Suitable for framing, mailing, or as a source of daily visual inspiration, Ganesh Art Postcard Book offers stunningly rendered images of the larger-than-life elephant-headed god, Ganesh. Suitable for framing, mailing, or as a source of daily visual inspiration, Ganesh Art Postcard Book offers stunningly rendered images of the larger-than-life elephant-headed god, Ganesh. Revered as the Lord of success and the destroyer of obstacles, and worshipped as the god of education and wisdom, Ganesh is one of the most beloved of all Hindu gods. In his role as a keeper of sacred spaces, Ganesh is often placed at the inner gates of many temples, where pilgrims and passersby pay homage and seek his blessings. The captivating images in this collection, generated over decades by dedicated devotional artists, invite viewers to be transported to the miraculously divine world of the Hindu universe, where the transformative powers of these beautiful paintings instill values of compassion, wisdom, and love.

Terrence McNally’s canon of plays, books for musicals and opera libretti possesses such a breadth of subject matter and diversity of dramatic modes that critics have had difficulty assessing his accomplishment. This book is the first critical study to identify the four major stages of McNally’s development in terms of his understanding of how theater helps the modern person trapped in a seemingly profane existence to find a gateway to the transcendent. Drawing upon such diverse religious thinkers as Martin Buber, Mircea Eliade, Ilia Delio and Carter Heyward, Frontain analyzes the evolution of McNally’s understanding of grace, not as a gift bestowed by an all-powerful deity upon a desperate soul, but as the unwarranted—and, thus, all the more unusual—“act of devotion” (McNally’s phrase) that one person performs for another. By seeking to foment community, most importantly at the height of the AIDS pandemic, McNally’s theater itself proves to be a channel of grace. McNally’s greatest success is shown to be the creation of a theater of empathy and compassion in contradistinction to Artaud’s “theater of cruelty” and Albee’s Americanization of the theater of the absurd.