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Exploring the books and reading practices behind the creation of Transcendentalist philosophy and community

Transcendentalism emerged in early 19th century New England as a uniquely American philosophical, spiritual, and literary movement. Its first generation of thinkers—including Ralph Waldo Emerson, Theodore Parker, and Margaret Fuller—created a worldview that stressed the inherent goodness of the “self-reliant” individual and the presence of the divine in nature. These intellectuals gathered in informal symposia devoted to what Emerson called “creative reading,” a practice that stresses the transformative potential of the written word that was central to the movement’s emergence, growth, and spread. But what were these thinkers reading and how did it influence the development of Transcendentalism?

In Reading with the Transcendentalists, renowned literary scholar Philip F. Gura focuses on 10 American, British, and European books that were essential to the movement’s thoughts, writings, and activities. Many of the authors of these books—James Marsh, Madame de Staël, Samson Reed, George Ripley, Thomas Carlyle, Albert Brisbane, and George Sand—stood outside of Transcendentalism yet profoundly influenced it. Others such as Emerson, Parker, and Fuller were the movement’s central architects, whose writings in turn inspired the next generation, including Henry David Thoreau and Caroline Healey Dall. Each of these books challenged prevailing religious, philosophical, and social conventions in ways that resonated deeply with burgeoning Transcendentalist ideals.

Blending intellectual biography with book history, Gura crafts a captivating cultural history that reconstructs the dynamic social networks of the early Transcendentalists, in which ideas from the written word circulated, evolved, and acquired new meanings. The result is an rich portrait of reading as a creative and communal act, and an exploration of how books ignite curiosity, sustain friendship, and catalyze intellectual transformation. Through a carefully developed narrative structure that is filled not only with books and reading but with headline-worthy scandals, disputes, and falling outs and realignments, Gura traces the historical arc of a transnational intellectual movement that helped lay the foundation for the idea of “America.”

Innovative poetry, philosophy, theology and new sciences converge in the project of rewriting the word “God”

In Rewriting the Word “God,” Romana Huk examines the substantive connections between innovative poetry of the last century and contemporary theology and philosophy. Along the way, we encounter ten poets who have, without abandoning their inherited or chosen faith traditions, radically rethought conceptualizations of divinity, human ontology, and the real.

From the startlingly proto-phenomenological encounters with nature by Gerard Manley Hopkins to the post-deconstructive pursuit of “oracular” speech in Fanny Howe, these poets have found inspiration in a wide range of sources, from ancient religious texts to modern philosophical movements. But what unites them is their willingness to continually change, experiment and challenge the status quo, both in their religious beliefs and their poetic practice.

Huk shows how these poets have used their work to explore ultimate questions of life and death, meaning and purpose, and the relationship between humans and materiality, humans and other humans, which for these poets sheds light on humanity’s relationship with the divine. She also highlights the ways in which they have engaged with social and political issues in their poetry to speak out against injustice and oppression.

Rewriting the Word “God” is a thought-provoking and inspiring work that will challenge current perceptions of both religion and poetry from new positions at the intersection of faith, art, philosophy, science, literary theory, and culture.

Winner of the Latin American Studies Association's 2022 Best Book in Colonial Latin American Studies.

This book examines the reception in Latin America of prints designed by the Flemish artist Peter Paul Rubens, showing how colonial artists used such designs to create all manner of artworks and, in the process, forged new frameworks for artistic creativity.

Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist’s designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects.

Rubens in Repeat is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analyzing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator.