This book is a political and theological reflection on the violence and injustice that has taken place in Mexico and Central America since 2006 as a result of the drug war. In order to understand and respond to this conflict in the age of globalization, William A. Walker III combines the work of philosopher Enrique Dussel and theologian Hans Urs von Balthasar to develop a theology of the drug war that transcends both a Eurocentric conception of the world and a merely political account of salvation. Walker also highlights examples of Christian and church-based approaches to practicing neighborliness and resistance to drug trade-related violence, challenging both Christians and non-Christians to participate in the creation of a more just and merciful society.
"Shamanism and the Drug Propaganda" is a popularly written college-level introduction to ancient history and the Greek classics. The text is fully annotated and illuminated by 200 genuine pharmaco-shamanic images from the ancient world. Since it is popularly written, and very heavily illustrated with the remarkable, overtly pharmaco-shamanic art of the ancient world, it reads like a movie. But a movie with profound psychological and political relevance for the contemporary world, since it uses the words and pictures of our ancestors to address contemporary issues. In this sense, it compares to "The Chalice and the Blade" and "Food of the Gods," two recent bestsellers of similar intent. As such, the book is a unique tool for exciting undergraduates about the contemporary relevance of ancient history and the Greek classics. This was the intent of Jane Ellen Harrison in her "Prolegomena" and "Epilegomena to the Study of Greek Religion." Harrison was the most influential classicist of the twentieth century, and, not coincidentally, the most influential feminist historian of the century as well. A major feature of "Shamanism and the Drug Propaganda," in 4 of its 17 chapters, is its summary of Harrison's seminal thesis, in her own words. Harrison was concerned with the historical and psychological transition from the originary matriarchal conscious of tribal culture to the warrior-oriented patriarchal consciousness of industrial culture. She understood this transition to be central to the process of industrial enslavement. That enslavement necessarily demonized the power-rites, the rites de passage, as she called them, of tribal cultures. That is, Harrison pointed to the tribal, the matriarchal pre-industrial roots of Classical, patriarchal-industrial, Greek culture. She was, therefore, concerned with originary, tribal, Greek sacramentalism. Herbal magic, real pharmaco-shamanism, is at the core of all matriarchal cultures. The Goddess does not separate from her herbal magic, from her invention of medicine. The central sacrament of all Paleolithic, Neolithic and Bronze Age cultures known is an inebriative herb, a plant totem, which became metaphoric of the communal epiphany. These herbs, herbal concoctions and herbal metaphors are at the heart of all mythologies. They include such familiar images as the Burning Bush, the Tree of Life, the Cross, the Golden Bough, the Forbidden Fruit, the Blood of Christ, the Blood of Dionysos, the Holy Grail (or rather its contents), the Chalice (Kalyx: 'flower cup'), the Golden Flower (Chrysanthemon), Ambrosia (Ambrotos: 'immortal'), Nectar (Nektar: 'overcomes death'), the Sacred Lotus, the Golden Apples, the Mystic Mandrake, the Mystic Rose, the Divine Mushroom (teonanacatl), the Divine Water Lily, Soma, Ayahuasca ('Vine of the Soul'), Kava, Iboga, Mama Coca and Peyote Woman. They are the archetypal - the emotionally, the instantaneously understood - symbols at the center of the drug propaganda. A sexually attractive man or woman is an archetypal image, the basis of most advertising. A loaf of bread is an archetypal image. The emotional impact of the sacramental herbal images, or, rather, the historical confusion of their natural function, is central to the successful manipulation of mass emotion and individual self-image. That is, contemporary politics has an unconscious, an evolutionary element, that involves the industrial manipulation of instinct. That manipulation can only be understood by contemplating what elements of our evolutionary inheritance contemporary inquisitors want forgotten.
2020 — Ruth Benedict Prize – Association for Queer Anthropology, American Anthropological Association 2020 — Gloria E. Anzaldúa Book Prize – National Women’s Studies Association 2020 — Honorable Mention, Sara A. Whaley Book Prize 2021 — Best Book in Social Sciences – Mexico Section, Latin American Studies Association (LASA) Sex, drugs, religion, and love are potent combinations in la zona, a regulated prostitution zone in the city of Reynosa, across the border from Hidalgo, Texas. During the years 2008 and 2009, a time of intense drug violence, Sarah Luna met and built relationships with two kinds of migrants, women who moved from rural Mexico to Reynosa to become sex workers and American missionaries who moved from the United States to forge a fellowship with those workers. Luna examines the entanglements, both intimate and financial, that define their lives. Using the concept of obligar, she delves into the connections that tie sex workers to their families, their clients, their pimps, the missionaries, and the drug dealers—and to the guilt, power, and comfort of faith. Love in the Drug War scrutinizes not only la zona and the people who work to survive there, but also Reynosa itself—including the influences of the United States—adding nuance and new understanding to the current Mexico-US border crisis.
