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.

This major study of Kierkegaard and love explores Kierkegaard's description of love's treachery, difficulty, and hope. It reads 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. Amy Laura Hall argues that a spiritual void brings each text into being, and her interpretation is as much about faith as about love. Her scholarly and lyrical style makes this study a poetic contribution to ethics and the philosophy of religion.

This major study of Kierkegaard and love explores Kierkegaard's description of love's treachery, difficulty, and hope. It reads 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. Amy Laura Hall argues that a spiritual void brings each text into being, and her interpretation is as much about faith as about love. Her scholarly and lyrical style makes this study a poetic contribution to ethics and the philosophy of religion.