John Wesley s Teaching is the first systematic exposition of John Wesley's theology that is also faithful to Wesley's own writings. Wesley was a prolific writer and commentator on Scripture---his collected works fill eighteen volumes---and yet it is commonly held that he was not systematic or consistent in his theology and teachings. On the contrary, Thomas C. Oden demonstrates that Wesley displayed a remarkable degree of internal consistency over sixty years of preaching and ministry. This series of 4 volumes is a text-by-text guide to John Wesley s teaching. It introduces Wesley s thought on the basic tenets of Christian teaching: God, providence, and man (volume 1), Christ and salvation (volume 2), the practice of pastoral care (volume 3), and issues of ethics and society (volume 4). In everyday modern English, Oden clarifies Wesley s explicit intent and communicates his meaning clearly to a contemporary audience. Both lay and professional readers will find this series useful for devotional reading, moral reflection, sermon preparation, and for referencing Wesley s opinions on a broad range of pressing issues of contemporary society."

Vicki Tolar Burton argues that John Wesley wanted to make ordinary Methodist men and women readers, writers, and public speakers because he understood the powerful role of language for spiritual formation. His understanding came from his own family and education, from his personal spiritual practices and experiences, and from the evidence he saw in the lives of his followers. By examining the intersections of literacy, rhetoric, and spirituality as they occurred in early British Methodism-and by exploring the meaning of these practices for class and gender-the author provides a new understanding of the method of Methodism.

A novelized biography from the viewpoint of Susanna Wesley. Creative and easy to read.

"Living in the Gaze of God" offers an accessible exploration of the theme of ministerial accountability through the lens of one reflective tool - that of formal supervision of ministerial practice. Bold and far-reaching, the book addresses the key presenting issues around a need for a change of culture in the church as regards accountability for ministerial practice. It outlines a theological and practical model of 1-to-1 supervision, arguing that such an approach enables the development of greater attentiveness to God, the self and others and thus enhances accountability. Laying aside the need to offer a 'how-to' approach, Helen Cameron instead brings us a rigorous and dynamic consideration of the interface between supervision, accountability and ministerial practice, and offers a theological underpinning for the issues.

A vivid picture of the public and private life of a professional musician in late eighteenth- and early nineteenth-century London. This well-documented life of Samuel Wesley gives a vivid picture of the life of a professional musician in late eighteenth and early nineteenth-century London. Wesley was born in 1766, the son of the Methodist hymn-writer CharlesWesley and nephew of the preacher John Wesley. He was the finest composer and organist of his generation, but his unconventional behaviour makes him of more than ordinary interest. He lived through a crucial stage of English musicfrom the immediately post-Handel generation to the early Romantic period, and his large output includes piano and organ music, orchestral music, church music, glees, and songs. He also taught and lectured on music, and was involved in journalism, publishing, and promoting the music of J. S. Bach. This book draws on letters, family papers, and other contemporary documents to offer a full study of Wesley, his music, and his life and times. PHILIP OLLESON is Professor of Historical Musicology at the University of Nottingham. He has edited The Letters of Samuel Wesley: Professional and Social Correspondence, 1797-1837, is the joint author (with Michael Kassler) of Samuel Wesley (1766-1837): A Source Book, and has written extensively about other aspects of music in England in the eighteenth and nineteenth centuries.

Providing new insight into the Wesley family, the fundamental importance of music in the development of Methodism, and the history of art music in Britain, Music and the Wesleys examines more than 150 years of a rich music-making tradition in England. John Wesley and his brother Charles, founders of the Methodist movement, considered music to be a vital part of religion, while Charles's sons Charles and Samuel and grandson Samuel Sebastian were among the most important English composers of their time. This book explores the conflicts faced by the Wesleys but also celebrates their triumphs: John's determination to elevate the singing of his flock; the poetry of Charles's hymns and their musical treatment in both Britain and America; the controversial family concerts by which Charles launched his sons on their careers; the prolific output of Charles the younger; Samuel's range and rugged individuality as a composer; the oracular boldness of Sebastian's religious music and its reception around the English-speaking world. Exploring British concert life, sacred music forms, and hymnology, the contributors analyze the political, cultural, and social history of the Wesleys' enormous influence on English culture and religious practices. Contributors are Stephen Banfield, Jonathan Barry, Martin V. Clarke, Sally Drage, Peter S. Forsaith, Peter Holman, Peter Horton, Robin A. Leaver, Alyson McLamore, Geoffrey C. Moore, John Nightingale, Philip Olleson, Nicholas Temperley, J. R. Watson, Anne Bagnall Yardley, and Carlton R. Young.

Over the course of the past 40 years, painter John Wesley has created a remarkably singular body of work whose subject is no less than the American psyche. While many artists of his generation have used popular images to explore the cultural landscape, Wesley has employed comic strip style and compositional rigor to make deeply personal, often hermetic paintings that strike at the core of our most primal fears, joys and desires. In this first volume ever to collect the entire iconic Bumstead series, which spans from 1974 until the present, we are introduced to several paintings that have never been reproduced before. These are dark and erotic works, sly and witty without ever giving too much away. Linda Norden described them thus in Parkett 62: "The Bumstead paintings--whether detailing scenes of domestic misunderstanding, zooming in on off-camera moments of bafflement or simply scanning empty halls and walls for private memories--are excruciatingly specific representations of the gulfs between feeling and comprehension... smart, funny, startling, irreverently empathetic and often heartbreaking, they are a welcome antidote to more laborious discourse." With an insightful new essay by Robert Hobbs.