In high-Andean Peru, Rapaz village maintains a temple to mountain beings who command water and weather. By examining the ritual practices and belief systems of an Andean community, this book provides students with rich understandings of unfamiliar religious experiences and delivers theories of religion from the realm of abstraction. From core field encounters, each chapter guides readers outward in a different theoretical direction, successively exploring the main paths in the anthropology of religion. As well as addressing classical approaches in the anthropology of religion to rural modernity, Salomon engages with newer currents such as cognitive-evolution models, power-oriented critiques, the ontological reworking of relativism, and the "new materialism" in the context of a deep-rooted Andean ethos. He reflects on central questions such as: Why does sacred ritualism seem almost universal? Is it seated in social power, human psychology, symbolic meanings, or cultural logics? Are varied theories compatible? Is "religion" still a tenable category in the post-colonial world? At the Mountains’ Altar is a valuable resource for students taking courses on the anthropology of religion, Andean cultures, Latin American ethnography, religious studies, and indigenous peoples of the Americas.

Book Review

Richard Gavin's new collection has some of the finest weird fiction I have ever read, tales that are unique and effective. His sequel to H. P. Lovecraft's 'The Hound' is especially delicious. This is a wonderful book, highly recommended! W. H. Pugmire Richard Gavin is one of the bright new stars in contemporary weird fiction. His richly textured style, deft character portrayal, and powerful horrific conceptions make every one of his tales a pleasure to read. S. T. Joshi If you hear some in Kadath saying, Numinous, Terrifying, or Beautiful, they are either talking about the Northern Lights or the work of Richard Gavin. Canada? They re calling it Canada now? Whatever. Don Webb Canadian author Richard Gavin has established himself as a leading contemporary writer of weird fiction. His richly nuanced prose style, his imaginative range, and his shrewdness in the portrayal of character and domestic conflict make his tales far more than mere shudder-coining. In this fourth collection of short stories and novelettes, Gavin again casts a wide imaginative net, from haunted Canadian woodlands to the carnivorous mesas of the American frontier, from Lovecraft s New England to the spirit traditions of Japan. Of the dozen stories included in this book, eight are previously unpublished a rich new feast of terror for devotees of a writer who works in the tradition of Poe, Machen, Blackwood, and Ligotti. Richard Gavin is the author of three previous short story collections, Charnel Wine (2004), Omens (2007), and The Darkly Splendid Realm (2009). Gavin lives in Ontario, Canada, with his beloved wife and their brood.

Father Kaleeg Hainsworth, an Eastern Orthodox priest with a lifetime of experience in the Canadian wilderness, grounds this manifesto in the literary, philosophical, mystical and historical teachings of the spiritual masters of both East and West, outlining the human experience of the sacred in nature. The spiritual ecology described here is fully engaged with the wilderness beyond our backyards; it is an ecology which takes in nature as "red in tooth and claw" and offers a way forward in the face of accelerating climate change. This manifesto also challenges our modern self-conception as dominators or stewards of the natural world, claiming these roles emerged from western industrial history and are directly responsible for the environmental damage and alienation from nature we know today. The ecological scope of this book begins with a meditation on natural beauty as the divine that breathes through all aspects of life. We discover along the way that awe and mystery are so vital to the human experience of the natural world that without them we are doomed to treat nature as little more than a resource, a science or a playground for recreation alone. Instead, a new role emerges from these pages, one which accounts for the sacred in nature and places us in relationship to the world of which we are inextricably a part. This role is a priestly one, and Father Hainsworth outlines the significance and benefits of it in detail while also offering a vision of life in which a human being stands in the world of nature as at an altar built in the wilderness, a sacred offering in a holy place.

Much-Afraid had been in the service of the Chief Shepherd, whose great flocks were pastured down in the Valley of Humiliation. She lived with her friends and fellow workers Mercy and Peace in a tranquil little white cottage in the village of Much-Trembling. She loved her work and desired intensely to please the Chief Shepherd, but happy as she was in most ways, she was conscious of several things which hindered her in her work and caused her much secret distress and shame. Here is the allegorical tale of Much-Afraid, an every-woman searching for guidance from God to lead her to a higher place.

A Novel. A shocking story of cruel genetic experiments done in the name of national security ... and, most disturbing of all, tied to a secret history of the Book of Genesis.

Extraordinary change is under way in the Alto Urubamba Valley, a vital and turbulent corner of the Andean-Amazonian borderland of southern Peru. Here, tens of thousands of Quechua-speaking farmers from the rural Andes have migrated to the territory of the Indigenous Amazonian Matsigenka people in search of land for coffee cultivation. This migration has created a new multilingual, multiethnic agrarian society. The rich-tasting Peruvian coffee in your cup is the distillate of an intensely dynamic Amazonian frontier, where native Matsigenkas, state agents, and migrants from the rural highlands are carving the forest into farms. Language, Coffee, and Migration on an Andean-Amazonian Frontier shows how people of different backgrounds married together and blended the Quechua, Matsigenka, and Spanish languages in their day-to-day lives. This frontier relationship took place against a backdrop of deforestation, cocaine trafficking, and destructive natural gas extraction. Nicholas Q. Emlen’s rich account—which takes us to remote Amazonian villages, dusty frontier towns, roadside bargaining sessions, and coffee traders’ homes—offers a new view of settlement frontiers as they are negotiated in linguistic interactions and social relationships. This interethnic encounter was not a clash between distinct groups but rather an integrated network of people who adopted various stances toward each other as they spoke. The book brings together a fine-grained analysis of multilingualism with urgent issues in Latin America today, including land rights, poverty, drug trafficking, and the devastation of the world’s largest forest. It offers a timely on-the-ground perspective on the agricultural colonization of the Amazon, which has triggered an environmental emergency threatening the future of the planet.

Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art. Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe. The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity. Key pedagogical features include: Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks. Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working. Beautifully illustrated with over 250 color images. Margin notes and glossary definitions. Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration. Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study. Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siècle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).

We all have dreams, talents, gifts and destinies to fulfill. Many times we live unfulfilled dreams because we have not yet ignited nor maintained the fire on our personal altar. Having repeatedly seen this sad occurrence, I was burdened to study the bible with a burning desire to find out why this happens even after the Lord may have given a sure word of prophecy to His children. I diligently read the bible to find out solutions which we can apply to our lives to curb the tendency where an alarmingly high number of people never get to fulfill their destinies. One of the biggest strategies the devil uses to destroy a believer’s life is to ensure the fire on their personal altar dies down. One needs to know that the sole purpose of building an altar of sacrifice in God’s kingdom is not to offer up animal sacrifice but rather to have a quiet place of one-to-one communication with God. It is here that a believer can ask forgiveness of sins, a factor which separates man from God and thereafter proceed to worship Him. Building an altar of sacrifice means you having a sacred or consecrated place of worship and adoration with God Almighty. It is sad to know some believers do not have a personal altar of sacrifice. On the other hand, quite a number of those who have do not take time to keep the fire burning on their altar. Every believer needs to have their private altar of sacrifice and ensure that it is kept burning day and night throughout their lifetime. The specified and acceptable sacrifice to be offered in your altar to God is the sacrifice of a burnt-offering of ADORATION and INCENSE of PRAISE. As the altar of incense burns every morning and evening, so is God expecting your prayers and praises to be raised every time from your altar. If the fire in your altar of sacrifice goes off, your altar becomes dormant and falls into ruins rendering your guiding angel ineffective while at the same time, giving the Devil the opportunity to mess up your life. It is obvious we do ourselves harm if we do not tend daily to our altars to keep the fire burning.