A moving, heart breaking, and lyrical true story of the author's escape from an apocalyptic cult-and the survival skills that led to her freedom. My family prepared me for the end of the world, but I know how to survive on what the earth yields. As a child, Michelle Dowd grew up on a mountain in the Angeles National Forest. She was born into an ultra-religious cult-or the Field as they called it-started in the 1930s by her grandfather, a mercurial, domineering, and charismatic man who convinced generations of young male followers that he would live 500 years and ascend to the heavens when doomsday came. Comfort and care are sins, Michelle is told. As a result, she was forced to learn the skills necessary to battle hunger, thirst, and cold; she learned to trust animals more than humans; and most importantly, she learned how to survive in the natural world. At the Field, a young Michelle lives a life of abuse, poverty, and isolation, as she obeys her family's rigorous religious and patriarchal rules-which are so extreme that Michelle is convinced her mother would sacrifice her, like Abraham and Isaac, if instructed by God. She often wears the same clothes for months at a time; she is often ill and always hungry for both love and food. She is taught not to trust Outsiders, and especially not Quitters, nor her own body and its warnings. But as Michelle gets older, she realizes she has the strength to break free. Focus on what will sustain, not satiate you, she tells herself. Use everything. Waste nothing. Get to know the intricacies of the land, like the intricacies of your body. And so she does. Using stories of individual edible plants and their uses to anchor each chapter, Forager is both a searing coming-of-age story and a meditation on the ways in which understanding nature can lead to freedom, even joy.

This collection of original essays honors the groundbreaking scholarship of Jean E. Howard by exploring cultural and economic constructions of affect in the early modern theater. While historicist and materialist inquiry has dominated early modern theater studies in recent years, the historically specific dimensions of affect and emotion remain underexplored. This volume brings together these lines of inquiry for the first time, exploring the critical turn to affect in literary studies from a historicist perspective to demonstrate how the early modern theater showcased the productive interconnections between historical contingencies and affective attachments. Considering well-known plays such as Shakespeare's Antony and Cleopatra and Thomas Dekker's The Shoemaker's Holiday together with understudied texts such as court entertainments, and examining topics ranging from dramatic celebrity to women's political agency to the parental emotion of grief, this volume provides a fresh and at times provocative assessment of the "historical affects"-financial, emotional, and socio-political-that transformed Renaissance theater. Instead of treating history and affect as mutually exclusive theoretical or philosophical contexts, the essays in this volume ask readers to consider how drama emplaces the most personal, unspeakable passions in matrices defined in part by financial exchange, by erotic desire, by gender, by the material body, and by theatricality itself. As it encourages this conversation to take place, the collection provides scholars and students alike with a series of new perspectives, not only on the plays, emotions, and histories discussed in its pages, but also on broader shifts and pressures animating literary studies today.

This collection of original essays honors the groundbreaking scholarship of Jean E. Howard by exploring cultural and economic constructions of affect in the early modern theater. While historicist and materialist inquiry has dominated early modern theater studies in recent years, the historically specific dimensions of affect and emotion remain underexplored. This volume brings together these lines of inquiry for the first time, exploring the critical turn to affect in literary studies from a historicist perspective to demonstrate how the early modern theater showcased the productive interconnections between historical contingencies and affective attachments. Considering well-known plays such as Shakespeare's Antony and Cleopatra and Thomas Dekker's The Shoemaker's Holiday together with understudied texts such as court entertainments, and examining topics ranging from dramatic celebrity to women's political agency to the parental emotion of grief, this volume provides a fresh and at times provocative assessment of the "historical affects"-financial, emotional, and socio-political-that transformed Renaissance theater. Instead of treating history and affect as mutually exclusive theoretical or philosophical contexts, the essays in this volume ask readers to consider how drama emplaces the most personal, unspeakable passions in matrices defined in part by financial exchange, by erotic desire, by gender, by the material body, and by theatricality itself. As it encourages this conversation to take place, the collection provides scholars and students alike with a series of new perspectives, not only on the plays, emotions, and histories discussed in its pages, but also on broader shifts and pressures animating literary studies today.

A moving, heartbreaking, and lyrical true story of the author's escape from an apocalyptic cult--and the survival skills that led to her freedom. My family prepared me for the end of the world, but I know how to survive on what the earth yields. As a child, Michelle Dowd grew up on a mountain in the Angeles National Forest. She was born into an ultra-religious cult--or the Field as they called it--started in the 1930s by her grandfather, a mercurial, domineering, and charismatic man who convinced generations of young male followers that he would live 500 years and ascend to the heavens when doomsday came. Comfort and care are sins, Michelle is told. As a result, she was forced to learn the skills necessary to battle hunger, thirst, and cold; she learned to trust animals more than humans; and most importantly, she learned how to survive in the natural world. At the Field, a young Michelle lives a life of abuse, poverty, and isolation, as she obeys her family's rigorous religious and patriarchal rules--which are so extreme that Michelle is convinced her mother would sacrifice her, like Abraham and Isaac, if instructed by God. She often wears the same clothes for months at a time; she is often ill and always hungry for both love and food. She is taught not to trust Outsiders, and especially not Quitters, nor her own body and its warnings. But as Michelle gets older, she realizes she has the strength to break free. Focus on what will sustain, not satiate you, she tells herself. Use everything. Waste nothing. Get to know the intricacies of the land, like the intricacies of your body. And so she does. Using stories of individual edible plants and their uses to anchor each chapter, Forager is both a searing coming-of-age story and a meditation on the ways in which understanding nature can lead to freedom, even joy.

Few issues have revealed deeper divisions in our society than the debate between creationism and evolution, between religion and science. Yet from the fray, Reverend Michael Dowd has emerged as a reconciler, finding faith strengthened by the power of reason.
With evidence from contemporary astrophysics, geology, biology, anthropology, and evolutionary psychology, "Thank God for Evolution" lays out a compelling argument for how religion and science can be mutually enriching forces in our lives.
Praised by Nobel laureates in the scientific community and religious leaders alike, "Thank God for Evolution" will expand the horizon of what is possible for self, for relationships, and for our world.