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“Women of faith, discussing complicated things.” That’s how  authors Susan Hinckley and Cynthia Winward describe At Last She Said It, and they don’t expect the knots to untangle themselves. Even with two very different personalities and a decade or so between them, as their friendship developed they kept stumbling onto what felt like an uncanny amount of common ground in their church experiences. Often their conversations ended with, “Why isn’t anyone talking about this? Someone should do a podcast!” So they did. They had a hunch they weren’t the only women wishing they had a place to discuss the things they were thinking about, a lot of which they’d never said—or heard—out loud. That hunch was right. Their 200-and-counting recorded conversations have been downloaded some two million times. Hinckley and Winward have learned, right along with their listeners, that there’s no power quite like finding out you’re not alone. 

Their book now asks Latter-day Saints to think about old ideas in new ways. Stretching can be uncomfortable, but the willingness to consider diverse perspectives—even on the things we hold most dear—feels essential in an evolving world. So does being open to changing our minds, including how we think about ourselves. Faith is alive when it’s growing, and growing means change. Hopefully, these conversations will be the beginning of thousands more.

“Women of faith, discussing complicated things.” That’s how  authors Susan Hinckley and Cynthia Winward describe At Last She Said It, and they don’t expect the knots to untangle themselves. Even with two very different personalities and a decade or so between them, as their friendship developed they kept stumbling onto what felt like an uncanny amount of common ground in their church experiences. Often their conversations ended with, “Why isn’t anyone talking about this? Someone should do a podcast!” So they did. They had a hunch they weren’t the only women wishing they had a place to discuss the things they were thinking about, a lot of which they’d never said—or heard—out loud. That hunch was right. Their 200-and-counting recorded conversations have been downloaded some two million times. Hinckley and Winward have learned, right along with their listeners, that there’s no power quite like finding out you’re not alone. 

Their book now asks Latter-day Saints to think about old ideas in new ways. Stretching can be uncomfortable, but the willingness to consider diverse perspectives—even on the things we hold most dear—feels essential in an evolving world. So does being open to changing our minds, including how we think about ourselves. Faith is alive when it’s growing, and growing means change. Hopefully, these conversations will be the beginning of thousands more.

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.

One Kind of Everything elucidates the uses of autobiography and constructions of personhood in American poetry since World War II, with helpful reference to American literature in general since Emerson. Taking on one of the most crucial issues in American poetry of the last fifty years, celebrated poet Dan Chiasson explores what is lost or gained when real-life experiences are made part of the subject matter and source material for poetry. In five extended, scholarly essays—on Robert Lowell, Elizabeth Bishop, Frank Bidart, Frank O’Hara, and Louise Glück—Chiasson looks specifically to bridge the chasm between formal and experimental poetry in the United States. Regardless of form, Chiasson argues that recent American poetry is most thoughtful when it engages most forcefully with autobiographical material, either in an effort to embrace it or denounce it.

A Togolese novel that delivers a rich, intimate portrait of a scholar whose life is inextricably bound to Africa.

For the French ethnologist Maurice Boyer, Africa isn't just a place; it’s a mirage, an enigma, a mirror reflecting his desires and doubts. The fieldwork he undertook in Tèdi, Togo, where he lived for years among the Tem people and tried to understand their customs and rituals, has left him with questions that have lingered: Who was a friend and who was a foe? Which stories were true and which were illusions? As decades pass and the roles of Aurélie, his wife, and Safi, his former student, begin to shift, Boyer finds himself wrestling not only with his own choices but with the legacy of knowledge itself.

Through the lens of this profound postcolonial quest, Sami Tchak explores Africa’s rich, complex reality through this intimate story of a scholar reconsidering his own understanding of culture, ethnology, and history. The Continent of Everything and Practically Nothing asks whether assembling more data can truly capture the complexity of a continent, and explores how academic ambition, history, and emotion shape how we understand the world, and how we live in it.