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Many contemporary discussions of religion take an absolute, intractable approach to belief and nonbelief that privileges faith and dogmatism while treating doubt as a threat to religious values. As Madhuri M. Yadlapati demonstrates, however, there is another way: a faith (or nonfaith) that embraces doubt and its potential for exploring both the depths and heights of spiritual reflection and speculation. Through three distinct discussions of faith, doubt, and hope, Yadlapati explores what it means to live creatively and responsibly in the everyday world as limited, imaginative, and questioning creatures. She begins with a perceptive survey of diverse faith experiences in Islam, Buddhism, Judaism, Hinduism, and Protestant Christianity and then narrows her focus to Protestant Christianity and Hinduism to explore how the great thinkers of those faiths have embraced doubt in the service of spiritual transcendence.

Yadlapati traces religious perspectives on trust, humility, belonging, commitment, and lively skepticism as they relate to faith and doubt. Drawing on various doctrines, scriptures, and the writings of great religious thinkers such as C. S. Lewis, Søren Kierkegaard, Karl Barth, and Raimon Panikkar, Yadlapati demonstrates how doubt can serve to enhance faith, not hinder it. Defending the rich tapestry of faith and doubt against polarization, Against Dogmatism reveals an ecumenical middle way, a spiritual approach native to traditions in which faith and doubt are interwoven in constructive and dynamic ways.

Proposing new insight into the legacies of Derridean thought for contemporary philosophy

In Art and Dwelling, the second volume of his Dearth sequence, Philippe Lynes sheds new light on the most enduring offshoot of the speculative realist movement, object-oriented ontology. Through careful readings of Graham Harman and Timothy Morton, Lynes shows how Jacques Derrida’s seminars offer critical insights into the spacing and distancing that precede and exceed all human practices of art and dwelling, with a deep sensitivity to the ecological and ethico-political consequences that follow.

Dearth: Deconstruction After Speculative Realism argues that Derrida’s seminars on Martin Heidegger and Maurice Blanchot, La Chose (The Thing), anticipated many of the philosophical, literary, and aesthetic questions animating speculative realism today: an anti-anthropocentric critique of Kantian correlationism; an overcoming of the apocalyptic nihilism of extinction through a deeper, affirmative habituation to nothingness; and poignant reflections on the literary and poetic aspects of living and dying in impossible worlds. His is an anti-correlationist plea that resounds now more urgently than ever.

Explores the affective, ethical, and political demands that difficult reading places on readers of midcentury Latin American literature

The radical formal experiments undertaken by writers across Latin America in the mid-twentieth century introduced friction, opacity, and self-reflexivity to the very act of reading. Dwelling in Fiction: Poetics of Place and the Experimental Novel in Latin America explores the limitations and the possibilities of literature for conveying place-specific forms of life. Focusing on authors such as José María Arguedas, João Guimarães Rosa, and Juan José Saer, who are often celebrated for universalizing regional themes, Ashley R. Brock brings a new critical lens to Latin American writers who were ambivalent toward their era’s “boom.”
 
Beyond mere resistance to or critique of the commodification and political instrumentalization of rural topics and types, this countertrend of critical regionalism positions readers themselves as outsiders, pushing them to engage their senses, to train their attention, and to learn to dwell in unknown textual landscapes. Dwelling in Fiction draws on a transnational community of thinkers and writers to show how their midcentury aesthetic practices of sensorial pedagogy anticipate contemporary turns toward affect, embodiment, decoloniality, and ecological thought.

On August 6, 1993, Pope John Paul II promulgated the long-awaited encyclical on moral theology entitled Veritatis splendor. In this landmark encyclical, directed principally toward bishops, Pope John Paul II sought a reset of the discipline of Catholic moral theology after the Second Vatican Council in response to the theological dissent that had called into question the foundations of Catholic morality. More than thirty years after the promulgation of Veritatis splendor, the essays in this edited volume consider the major themes and topics of this encyclical as it seeks to contribute to the revitalization of moral theology today. These themes and topics include: the rich young man and the renewal of moral theology, freedom, nature, and law, conscience, intrinsically evil acts, the state of revisionism, the moral object, martyrdom and morality, evangelization, the role of the moral theologian, and the role of scripture in moral theology. Contributors include: William C. Mattison, III, Irene Alexander, Matthew Levering, Matthew Dugandzic, James W. Stroud, Stephen L. Brock, Patrick Clark, Timothy P. O’Malley, Jana Marguerite Bennet, John Grabowski, with a foreword by Archbishop of Sydney Anthony Fisher, OP.

Dwelling on the Future studies the design of dwellings and their numerous environments. It explores how architects can, or should, respond to the complex challenges of providing humane places in which to live for a growing, multifarious population in an increasingly divided world. The issue, Pierre D’Avoine shows, is never just housing. People—individuals, groups and societies—can and do have different goals and aspirations.
 
D’Avoine covers a wide range of examples, including proposals for luxury housing and designs for low-cost dwellings, which all address the needs and desires of their potential inhabitants. The book explores an inclusive approach to the design of settlements—and not just in cities—that recognizes difference, an approach that demands a fresh political vision to resolve humanity’s increasing inequality, for the benefit of all. Simultaneously practical and aspirational, Dwelling on The Future casts a much needed light on our thoughts and aspirations, and on our definitions of home.

A home is dismantled to make another home habitable. This is where Homeplaces begins. Spanning continents, this landmark volume brings together leading anthropologists to chart “house-ing,” the unrelenting, reciprocal process of people making houses and houses making people amid ongoing calamity. Their oikographies—vivid, writerly ethnographies of home as sense and action—blow open the fantasy of the private domicile and reveal houses as live forms: porous, incomplete, bleeding into neighborhoods, economies, ecologies, and the dead. They detonate philosophical abstractions about dwelling and technocratic assumptions about homemaking, revealing why home plays such a vital role in worldmaking. Refusing end-times thinking, Homeplaces reveals incompleteness as generative drive. The dissolution of forms, bodies, and buildings becomes the material from which people craft shelter, dignity, and transcendence. As war, climate catastrophe, and toxic landscapes dehouse the planet, Homeplaces captures the stubborn human insistence on dwelling—provisional, fierce, and alive.

Heginbotham’s book focuses on Emily Dickinson’s work as a deliberate writer and editor. The fascicles were forty small portfolios of her poems written between 1856 and 1864, composed on four to seven stationery sheets, folded, stacked, and sewn together with twine. What revelations might come from reading her poems in her own context? Are they simply “scrapbooks,” as some claim, or are they evidence of conscious, canny editing? Read in their original places, each lyric becomes different—and more interesting—than when read in isolation.

We cannot know why Dickinson compiled the books or what she thought of them, but we can observe what she left in them. What she left is visible only by noting the way the poem answers in a dialogue across the pages, the way lines spilling onto a second page introduce the next poem, the way openings suggest image clusters so that each book has its own network of concerns and language—not a story or philosophical preachment but an aesthetic wholeness.

This book is the first to demonstrate that Dickinson’s poetic and philosophical creativity is most startling when the reader observes the individual lyric in the poet’s own, and only, context for them. For teacher, student, scholar, and poetry lover, Heginbotham creates an important new framework for understanding one of the most complex, clever, and profound U.S. poets.