The observation that our world is signed by a lasting crisis is as much underwritten as it is questioned. This book offers a new and provocative thesis by taking recourse to the religious discourse of Limbo, and by investigating the temporal and spatial structures of crisis and modernity. Modernity reveals itself to be the state of perennial crisis, and we all live in an immanentized state of Limbo.

How porous is the border between life and death? How do the dead influence the living and in what way? What can Heaven, Hell, Purgatory and the two Limbos tell us of our contemporary world today? In The Mirror of Death, Kristof K.P. Vanhoutte explores the hermeneutical potential of the regions in the hereafter. After an exciting voyage through the emergence of the afterlife and of the constancy of death’s presence in the history of humanity, Vanhoutte shows, through the study of the nature and genealogy of the various realms in the beyond, how an invigoratingly new and critical perspective of a wide variety of contemporary phenomena is unveiled when reading them through the interpretative lens of these regions where the dead dwell. Modern politics, our fellow human beings, the times of our lives, the capitalistic economic system, medicalization, wokism, and living in crisis will never look the same.

This book examines the concept of Purgatory. However, in contradistinction to the many monographs and edited volumes published in the past 50 years devoted to historical, cultural, or theological treatments of Purgatory—especially in proportion to the voluminous output on Heaven and Hell—this collection features papers by philosophers and other scholars engaged specifically in philosophical argument, debate, and dialogue involving conceptions of Purgatory and related ideas. It exists to broaden the discussion beyond the prevailing trends in the academic literature and fills an important intellectual gap.

This book sheds light on how humans deal with adversity, especially in uncertain and turbulent times, as seen during the COVID-19 pandemic. Resilience theory has become popular in scholarly discourse, and the term is difficult to define as so many opinions exist. This book aims to engage critically with resilience theory as a scholarly debate from the unique vantage point of the world of social work as well as theology. This specific aspect of originality contributes to the generation of new knowledge in the broad field of social sciences and humanities. The inception of the book stems from an interdisciplinary conference held at Hugenote Kollege, Wellington, where scholars from social work as well as theology engaged in a discourse on resilience. Professor Adrian van Breda, a specialist in resilience theory and from the social work department of the University of Johannesburg, was one of the keynote speakers, inspiring scholars to understand what is meant by resilience. Professor Yolanda Dreyer from the University of Pretoria and a seasoned theologian and prolific writer on trauma and resilience, was also a keynote speaker, providing insights from a theological perspective. The collaboration between these two fields of thought is unique and rendered new insights into engaging with resilience. Different methodologies and perspectives from researchers are prevalent as contributors are from different scholarly fields. The book ranges from linguistical, liturgical, philosophical, practical, autoethnographical, anthropological, sociological, and online methodological approaches contributing to ways to deal with traumatic, turbulent and trying times. The book is divided into four main themes that stood out from the results obtained at the conference, namely, (1) religious imagination and resilience, (2) communities and resilience, (3) online teaching and resilience, and (4) the resilience of philosophical questions.

In Violence in the Hebrew Bible scholars reflect on texts of violence in the Hebrew Bible, as well as their often problematic reception history. Authoritative texts and traditions can be rewritten and adapted to new circumstances and insights. Texts are subject to a process of change. The study of the ways in which these (authoritative) biblical texts are produced and/or received in various socio-historical circumstances discloses a range of theological and ideological perspectives. In reflecting on these issues, the central question is how to allow for a given text’s plurality of possible and realised meanings while also retaining the ability to form critical judgments regarding biblical exegesis. This volume highlight that violence in particular is a fruitful area to explore this tension.

Knowledge comes from thinking with, from and through things, not just about them. We get to know the world around us from the inside of our being in it. Drawing on the fields of anthropology, art, architecture and education, this book addresses what knowing from the inside means for practices of teaching and learning. If knowledge is not transmitted ready-made, independently of its application in the world, but grows from the crucible of our engagements with people, places and materials, then how can there be such a thing as a curriculum? What forms could it take? And what could it mean to place such disciplines as anthropology, art and architecture at the heart of the curriculum rather than – as at present – on the margins? In addressing these questions, the fifteen distinguished contributors to this volume challenge mainstream thinking about education and the curriculum, and suggest experimental ways to overcome the stultifying effects of current pedagogic practice.

In Erosion, Gina Caison traces how American authors and photographers have grappled with soil erosion as a material reality that shapes narratives of identity, belonging, and environment. Examining canonical American texts and photography, including John Steinbeck's The Grapes of Wrath, Octavia Butler’s Parable series, John Audubon’s Louisiana writings, and Dorothea Lange’s Migrant Mother, Caison shows how concerns over erosion reveal anxieties of disappearance that are based in the legacies of settler colonialism. Soil loss not only occupies a complex metaphorical place in the narrative of American identity; it becomes central to preserving the white settler colonial state through Indigenous dispossession and erasure. At the same time, Caison examines how Indigenous texts and art such as Lynn Riggs's play Green Grow the Lilacs, Karenne Wood’s poetry, and Monique Verdin's photography challenge colonial narratives of the continent by outlining the material stakes of soil loss for their own communities. From California to Oklahoma to North Carolina’s Outer Banks, Caison ultimately demonstrates that concerns over erosion reverberate into issues of climate change, land ownership, Indigenous sovereignty, race, and cultural and national identity.

One Friday evening Daniel de Luc, an elusive crime writer with a deep love of poetry, disappears from a Camps Bay apartment while cooking pasta. His wife Paola, desperately worried after days of hearing nothing, is contacted by an eccentric stranger who claims to have known her missing husband under a different name and warns her not to look for him. Paola soon learns that her husband was involved in the shadowy world of the international sex industry, where well-heeled women pay men to become the anonymous fathers of their children. As her neat, controlled existence is turned inside out, Paola struggles to keep a level head and find her own humanity while trying to outwit her enemies and stay alive. The result is a fast-paced thriller that shifts between Cape Town and Paris, blending realism with the fantastic and pitting love against the attraction of sexual adventure.

At the turn of the 20th century, hundreds of handsome, lightning-fast racers won the hearts and minds of a bicycling-crazed public. Scientists studied them, newspapers glorified them, and millions of dollars in purse money was awarded to them. Major Taylor aimed to be the fastest of them all. A prominent black man at a time when such a thing was deemed scandalous, his mounting victories, high moral virtue, and bulletlike riding style made him a target for ridicule from the press and sabotage by the white riders who shared the track with him. Taylor’s most formidable and ruthless opponent—a man nicknamed the “Human Engine”—was Floyd McFarland. One man was white, one black; one from a storied Virginia family, the other descended from Kentucky slaves; one celebrated as a hero, one trying to secure his spot in a sport he dominated. The only thing they had in common was the desire to be named the fastest man alive. Their rivalry riveted first America, and then the world. Finally, in 1904, both men headed to Australia for a much-anticipated title match to decide, beyond dispute, who would claim the coveted title. Major is the gripping story of a superstar nobody saw coming—a classic underdog, aided by an unlikely crew: a disgraced fight promoter, a broken ex-racer, and a poor upstate girl from New York who wanted to be a queen. It is also the account of a fierce rivalry that would become an archetypal tale of white versus black in the 20th century. Most of all, it is the tale of our nation’s first black sports celebrity—a man who transcended the handicaps of race at the turn of the century to reach the stratosphere of fame.