation? Why do Democrats and Republicans choose to legislate or score political points? And why do some issues become so politicized they devolve into partisan warfare, while others remain safe for compromise?

Losing to Win answers these questions through a novel theory of agenda-setting. Unlike other research that studies bills that become law, Jeremy Gelman begins from the opposite perspective. He studies why majority parties knowingly take up dead-on-arrival (DOA) bills, the ideas everyone knows are going to lose. In doing so, he argues that congressional parties’ decisions to play politics instead of compromising, and the topics on which they choose to bicker, are strategic and predictable. Gelman finds that legislative dysfunction arises from a mutually beneficial relationship between a majority party in Congress, which is trying to win unified government, and its allied interest groups, which are trying to enact their policies. He also challenges the conventional wisdom that DOA legislation is political theater. By tracking bills over time, Gelman shows that some former dead-on-arrival ideas eventually become law. In this way, ideas viewed as too extreme or partisan today can produce long-lasting future policy changes.

Through his analysis, Gelman provides an original explanation for why both parties pursue the partisan bickering that voters find so frustrating. He moves beyond conventional arguments that our discordant politics are merely the result of political polarization. Instead, he closely examines the specific circumstances that give rise to legislative dysfunction. The result is a fresh, straightforward perspective on the question we have all asked at some point, “Why can’t Democrats and Republicans stop fighting and just get something done?”