The Dictionary of Early American Philosophers, which contains over 400 entries by nearly 300 authors, provides an account of philosophical thought in the United States and Canada between 1600 and 1860. The label of "philosopher" has been broadly applied in this Dictionary to intellectuals who have made philosophical contributions regardless of academic career or professional title. Most figures were not academic philosophers, as few such positions existed then, but they did work on philosophical issues and explored philosophical questions involved in such fields as pedagogy, rhetoric, the arts, history, politics, economics, sociology, psychology, medicine, anthropology, religion, metaphysics, and the natural sciences. Each entry begins with biographical and career information, and continues with a discussion of the subject's writings, teaching, and thought. A cross-referencing system refers the reader to other entries. The concluding bibliography lists significant publications by the subject, posthumous editions and collected works, and further reading about the subject.

This collection of essays focuses on the ubiquity of the allegorical imagination in pre-modern western culture, and participates in a recent wave of resurgence of interest in the complex practices and ideas usually defined by the word "allegory". The contributors study the impact of the allegorical imagination on the production, reception and interpretation of literature, as well as its function as a tool of philosophical and theological enquiry, and its role in shaping the visual arts. Essays focus on subjects as varied as the general theories on allegory, allegory's relation to the human imagination, its usefulness or even inevitability as a human mode of cognition and its potential for the encoding of meanings that may be political, historical, religious and amorous. They discuss canonical figures such as Petrarch, Boccaccio, Boethius, Hans Memling, Pico della Mirandola, King James I and John Donne, but extend to include neglected but equally important figures such as Stephen Hawes or Thomas Usk as well as thematic approaches less concerned with issues of authority and authorship. As such the collection is a testimony to the variety, complexity, and adaptability of "allegory" at the heart of medieval western civilisation.

"How can you believe all this stuff? This is the number-one question Catholics get asked and, sometimes, we ask ourselves. Why do we believe that God exists, that he became a man and came to save us, that what looks like a wafer of bread is actually his body? Why do we believe that he inspired a holy book and founded an infallible Church to teach us the one true way to live? Ever since he became Catholic, Trent Horn has spent a lot of time answering these questions, trying to explain to friends, family, and total strangers the reasons for his Catholic faith. Some didn't believe in God, or even in the existence of truth. Others said they were spiritual but didn't think you needed religion to be happy. Some were Christians who thought Catholic doctrines over-complicated the pure gospel. And some were fellow Catholics who had a hard time understanding everything they professed to believe on Sunday. Why We're Catholic assembles the clearest, friendliest, most helpful answers that Trent learned to give to all these people and more. Beginning with how we can know reality and ending with our hope of eternal life, it s the perfect way to help skeptics and seekers (or Catholics who want to firm up their faith) understand the evidence that bolsters our belief and brings us joy" --