Scott does not tell the story of the faith through church documents or catechism quotations. Instead, he looks at the faith experience of real Catholics—people like the American writer Andre Dubus, the French composer Olivier Messiaen, the Chinese human rights activist Henry Wu, the French martyr Charles de Foucauld, and the American reformer Dorothy Day. These and other Catholics embody a faith that warms the heart as it enlightens the mind.
One theme emerges from Scott's reflections on the lives of Catholics and the Scriptures: God's passion of love for humankind burns on in the Catholic Church. The Catholic passion is the conviction that there is nothing God will not do to win our love.
"The Catholic Passion is a monumental work. David Scott weaves material from scripture, history, the arts, the liturgy, theology, spirituality, and personal reflection, showing us that nothing human is alien to Christ—and nothing divine is withheld from God's people."
—Scott Hahn, author of The Lamb's Supper
"The Catholic Passion is a masterwork—beautiful, compelling, and wonderfully readable; an outstanding portrait of what Catholics believe and why. I highly recommend it."
—Charles J. Chaput, OFM Cap, archbishop of Denver
"David Scott helps us see a vibrant Catholicism that offers brilliant meaning in a world darkened by materialism and violence. He presents a vision that allows the treasures of the past to envision an orthodox Catholicism for the future."
—Fr. Mitch Pacwa, SJ, EWTN
Excelling in every area of mental and physical agility, Scott and Leonov became elite fighter pilots and were chosen by their countries' burgeoning space programs to take part in the greatest technological race ever-to land a man on the moon.
In this unique dual autobiography, astronaut Scott and cosmonaut Leonov recount their exceptional lives and careers spent on the cutting edge of science and space exploration. With each mission fraught with perilous risks, and each space program touched by tragedy, these parallel tales of adventure and heroism read like a modern-day thriller. Cutting fast between their differing recollections, this book reveals, in a very personal way, the drama of one of the most ambitious contests ever embarked on by man, set against the conflict that once held the world in suspense: the clash between Russian communism and Western democracy.
Before training to be the USSR's first man on the moon, Leonov became the first man to walk in space. It was a feat that won him a place in history but almost cost him his life. A year later, in 1966, Gemini 8, with David Scott and Neil Armstrong aboard, tumbled out of control across space. Surviving against dramatic odds-a split-second decision by pilot Armstrong saved their lives-they both went on to fly their own lunar missions: Armstrong to command Apollo 11 and become the first man to walk on the moon, and Scott to perform an EVA during the Apollo 9 mission and command the most complex expedition in the history of exploration, Apollo 15. Spending three days on the moon, Scott became the seventh man to walk on its breathtaking surface.
Marking a new age of USA/USSR cooperation, the Apollo-Soyuz Test Project brought Scott and Leonov together, finally ending the Cold War silence and building a friendship that would last for decades.
Their courage, passion for exploration, and determination to push themselves to the limit emerge in these memoirs not only through their triumphs but also through their perseverance in times of extraordinary difficulty and danger.
The edition also includes an essay on the text, a chronology of major events in Milton's life, and a selected bibliography, as well as the first known biography of Milton, written by Edward Phillips in 1694.
" . . .an exemplary job both of presenting the major topics of Paradise Lost and of entering the selva oscura of Milton criticism. . . . Students and scholars alike will appreciate the balanced approach to the complexities, difficulties, and conundrums of Milton's poem and the criticism on it. Kastan's prose is not just lively but chiseled, and it is destined to affect students." --Patrick Cheney, Studies in English Literature, 1500-1900
"Kastan is an exemplary editor, attuned to emerging critical currents, yet steeped in the scholarship of an earlier tradition, aware of the text's provenance and reception, alert to its topicality. His introduction, a model of theoretically informed, politically committed, historically grounded criticism, makes this edition of Paradise Lost all you would expect from one of the most erudite and perceptive figures in the field." --Willy Maley, Modern Language Review
Scott explores the political and epistemological implications of how the past is conceived in relation to the present and future through a reconsideration of C. L. R. James’s masterpiece of anticolonial history, The Black Jacobins, first published in 1938. In that book, James told the story of Toussaint L’Ouverture and the making of the Haitian Revolution as one of romantic vindication. In the second edition, published in the United States in 1963, James inserted new material suggesting that that story might usefully be told as tragedy. Scott uses James’s recasting of The Black Jacobins to compare the relative yields of romance and tragedy. In an epilogue, he juxtaposes James’s thinking about tragedy, history, and revolution with Hannah Arendt’s in On Revolution. He contrasts their uses of tragedy as a means of situating the past in relation to the present in order to derive a politics for a possible future.
Through a series of linked essays on culture and politics in his native Jamaica and in Sri Lanka, the site of his long scholarly involvement, Scott examines the ways in which modernity inserted itself into and altered the lives of the colonized. The institutional procedures encoded in these modern postcolonial states and their legal systems come under scrutiny, as do our contemporary languages of the political. Scott demonstrates that modern concepts of political representation, community, rights, justice, obligation, and the common good do not apply universally and require reconsideration. His ultimate goal is to describe the modern colonial past in a way that enables us to appreciate more deeply the contours of our historical present and that enlarges the possibility of reshaping it.
Hall’s intellectual life was animated by voice in literal and extended senses: not only was his voice distinctive in the materiality of its sound, but his thinking and writing were fundamentally shaped by a dialogical and reciprocal practice of speaking and listening. Voice, Scott suggests, is the central axis of the ethos of Hall’s style.
Against the backdrop of the consideration of the voice’s aspects, Scott specifically engages Hall’s relationship to the concepts of "contingency" and "identity," concepts that were dimensions less of a method as such than of an attuned and responsive attitude to the world. This attitude, moreover, constituted an ethical orientation of Hall’s that should be thought of as a special kind of generosity, namely a "receptive generosity," a generosity oriented as much around giving as receiving, as much around listening as speaking.