This volume traces transformations in attitudes toward, ideas about, and experiences of religion and the senses in the medieval and early modern period. Broad in temporal and geographical scope, it challenges traditional notions of periodisation, highlighting continuities as well as change. Rather than focusing on individual senses, the volume's organisation emphasises the multisensoriality and embodied nature of religious practices and experiences, refusing easy distinctions between asceticism and excess. The senses were not passive, but rather active and reactive, res-ponding to and initiating change. As the contributions in this collection demonstrate, in the pre-modern era, sensing the sacred was a complex, vexed, and constantly evolving process, shaped by individuals, environment, and religious change. The volume will be essential reading not only for scholars of religion and the senses, but for anyone interested in histories of medieval and early modern bodies, material culture, affects, and affect theory.

This volume traces transformations in attitudes toward, ideas about, and experiences of religion and the senses in the medieval and early modern period. Broad in temporal and geographical scope, it challenges traditional notions of periodisation, highlighting continuities as well as change. Rather than focusing on individual senses, the volume's organisation emphasises the multisensoriality and embodied nature of religious practices and experiences, refusing easy distinctions between asceticism and excess. The senses were not passive, but rather active and reactive, res-ponding to and initiating change. As the contributions in this collection demonstrate, in the pre-modern era, sensing the sacred was a complex, vexed, and constantly evolving process, shaped by individuals, environment, and religious change. The volume will be essential reading not only for scholars of religion and the senses, but for anyone interested in histories of medieval and early modern bodies, material culture, affects, and affect theory.

The story of Alabama's five capitals—St. Stephens, Huntsville, Cahawba, Tuscaloosa, and Montgomery—begins in a rough semi-civilized Washington County village and ends at the old cotton town in central Alabama. Between these bookending governmental centers, the capitals have criss-crossed the state from north to south and east to west, following the political powers and fortunes of the times, and amid more noble arguments that the capital should be near the center of the state. It is the story of Alabama's government, buildings, and laws. It is the story of towns, some that sprang up and died when the capital moniker left. Most of all, the story of Alabama's capitals is the story of its people: some whose undying devotion to statehood brought Alabama to life; some who used state government in their rise to power and financial prominence; some whose generosity and pureness of heart kept Alabama on solid moral and financial ground; and some whose prejudices held back this state when it should have moved forward. The Five Capitals of Alabama paints a dramatic picture of where we began, where we are today, and the twisting journey taken along the way.

With 126 color photographs and 30 quotes from noted Alabama storytellers, Robin McDonald creates the "mood" of small towns everywhere as they quietly retire from service.

"Heart of a Small Town" is Robin McDonald's paean to a time when small rural communities all over this country bustled with life. Concentrating on Alabama, he draws his subjects from those areas of the state that have been bypassed by major highways and left somewhat deserted. Places like Verbena, Mentone, Burnt Corn, Newbern, Epes, and Enterprise; places in the Black Belt, in Wiregrass Country, in the Piedmont. There he records common objects--screen doors, broken sidewalks, storefront displays, neon signs, rusting pickup trucks, kudzu-covered walls, and church windows--with an uncommon sensitivity.

Matched with quotations from writing that grew out of these places, the images take on an unusually vibrant life. Robin McDonald's photographs are animated and enriched by the lyrical quotations borrowed from southern writers, some less well known, like Augusta Evans Wilson and Viola Goode Liddell, and some well known, like Truman Capote, Zelda Fitzgerald, James Agee, Vicki Covington, and Rick Bragg. They echo with the hopes and joys and the struggles and grief of folks who have called these places home.