Amy Laura Hall

Examines a powerful yet overlooked form of Christian Nationalism—one that fuses faith, masculinity, capitalism, and political power under the guise of moral leadership. Beginning with Theodore Roosevelt’s “Muscular Christianity” and tracing the conceit of faithful and fit male leadership through figures like Billy Graham and cultural institutions like National Prayer Breakfasts and modern mega-churches, and flourishing under the administration of Donald Trump, Erecting the Pulpit reveals how religious rhetoric has been wielded to sanctify power and divide communities. Drawing on her firsthand experiences and years of conversations with participants—from Cowboy Churches to NASCAR chaplaincies and storefront churches with folding chairs to meetings with the parachurch group Young Life—theologian Amy Laura Hall examines the cultural and political forces that have made evangelicalism “ambient” while consolidating wealth and influence. At a time when politicians are expected to pray in public and religious themes shape public policy, Hall offers a vivid, incisive exploration of how religious expressions of faith in the United States have been strategically repackaged to sustain political and economic hierarchies and keep women subservient to men.

Laughing at the Devil is an invitation to see the world with a medieval visionary now known as Julian of Norwich, believed to be the first woman to have written a book in English. (We do not know her given name, because she became known by the name of a church that became her home.) Julian “saw our Lord scorn [the Devil's] wickedness” and noted that “he wants us to do the same.” In this impassioned, analytic, and irreverent book, Amy Laura Hall emphasizes Julian's call to scorn the Devil. Julian of Norwich envisioned courage during a time of fear. Laughing at the Devil describes how a courageous woman transformed a setting of dread into hope, solidarity, and resistance.

Laughing at the Devil is an invitation to see the world with a medieval visionary now known as Julian of Norwich, believed to be the first woman to have written a book in English. (We do not know her given name, because she became known by the name of a church that became her home.) Julian “saw our Lord scorn [the Devil's] wickedness” and noted that “he wants us to do the same.” In this impassioned, analytic, and irreverent book, Amy Laura Hall emphasizes Julian's call to scorn the Devil. Julian of Norwich envisioned courage during a time of fear. Laughing at the Devil describes how a courageous woman transformed a setting of dread into hope, solidarity, and resistance.

Genetic manipulation. Designer babies. Prenatal screening. The genomic revolution. Cutting-edge issues in reproductive bioethics grab our attention almost daily, prompting strong responses from various sides. As science advances and comes ever closer to "perfect" procreation and "perfectible" babies, controversy has become a constant in bioethical discussion. Amy Laura Hall seeks out the genesis of such issues rather than trying to divine their future. Her disturbing finding is that mainline Protestantism is complicit in the history and development of reproductive biotechnology. Through analysis of nearly 150 images of the family in the mainstream media in the twentieth century, Hall argues that, by downplaying the gratuity of grace, middle-class Protestants, with American culture at large, have implicitly endorsed the idea of justification through responsibly planned procreation. A tradition that should have welcomed all persons equally has instead fostered a culture of "carefully delineated, racially encoded domesticity." The research in Conceiving Parenthood is new, the theory provocative, and the illustrations exceptional. The book is replete with photos and advertisements from popular magazines from the 1930s through the 1950s--Parents', Ladies' Home Journal, National Geographic, and so on. Hall's analysis of these ads is startling. Her goal, however, is not simply to startle readers but to encourage new conversations within communities of faith&mdashconversations enabling individuals, couples, congregations, even entire neighborhoods to conceive of parenthood in ways that make room for families and children who are deemed to be outside the proper purview of the right sorts of families.

This is a major study of Kierkegaard and love. Amy Laura Hall explores Kierkegaard’s description of love’s treachery, difficulty, and hope, reading his Works of Love as a text that both deciphers and complicates the central books in his pseudonymous canon: Fear and Trembling, Repetition, Either/Or, and Stages on Life’s Way. In all of these works, the characters are, as in real life, complex and incomplete, and the conclusions are perplexing. Hall argues that a spiritual void brings each text into being, and her interpretation is as much about faith as about love. In a style that is both scholarly and lyrical, she intimates answers to some of the puzzles, making a poetic contribution to ethics and the philosophy of religion.