Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen-Aponte also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness.

This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas’ preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.

Hunger is as old as history itself. Indeed, it appears to be a timeless and inescapable biological condition. And yet perceptions of hunger and of the hungry have changed over time and differed from place to place. Hunger has a history, which can now be told.

At the beginning of the nineteenth century, hunger was viewed as an unavoidable natural phenomenon or as the fault of its lazy and morally flawed victims. By the middle of the twentieth century, a new understanding of hunger had taken root. Across the British Empire and beyond, humanitarian groups, political activists, social reformers, and nutritional scientists established that the hungry were innocent victims of political and economic forces outside their control. Hunger was now seen as a global social problem requiring government intervention in the form of welfare to aid the hungry at home and abroad. James Vernon captures this momentous shift as it occurred in imperial Britain over the past two centuries.

Rigorously researched, Hunger: A Modern History draws together social, cultural, and political history in a novel way, to show us how we came to have a moral, political, and social responsibility toward the hungry. Vernon forcefully reminds us how many perished from hunger in the empire and reveals how their history was intricately connected with the precarious achievements of the welfare state in Britain, as well as with the development of international institutions, such as the United Nations, committed to the conquest of world hunger. All those moved by the plight of the hungry will want to read this compelling book.