The Stolen Bibleanalyses Southern African receptions of the Bible from its arrival in imperial Dutch ships in the mid-1600s through to the post-apartheid period of South African democracy, reflecting on how a tool of imperialism becomes an African icon.
The Stolen Bible tells the story of how Southern Africans have interacted with the Bible from its arrival in Dutch imperial ships in the mid-1600s through to contemporary post-apartheid South Africa. The Stolen Bible emphasises African agency and distinguishes between African receptions of the Bible and African receptions of missionary-colonial Christianity. Through a series of detailed historical, geographical, and hermeneutical case-studies the book analyses Southern African receptions of the Bible, including the earliest African encounters with the Bible, the translation of the Bible into an African language, the appropriation of the Bible by African Independent Churches, the use of the Bible in the Black liberation struggle, and the ways in which the Bible is embodied in the lives of ordinary Africans.
Addressing an urgent and deeply felt need for more dialogue between interpreters of the Bible from radically different contexts, this book reflects in a comprehensive and existential manner on how to establish new alliances, how to learn from each other, and how to read Scripture in a manner accountable to ‘the dignity of difference.’
In November 1965, Ian Smith's white minority government in Southern Rhodesia (now Zimbabwe) made a unilateral declaration of independence, breaking with Great Britain. With a European population of a few hundred thousand dominating an African majority of several million, Rhodesia's racial structure echoed the apartheid of neighboring South Africa. Smith's declaration sparked an escalating guerrilla war that claimed thousands of lives. Across the Atlantic, President Lyndon B. Johnson nervously watched events in Rhodesia, fearing that racial conflict abroad could inflame racial discord at home. Although Washington officially voiced concerns over human rights violations, an attitude of tolerance generally marked U.S. relations with the Rhodesian government: sanctions were imposed but not strictly enforced, and hundreds, perhaps thousands, of American mercenaries joined white Rhodesia's side in battle with little to fear from U.S. laws. Despite such tacit U.S. support, Smith's regime fell in 1980, and the independent state of Zimbabwe was born. The first comprehensive account of American involvement in the war against Zimbabwe, this compelling work also explores how our relationship with Rhodesia helped define interracial dynamics in the United States, and vice versa.
NAMED A BEST BOOK OF 2018 BY NPR AND THE NEW YORK TIMES A PBS NEWSHOUR-NEW YORK TIMES BOOK CLUB PICK "Somehow Casey Gerald has pulled off the most urgently political, most deeply personal, and most engagingly spiritual statement of our time by just looking outside his window and inside himself. Extraordinary." —Marlon James "Staccato prose and peripatetic storytelling combine the cadences of the Bible with an urgency reminiscent of James Baldwin in this powerfully emotional memoir." —BookPage The testament of a boy and a generation who came of age as the world came apart—a generation searching for a new way to live. Casey Gerald comes to our fractured times as a uniquely visionary witness whose life has spanned seemingly unbridgeable divides. His story begins at the end of the world: Dallas, New Year's Eve 1999, when he gathers with the congregation of his grandfather's black evangelical church to see which of them will be carried off. His beautiful, fragile mother disappears frequently and mysteriously; for a brief idyll, he and his sister live like Boxcar Children on her disability checks. When Casey--following in the footsteps of his father, a gridiron legend who literally broke his back for the team--is recruited to play football at Yale, he enters a world he's never dreamed of, the anteroom to secret societies and success on Wall Street, in Washington, and beyond. But even as he attains the inner sanctums of power, Casey sees how the world crushes those who live at its margins. He sees how the elite perpetuate the salvation stories that keep others from rising. And he sees, most painfully, how his own ascension is part of the scheme. There Will Be No Miracles Here has the arc of a classic rags-to-riches tale, but it stands the American Dream narrative on its head. If to live as we are is destroying us, it asks, what would it mean to truly live? Intense, incantatory, shot through with sly humor and quiet fury, There Will Be No Miracles Hereinspires us to question--even shatter--and reimagine our most cherished myths.
Gerald Janecek describes the experiments in visual, literature conducted from 1900 to 1930, the heyday of the Russian Avant Garde. Focusing on an aspect of Russian literary history that has previously been almost ignored, he shows how Russian writers of this period tried unusual methods to make their texts visually interesting or expressive. The book includes 183 illustrations, most from rare publications and many reproduced for the first time. The author discusses such figures as the Symbolist Andrey Bely, the Futurists Aleksey Kruchonykh, Vasili Kamensky, and Vladimir Mayakovsky, and the post-Futurist Ilya Zdanevich, and their use of devices ranging from unorthodox layouts and florid typography to roughly done lithographed or handmade books. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Horos Dios draws on a wide variety of literary and archaeological evidence to argue that an Archaic horos inscription and other rock cuttings on the northeast slope of the Hill of the Nymphs in Athens are remnants of a shrine of Zeus Meilichios, a popular god of purification worshipped widely in Athens, Attica, and the greater Greek world.
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