This book serves to correct the now accepted understanding of Irenaeus’s theodicy. This assumption of Hick’s theodicy as legitimately “Irenaean” remains due the gulf between Irenaean scholarship and discussion of the problem of evil. The present work offers a bridge between the two to allow for the continued discussion of both theologian’s distinct views.

Judy Young (1940--2015) was a gifted but private poet. Over the years, she established provisional collections of her best work but refrained from seeking publication due to her trepidation with sharing her deeply personal poems with an audience. She found her voice in a collective group of creatives that included Susan Starr Richards, Mary Ann Taylor-Hall, and the late Donna Boyd, Jane Gentry, Audrey Robinson, and Carolyn Hisel. This illustrious circle of friends met monthly for almost thirty years and gave her the courage to share her work -- a lyrical medley of pain, beauty, strength, and redemption.Revealed is the story of a woman's inner life -- an intimate tale of abuse and personal struggle -- from a traumatic childhood through marriage, parenthood, and lifelong friendships. Based on the final manuscript that was drafted before the author's death, this compilation traces the path of a woman finding her poetic voice in middle age, returning to an often-harrowing upbringing while closely observing the natural world -- especially the populations of birds moving through the space between her back porch and the lake below -- and meditating on the nature of creativity. With a submerged narrative behind the poems and several calls to nature through repeated motifs, the poet shares seminal emotions and experiences.A Careful Hunger is the last creative testament of this extraordinary artist -- her final act of fearlessness in a troubled yet joyful life. In the words of the poet: "I am alive and must say so / one way or another."

As this collection adeptly illustrates, nursery rhymes not only evoke innocence, discovery, and joy for children of all ages, but they also can educate and celebrate tradition. Ring Around the Moon features original rhyming poems in a time-honored Appalachian style that acknowledges the importance of the region and its rich heritage while introducing readers to the whimsical and enchanting world of Mommy Goose.With Kentucky-flavored language and subject matter, this volume brings together the words, art, and music of Appalachia. The poems present classic Appalachian subjects -- leaving the homeplace to find work, mountain folklore, country life versus city life -- and touch on a wide range of broader themes, such as bullying, gender roles, the power of language, and the power of kindness. This work is illustrated with more than 170 hand-painted carvings by renowned folk artist Minnie Adkins, often referred to as America's most important female wood carver. With sheet music for the original song "Ring Around the Moon" complementing the text, this multifaceted book entertains while capturing the spirit and expanding the range of traditional Appalachian nursery rhymes to reach a new generation of readers.

Because What Else Could I Do is a sequence of fifty-five untitled short poems, almost all of them addressed to the poet’s husband during the six months following his sudden and shocking death. Perhaps best known for her historical explorations of sociopolitical issues, Martha Collins did not originally intend to publish these poems. But while they are intensely personal, they make use of all of her poetic attention and skills. Spare, fragmented, musical even in their most heartbreaking moments, the poems allow the reader to share both an intimate expression the poet’s grief and a moving record of her attempt to comprehend the events surrounding her loss.

A tour de force, Aaron Smith’s fourth collection of poetry, The Book of Daniel, resists the easy satisfactions of Beauty while managing the contemporary entanglements of art, sex, and grief. Part pop-thriller, part queer rage, and part mourning, these poems depict not only the complications of representation in the age of social media but a critique of identity. Taking on subjects as diverse as the literary canon, his mother’s incurable cancer diagnosis, gay bashing, celebrity gossip, bigotry, violence on TV, and Alexander McQueen’s suicide, Smith proves that the confessional lyric is not dead. In tangents as wild as they are reigned, with his characteristic blend of directness, vulnerability and humor, these poems take on the world as it is, a world we love even as it resists all intimacy.

This poetic collection is an honest and deeply reflective look at life overshadowed by disputed settlements and political upheaval in the Israeli−Palestinian conflict. Yonatan Berg is a poet from Israel and the youngest person ever awarded the Yehuda Amichai Poetry Prize. This collection brings together the best poems from his three published collections in Hebrew, deftly translated by Joanna Chen. His poetry recounts his upbringing on an Israeli settlement in the West Bank, and service in a combat unit of the Israeli military, which left him with post-traumatic stress disorder. He grapples with questions of religion and tradition, nationalism, war, and familial relationships. The book also explores his conceptual relationship with Biblical, historical, and literary characters from the history of civilization, set against a backdrop of the Mediterranean landscape. Berg shares an insider’s perspective on life in Israel today.

The articles collected in this volume share a very similar goal: to decolonize our understanding of antiquity, thus allowing modernity to converse with antiquity without constraining the latter to be either the direct precedent or the thoroughly other of the former. It is certainly true that the past is a foreign country. However, history has repeatedly demonstrated that colonialism never contributed to mutual understanding and constructive exchange of ideas, and that such is the dialogue we should strive forthwith our contemporaries as well as with our ancestors.

When images look like something they do so because they are different from what they resemble. This difference is not sufficiently captured by the traditional theories of representation and mimesis, and yet it is the condition for any such theory. Various contemporary image theorists have pointed out that Plato already understood that images are not what they look like. Images have their own existence, which cannot be identified with a concept, but should be examined in terms of actions. This book comprises fifteen articles that investigate what images do, particularly in relation to the disciplines of architecture, design and visual arts. It claims that it is the differentiating power of images—their actions—which constitutes their capacity to look like something they are not, as well as create something that does not yet exist. What Images Do addresses the crucial role that images might play in producing and investigating what we have not yet seen or understood in and of reality.

