Thomas Pfau’s study of images and visual experience is a tour de force linking Platonic metaphysics to modern phenomenology and probing literary, philosophical, and theological accounts of visual experience from Plato to Rilke. Incomprehensible Certainty presents a sustained reflection on the nature of images and the phenomenology of visual experience. Taking the “image” (eikōn) as the essential medium of art and literature and as foundational for the intuitive ways in which we make contact with our “lifeworld,” Thomas Pfau draws in equal measure on Platonic metaphysics and modern phenomenology to advance a series of interlocking claims. First, Pfau shows that, beginning with Plato’s later dialogues, being and appearance came to be understood as ontologically distinct from (but no longer opposed to) one another. Second, in contrast to the idol that is typically gazed at and visually consumed as an object of desire, this study positions the image as a medium whose intrinsic abundance and excess reveal to us its metaphysical function—namely, as the visible analogue of an invisible, numinous reality. Finally, the interpretations unfolded in this book (from Plato, Plotinus, Pseudo-Dionysius, John Damascene via Bernard of Clairvaux, Bonaventure, Julian of Norwich, and Nicholas of Cusa to modern writers and artists such as Goethe, Ruskin, Turner, Hopkins, Cézanne, and Rilke) affirm the essential complementarity of image and word, visual intuition and hermeneutic practice, in theology, philosophy, and literature. Like Pfau’s previous book, Minding the Modern, Incomprehensible Certainty is a major work. With over fifty illustrations, the book will interest students and scholars of philosophy, theology, literature, and art history.

Lee Scheingold's rich, painful intellectual and personal journey—following the death of her husband, famed political scientist Stuart Scheingold—is described from the points of view which have informed her life: psychoanalysis, clinical social work, Buddhism, and family medicine. Yet it is poetry that is the connecting thread, beginning with the Russian poems which she studied long ago in college. She describes her return journey to Russian literature in the wake of profound grief. This is an emotional and yet academic account from an author who has approached her life with almost continual self-reflection. As a result of this examined life, the factors and life experiences which enabled her to tolerate, and even welcome, the feelings of grief are explored. Two psychoanalyses and a ten-year practice of Buddhism are examined in detail with the issue of meaning foregrounded. Emotions have central stage here, but ideas are close behind. For Lee Scheingold, poetry links the two. The deeply evocative style of the book resembles poetry itself.

There is a definite and growing interest and awareness amongst the general public of the competing arguments around faith, God and society. The book is divided into two sections. Section One tackles issues of ultimate concern and the place of God in the modern world, whilst Section Two considers the role of faith in public life. The contributors bring a range of different voices – both religious and secular – to the conversation.

These meditations on the Gospel of Mark, with the exception of the second part on the Passion, were given by Adrienne von Speyr between 1945 and 1958 to members of the Community of St. John, which she founded with the renowned theologian, Fr. Hans Urs von Balthasar. Adrienne is speaking to young adults who have decided to live the state of the evangelical counsels in a secular profession, as part of a recently established secular institute. Nevertheless this contemplative commentary can be very useful for all who seek to meditate on Holy Scripture. As always, Adrienne here draws from the abundance of her own contemplation which keeps continually in view the harmonious unity of Christian dogmatic truth; she gives to others what has been offered to her in contemplation, without exegetical notes or any attempt at scholarship. Since she is speaking to novices, the train of thought is simple and practical, yet rich in depth. The points for meditation are not primarily for spiritual reading, but an introduction to personal prayer. They are meant only to point out a path, because it is the Holy Spirit who directs contemplative prayer in all liberty. As one reads through this book, he will find in it a kind of synthesis of Adrienne von Speyr's spirituality. This work will also be very useful to preachers, catechists, pastors, communities and institutes who have understood with Pope Benedict XVI that "It is time to reaffirm the importance of prayer in the face of the activism and the growing secularism of many Christians engaged in charitable work."

Paul Mariani has spent fifty years writing poetry that celebrates the vibrant sacramentality of life in the twilight of Modernity, and writing the lives of some of our greatest modern poets. This is a life-spanning collection of his prose explorations of what it means to be a person of wonder and imagination.

Thomas Pfau's study of images and visual experience is a tour de force linking Platonic metaphysics to modern phenomenology and probing literary, philosophical, and theological accounts of visual experience from Plato to Rilke. Incomprehensible Certainty presents a sustained reflection on the nature of images and the phenomenology of visual experience. Taking the word "image" (eikōn) not only as the essential medium of art and literature but as foundational for the intuitive ways in which we make contact with our "lifeworld," Thomas Pfau draws in equal measure on Platonic metaphysics and modern phenomenology to advance a series of interlocking claims. First, Pfau shows that, beginning with Plato's later dialogues, being and appearance came to be understood as ontologically distinct from (but no longer opposed to) one another. Second, in contrast to the idol that is typically gazed at and visually consumed as an object of desire, this study positions the image (eikōn) as a medium whose intrinsic abundance and excess reveal to us its metaphysical function, namely, as the visible analogue of an invisible, numinous reality. Finally, the interpretations unfolded in this book (from Plato, Plotinus, pseudo-Dionysius, John Damascene via Bernard of Clairvaux, Bonaventure, Julian of Norwich, and Nicholas of Cusa to modern writers and artists such as Goethe, Ruskin, Turner, Hopkins, Cézanne, and Rilke) affirm the essential complementarity of image and word, visual intuition and hermeneutic practice, in theology, philosophy, and literature. Like Pfau's previous book, Minding the Modern, Incomprehensive Certainty is a major work. With over fifty illustrations, the book will interest students and scholars of philosophy, theology, literature, and art history.

Edward W. Said locates Joseph Conrad's fear of personal disintegration in his constant re-narration of the past. Using the author's personal letters as a guide to understanding his fiction, Said draws an important parallel between Conrad's view of his own life and the manner and form of his stories. The critic also argues that the author, who set his fiction in exotic locations like East Asia and Africa, projects political dimensions in his work that mirror a colonialist preoccupation with "civilizing" native peoples. Said then suggests that this dimension should be considered when reading all of Western literature. First published in 1966, Said's critique of the Western self's struggle with modernity signaled the beginnings of his groundbreaking work, Orientalism, and remains a cornerstone of postcolonial studies today.

Through a study of the writings and intellectual development of Gerard Manley Hopkins, Dr. Philip Ballinger demonstrates why poetry is, as Hans Urs von Balthasar stated, "the absolutely appropriate theological language". While circling Hopkins' visions of the nature of sensual experience, intuitive cognition, and the function of language, Ballinger focuses upon the sacramental intention of the Victorian Jesuit's poetry. Underlying Hopkins' poetry is a vision of reality as divinely revelatory or 'self-expressive'. For Hopkins, this revelatory character of creation is determined by the incarnation, and beauty, in fact, is a word for 'Christic self-expressiveness'.