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Zen and the Unspeakable God reevaluates how we study mystical experience. Forsaking the prescriptive epistemological box that has constrained the conversation for decades, ensuring that methodology has overshadowed subject matter, Jason Blum proposes a new interpretive approach—one that begins with a mystic’s own beliefs about the nature of mystical experience. Blum brings this approach to bear on the experiential accounts of three mystical exemplars: Meister Eckhart, Ibn al-ʿArabi, and Hui-neng. Through close readings of their texts, he uncovers the mystics’ own fundamental assumptions about transcendence and harnesses these as interpretive guides to their experiences. The predominant theory-first path to interpretation has led to the misunderstanding and misrepresentation of individual mystical experiences and fostered specious conclusions about cross-cultural comparability among them. Blum’s hermeneutic invites the scholarly community to begin thinking about mystical experience in a new way—through the mystics’ eyes. Zen and the Unspeakable God offers a sampling of the provocative results of this technique and an explanation of its implications for theories of consciousness and our contemporary understanding of the nature of mystical experience.

It's a report tempered by hard times. In 'Matricide,' Daum unflinchingly describes a parent's death and the uncomfortable emotions it provokes; and in 'Diary of a Coma' she relates her own journey to the twilight of the mind. But Daum also operates in a comic register. With perfect precision, she reveals the absurdities of the marriage-industrial complex, of the New Age dating market, and of the peculiar habits of the young and digital. Elsewhere, she writes searchingly about cultural nostalgia, Joni Mitchell, and the alternating heartbreak and liberation of choosing not to have children.

The breach of art from religion is just one of the many unhappy legacies of modernism. There was a time, however, when the aesthetic and the spiritual were of a piece. This study of the work of American video artist Bill Viola considers the possible reemergence of a theological dimension to contemporary art–a reenchantment of art, as some have called it. Using the high-tech apparatus of modern video, Viola's art is rooted precisely in this theological tradition of transcendent mystical experience and spiritual self-concentration. The technological apotheosis of modern image-making–high speed film, high-definition video, LCD and plasma screens, and sophisticated sound recording–are put to use by Viola in ways that significantly challenge prevailing intellectual and artistic traditions and return us to the power of the Sublime–that which, by definition, defeats language. Viola's art as such converges with postmodern notions of the «unrepresentable» and with the ancient theological tradition of apophasis, «speaking away» or «unsaying.» The fullness of «meaning,» then, appears only as a promise of presence through embodied absence, neither fully here and now nor entirely elsewhere and beyond. This study seeks to define, through the work of a courageous and thoughtful contemporary artist, the theological sublime as an aesthetic of revelation.

   Despite the misogynist ideology of Italian Fascism, and contrary to the picture drawn in the most post-war literary histories and anthologies, the 1920s and 1930s were a time of wide publication and both popular and critical recognition for female authors in Italy. Focusing on the cultural pages of three major daily newspapers of the period, Robin Pickering-Iazzi discovered a wealth of contributions by famous and less-known woman that have been unavailable to readers in Italy as well as the United States for over 60 years. Expertly translated, these 16 stories are evidence not only of the high literary quality of this body of work but also of resistance to the self-sacrificing ideal of the «New Woman» of Fascism. The memorable female characters in Unspeakable Women adopt a varying strategies to create their own identities and agency regarding writing, sexuality, marriage, and family-all in opposition to the repressive norms of the culture. The stories are by Grazia Deledda, who won the Noble Prize for Literature in 1926, Maria Luisa Astaldi, Gianna Manzini, Ada Negri, Carola Prosperi, Pia Rimini, and Clarice Tartufari.