When Hurricane María unleashed its devastation onto Puerto Rico, thousands of lives were lost to the storm in what was the island's worst natural disaster on record. With so much of the recovery still underway and the scars still fresh, its citizens continue to contend with the reality that life on the island has fundamentally changed.In his first collection of poems written in English, La Torre Lagares journeys through his memory in an effort to recompose his shattered land. Together, these poems form a poignant, personal account of a man facing the tragic destinies of his family and his country in the aftermath of a natural disaster. For example, the deaths of the mother and the father are resignified as the death of the poet's personal relationship, which at the same time evokes the rupture between individuals and their sense of place.Drawing from both American and Latin American poetry, as well as global influences, to articulate a language of loss and devastation in search of a new identity, this collection illuminates a chaotic and confusing landscape that is not only physical but also cultural, social, and political. Taken together, this work serves as a stirring reminder of the dislocation and fractured attachment that speaks to many Americans, including transnationals and immigrants. Ultimately it speaks to coping with physical loss and emotional pain in the face of human adversity.

Ringer approaches womanhood from two directions: an examination of ways that women’s identities are tied to domestic spaces, like homes, cars, grocery stores, and daycare centers; and a consideration of physical, sexual, and political violence against women, both historically and in the present day. Lehmann’s poems look outward, and go beyond cataloguing trespasses against women by biting back against patriarchal systems of oppression, and against perpetrators of violence against women. Many poems in Ringer are ecopoetical, functioning in a “junk” or “sad” pastoral mode, inhabiting abandoned, forgotten, and sometimes impoverished landscapes of rural America.

The 14 stories of The Dogs of Detroit each focus on grief and its many strange permutations. This grief alternately devolves into violence, silence, solitude, and utter isolation. In some cases, grief drives the stories as a strong, reactionary force, and yet in other stories, that grief evolves quietly over long stretches of time. Many of the stories also use grief as a prism to explore the beguiling bonds within families. The stories span a variety of geographies, both urban and rural, often considering collisions between the two.

This volume is part of a series of English translations of the Syriac Peshitta along with the Syriac text carried out by an international team of scholars. R. Gordon has translated the text, while Kiraz has prepared the Syriac text in the west Syriac script, fully vocalized and pointed. The translation and the Syriac text are presented on facing pages so that both can be studied together. All readers are catered for: those wanting to read the text in English, those wanting to improve their grasp of Syriac by reading the original language along with a translation, and those wanting to focus on a fully vocalized Syriac text.

A grammar of Classical Syriac. An introductory course of eight lessons presents the Syriac phonology and script, followed by the basic course of 40 lessons. The book is designed to cover one academic year.

Women at Work presents the field of rhetorical studies with fifteen chapters that center on gender, rhetoric, and work in the US in the nineteenth and twentieth centuries. Feminist scholars explore women’s labor evangelism in the textile industry, the rhetorical constructions of leadership within women’s trade unions, the rhetorical branding of a twentieth-century female athlete, the labor activism of an African American blues singer, and the romantic, same-sex collaborations that supported pedagogical labor. Women at Work also introduces readers to rhetorical methods and approaches possible for the study of gender and work. Contributors name and explore a specific rhetorical concern that animates their study and in so doing, readers learn about such concepts as professional proof, rhetorical failure, epideictic embodiment, rhetorics of care, and cross-racial coalition building.

The Tenant of Fire is about Queens, NY—its history, public and personal, real and imagined. Many of the people who populate this book—Irish Catholics, Italian-Americans—were once considered ethnic but now fall wholly under the banner of white. And from their anxieties a man like Donald Trump emerges. Born and raised in Queens, Trump is both the product and purveyor of a localized nativist politic.The young white speaker of these poems works to record his parents’ and neighbors’, both white and of color, and his own attempts at navigating a shifting landscape. In poems on the homecoming of Vietnam vets, or the aftermath of Hurricane Sandy, or the firebombing of Malcolm X’s house, The Tenant of Fire explores how and why the plurality of a place like Queens, where now nearly two hundred languages are spoken, is viewed as a threat to national security.

In 1936, life on the road means sleeping on the bus or in hotels for blacks only. After finishing her tour with Nobel Sissel’s orchestra, nineteen-year-old Lena Horne is walking the last few blocks to her father’s hotel in Pittsburgh’s Hill District. She stops at a lemonade stand and meets a Lebanese American girl, Marie David. Marie loves movies and adores Lena, and their chance meeting sparks a relationship that will intertwine their lives forever. Lena also meets Josiah Conner, a charismatic teenager who helps out at her father Teddy’s hotel. Josiah often skips school, dreams of being a Hollywood director, and has a crush on Lena. Although the three are linked by a determination to be somebody, issues of race, class, family, and education threaten to disrupt their lives and the bonds between them. Lena’s father wants her to settle down and give up show business, but she’s entranced by the music and culture of the Hill. It’s a mecca for jazz singers and musicians, and nightspots like the Crawford Grill attract crowds of blacks and whites. Lena table-hops with local jazzmen as her father chaperones her through the clubs where she‘ll later perform. Singing makes her feel alive, and to her father’s dismay, reviewers can’t get enough of her. Duke Ellington adores her, Billy Strayhorn can’t wait to meet her, and she becomes “all the rage” in clubs and Hollywood for her beauty and almost-whiteness. Her signature version of “Stormy Weather” makes her a legend. But after sitting around for years at MGM as the studio heads try to figure out what to do with her, she isn’t quite sure what she’s worth. Marie and Josiah follow Lena’s career in Hollywood and New York through movie magazines and the Pittsburgh Courier. Years pass until their lives are brought together again when Josiah is arrested for the murder of a white man. Marie and Lena decide they must get Josiah out of prison—whatever the personal cost.