‘We Must Make Capitalism Serve Us’

From the Diocese of New YorkWe Must Not Serve Capitalism — We Must Make It Serve UsBy the Rt. Rev. Mark S. SiskBishop of New YorkOn Friday, October 21, I visited Zuccotti Park, the site — at least until last ni... Read more...

Following the Canons to Bede Parry

From the Anglican Communion InstituteIn 2004 the Bishop of Nevada, Katharine Jefferts Schori, received a former Roman Catholic priest, Bede Parry, as a priest in the Episcopal Church. What made this instance of... Read more...

The Local Church Serves the Whole

Catholic Voices The Authority of General Convention: A Conversation Part 2 By Ephraim Radner Bishop Franklin helpfully approaches the question of General Convention’s authority as a church “council” by draw... Read more...

No Higher Human Authority

Catholic Voices The Authority of General Convention: A Conversation Part 2 By R. William Franklin Professor Ephraim Radner raises two questions which to me relate our historical and theological exchanges a... Read more...

Conciliarism and Convention’s Authority

Catholic Voices The Authority of General Convention: A Conversation By R. William Franklin In these essays we focus on the basis of the authority of the General Convention. It is a topic at the heart of disc... Read more...

‘Look at the Picture You Have’

By Douglas LeBlancWhen the new dean and president of Nashotah House Theological Seminary asked the 103rd Archbishop of Canterbury if he would visit the campus in October, George L. Carey thought he was speaking... Read more...

Bishop Dan T. Edwards on The Help

The Rt. Rev. Dan T. Edwards, Bishop of Nevada and a native of Arkansas, writes: Let me say this up front and clearly. The Help is a great movie. What it says about race relations in the South is not only true ... Read more...

The Cosmic Drama

Review by David Heetderks Many listeners have likely heard Handel’s Messiah (1742) countless times and could sing many of its tunes from memory, but know comparatively less about Charles Jennens’s motivations for assembling its libretto, the conventions of the oratorio genre in which it was written, or Handel’s reasons for turning to the oratorio after several years of composing operas.