A revealing look at the history and legacy of the "War on Drugs" Fifty years after President Richard Nixon declared a "War on Drugs," the United States government has spent over a trillion dollars fighting a losing battle. In recent years, about 1.5 million people have been arrested annually on drug charges—most of them involving cannabis—and nearly 500,000 Americans are currently incarcerated for drug offenses. Today, as a response to the dire human and financial costs, Americans are fast losing their faith that a War on Drugs is fair, moral, or effective. In a rare multi-faceted overview of the underground drug market, featuring historical and ethnographic accounts of illegal drug production, distribution, and sales, The War on Drugs: A History examines how drug war policies contributed to the making of the carceral state, racial injustice, regulatory disasters, and a massive underground economy. At the same time, the collection explores how aggressive anti-drug policies produced a “deviant” form of globalization that offered economically marginalized people an economic life-line as players in a remunerative transnational supply and distribution network of illicit drugs. While several essays demonstrate how government enforcement of drug laws disproportionately punished marginalized suppliers and users, other essays assess how anti-drug warriors denigrated science and medical expertise by encouraging moral panics that contributed to the blanket criminalization of certain drugs. By analyzing the key issues, debates, events, and actors surrounding the War on Drugs, this timely and impressive volume provides a deeper understanding of the role these policies have played in making our current political landscape and how we can find the way forward to a more just and humane drug policy regime.
The United States has more people locked up in jails, prisons, and detention centers than any other country in the history of the world. Exploring the history and foundations of mass incarceration, Dominique Gilliard examines Christianity’s role in its evolution and expansion, assessing justice in light of Scripture, and showing how Christians can pursue justice that restores and reconciles.
Clint Eastwood is a Hollywood icon, with five Academy Awards, five Golden Globes, and numerous other accolades for his work as an actor, director, producer, and composer. Yet because he rose to fame in "spaghetti westerns" and Dirty Harry shoot-em-ups, few critics have ventured to explore Eastwood's philosophical, ethical, and artistic agenda as an intellectual filmmaker. Addressing this void, film scholar Sara Anson Vaux analyzes fifteen of Eastwood's best-known films from narrative, artistic, and thematic perspectives. She traces the nuanced development of Eastwood's unfolding moral vision over a forty-year continuum, showing how this vision has grown more sophisticated even as many of the motifs expressing it -- justice, confession, war and peace, the gathering, the search for a perfect world -- have remained the same.
The Mosaic of Atonement offers a fresh and integrated approach to historic models of atonement. While modern treatments of the doctrine have tended toward either a defensive hierarchy, in which one model is singled out as most important, or a disconnected plurality, in which multiple images are affirmed but with no order of arrangement, this book argues for a reintegration of four famous "pieces" of atonement doctrine through the governing image of Christ-shaped mosaic. Unlike a photograph in which tiny pixels present a seamless blending of color and shape, a mosaic allows each piece to retain its recognizable particularity, while also integrating them in the service of a single larger image. If one stands close, one can identify individual squares of glass or tile that compose the greater picture. And if one steps back, there is the larger picture to be admired. Yet in the great mosaics of age-old Christian churches, the goal is not for viewers to construct the image, as in a puzzle, but to appreciate it. So too with this mosaic of atonement doctrine. While no one model is set above or against the others, the book notes particular ways in which the "pieces"--the feet, heart, head, and hands--mutually support one another to form a more holistic vision of Christ's work. "This is my body," Jesus said to his followers, and by reintegrating these oft-dismembered aspects of atonement, we will note fresh ways in which it was given for us.
Christians cannot ignore the intersection of religion and violence. In our own Scriptures, war texts that appear to approve of genocidal killings and war rape raise hard questions about biblical ethics and the character of God. Have we missed something in our traditional readings? Identifying a spectrum of views on biblical war texts, Webb and Oeste pursue a middle path using a hermeneutic of incremental, redemptive-movement ethics.
BONNIE KRISTIAN shows that a vibrant diversity within Christian orthodoxy-which is simply to say a range of different ways to faithfully follow Jesus-is a strength of our faith, not a weakness. It is all too easy to fail to grasp the diversity of the Christian faith-especially for those who have grown up in one branch of the church and never explored another. We fail to realize how many ways there are to follow Jesus, convinced that our own tradition is the one Christian alternative to nonbelief. A FLEXIBLE FAITH is written for the convinced and confused believer alike. It is a readable exploration of the lively theological diversity that stretches back through church history and across the spectrum of Christianity today. It is an easy introduction to how Christians have historically answered key questions about what it means to follow Jesus. Chapters will include 17 big theological questions and answers; profiles of relevant figures in church history; discussion questions; single-page Q&As-profiles of more unusual types of Christians (e.g., a Catholic nun or a member of an Amish community); and a guide to major Christian denominations today. As Bonnie shares her wrestlings with core issues-such as who Jesus is, what place the Church has in our lives, how to disagree yet remain within a community, and how to love the Bible for what it actually is-she teaches us how to walk courageously through our own tough questions. Following Jesus is big and it is something that individual believers, movements, and denominations have expressed in uncountably different ways over the centuries. In the process of helping us sort things out, Bonnie shows us how to be comfortable with diversity in the Body. And as we learn to hold questions in one hand and answers in the other, we will discover new depths of faith that will remain secure even through the storms of life.
