Vodou, the folk religion of Haiti, is a by-product of the contact between Roman Catholicism and African and Amerindian traditional religions. In this book, Leslie Desmangles analyzes the mythology and rituals of Vodou, focusing particularly on the inclusion of West African and European elements in Vodouisants' beliefs and practices. Desmangles sees Vodou not simply as a grafting of European religious traditions onto African stock, but as a true creole phenomenon, born out of the oppressive conditions of slavery and the necessary adaptation of slaves to a New World environment. Desmangles uses Haitian history to explain this phenomenon, paying particular attention to the role of the seventeenth- and eighteenth-century maroon communities in preserving African traditions and the attempts by the Catholic, educated elite to suppress African-based "superstitions." The result is a society in which one religion, Catholicism, is visible and official; the other, Vodou, is unofficial and largely secretive.

Thompson examines the altar traditions in cultures from the Atlantic coast region of Africa, South America, the Caribbean, and the United States.

Roger Scruton explores the place of God in a disenchanted world. His argument is a response to the atheist culture that is now growing around us, and also a defence of human uniqueness. He rebuts the claim that there is no meaning or purpose in the natural world, and argues that the sacred and the transcendental are 'real presences', through which human beings come to know themselves and to find both their freedom and their redemption. In the human face we find a paradigm of meaning. And from this experience, Scruton argues, we both construct the face of the world, and address the face of God. We find in the face both the proof of our freedom and the mark of self-consciousness. One of the motivations of the atheist culture is to escape from the eye of judgement. You escape from the eye of judgement by blotting out the face: and this, Scruton argues, is the most disturbing aspect of the times in which we live. In his wide-ranging argument Scruton explains the growing sense of destruction that we feel, as the habits of pleasure seeking and consumerism deface the world. His book defends a consecrated world against the habit of desecration, and offers a vision of the religious way of life in a time of trial.

Haraldur the northman once joined Jason on his fabled quest for the Golden Fleece, but now he wants nothing more to do with gods and adventure. Returning to his homeland for the first time in many years, he hopes only to settle down on a farm of his own—until he comes across an impenetrable wall of eldritch fire and a lovesick youth determined to breach the wall at any cost. Behind the towering flames, he is told, lies a beautiful Valkyrie trapped in an enchanted sleep, as well as, perhaps, a golden treasure beyond mortal reckoning. It is the gold that tempts Hal to agree, against his better judgment, to assist the youth in his quest. But to find a way past the fiery wall, they must first brave gnomes, ghosts, and the wrath of the gods themselves. For a mighty battle is brewing, and Hal soon finds himself caught up in a celestial conflict between Thor the Thunderer, Loki the Trickster, and most powerful of all, Wodan, the merciless Lord of Battles!

In fine form, Saberhagen turns to a world that recalls (and may actually be) that of his Swords series. The ancient classical gods have returned but are at war among themselves, and this yarn opens with a battle to the death between Apollo and Hades. Although Hades appears the victor, the face of Apollo is carried off by one of the sun god's human votaries. It ends up entering the body of 15-year-old Jeremy Redthorn, turning him into an avatar of Apollo who possesses many attributes of the god. That … gives him the power to summon swarms of bees against his enemies, but it also imposes responsibilities equal to the new powers and thrusts him forcibly into the front lines of the cosmic battle of good and evil. Saberhagen offers classical scholarship, wit, and brisk pacing in an admirable coming-of-age story that should appeal even to readers unfamiliar with the Swords books and attract Swords-familiar readers in swarms. Roland Green --

Murder and depravity are Police Commissioner Amédée Mallock's daily bread. As far as he is concerned, mankind has been thoroughly abandoned by God, and the visions that haunt him do nothing to disabuse him of this notion. But nothing he has encountered has prepared him for the sudden appearance of a serial killer dubbed "the Makeup Artist." The bodies of the killer's first victims, found in four separate neighborhoods of Paris, are monstrous works of art, baroque masterpieces of depravity, demented expressions of corrupted piety. These crimes are unprecedented in their ferocity and their intricacy, and the deeper Mallock investigates the greater the mysteries and the enigmas. There seems to be no tenable solution to this series of crimes behind which the devil himself seems to lurk. A supernatural and theological thriller, The Faces of God is superior fiction for fans of the TV series True Detective and of novels by writers such as Douglas Preston, Lincoln Child, and Dean Koontz.

Religion is universal human culture. No phenomenon is more widely shared or more intensely studied, yet there is no agreement on what religion is. Now, in Faces in the Clouds, anthropologist Stewart Guthrie provides a provocative definition of religion in a bold and persuasive new theory. Guthrie says religion can best be understood as systematic anthropomorphism--that is, the attribution of human characteristics to nonhuman things and events. Many writers see anthropomorphism as common or even universal in religion, but few think it is central. To Guthrie, however, it is fundamental. Religion, he writes, consists of seeing the world as humanlike. As Guthrie shows, people find a wide range of humanlike beings plausible: Gods, spirits, abominable snowmen, HAL the computer, Chiquita Banana. We find messages in random events such as earthquakes, weather, and traffic accidents. We say a fire "rages," a storm "wreaks vengeance," and waters "lie still." Guthrie says that our tendency to find human characteristics in the nonhuman world stems from a deep-seated perceptual strategy: in the face of pervasive (if mostly unconscious) uncertainty about what we see, we bet on the most meaningful interpretation we can. If we are in the woods and see a dark shape that might be a bear or a boulder, for example, it is good policy to think it is a bear. If we are mistaken, we lose little, and if we are right, we gain much. So, Guthrie writes, in scanning the world we always look for what most concerns us--livings things, and especially, human ones. Even animals watch for human attributes, as when birds avoid scarecrows. In short, we all follow the principle--better safe than sorry. Marshalling a wealth of evidence from anthropology, cognitive science, philosophy, theology, advertising, literature, art, and animal behavior, Guthrie offers a fascinating array of examples to show how this perceptual strategy pervades secular life and how it characterizes religious experience. Challenging the very foundations of religion, Faces in the Clouds forces us to take a new look at this fundamental element of human life.