In Aquinas and the Cry of Rachel , John F. X. Knasas explores Thomas Aquinas's philosophical thinking about evil, and brings the results into discussion with the contemporary theodicies - philosophies of the problem of evil. It examines the relation of the human person and human nature to nature as a whole.

Generally speaking, possible philosophical accounts for evil are two kinds: cosmological or personal. The cosmological account has evils rebounding to the perfection of creation. The personal account would have evils suffered rebounding to the good of the sufferer. Knasas argues that for Aquinas no philosophical resolution of these two kinds of accounts
is possible. This argument is based upon Aquinas's understanding of the human as an intellector of analogical being. Such an understanding establishes two truths. First, the human is by nature only a principal part of the created whole. Second, there is the philosophically discernible possibility of supernatural elevation by the creator.

Hence, as far as philosophy can discern, evil may have a natural explanation or it may have a supernatural one. The Thomistic philosopher has no answer as to why evil exists because that philosopher discerns too many possible ones. In that respect, Aquinas's thinking on evil is similar to his thinking about the philosophical knowledge of the biblical
truth of the world's creation in time. Such a creation is one metaphysical possibility among others. Some authors that Aquinas and the Cry of Rachel considers are: Anthony Flew and Albert Camus, Jacques Maritain and Charles Journet, William Rowe, Marily McCord Adams, William Hasker, John Hick, David Ray Griffin, David Hume, Diogenes Allen, J. L. Mackie, Alvin Plantinga, Richard Swinburne, Bruce Reichenbach,
Brian Davies, and Eleonore Stump.

 The eighteenth century saw the rise of new and more sympathetic understanding of animals as philosophy, literature, and art argued that animals could feel and therefore possess inalienable rights. This idea gave birth to a diverse movement that affects how we understand our relationship to the natural world. The Cry of Nature details a crucial period in the history of this movement, revealing the significant role art played in the growth of animal rights.

In The Cry of the Senses, Ren Ellis Neyra examines the imaginative possibility for sound and poetics to foster new modes of sensorial solidarity in the Caribbean Americas. Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies. They locate and address the sonic in its myriad manifestations—across genres and forms, in a legal trial, and in the art and writing of Xandra Ibarra, the Fania All-Stars, Beatriz Santiago Muñoz, Édouard Glissant, and Eduardo Corral—while demonstrating how it operates as a raucous form of diasporic dissent and connectivity. Throughout, Ellis Neyra emphasizes Caribbean and Latinx sensorial practices while attuning readers to the many forms of blackness and queerness. Tracking the sonic through their method of multisensorial, poetic listening, Ellis Neyra shows how attending to the senses can inspire alternate, ethical ways of collective listening and being.