A historical novel of prejudice and plague, The Scourges of Heaven sweeps gracefully, joyfully, painfully across centuries and generations. Through Cynthia Anne Ferguson, orphaned aboard a vessel carrying immigrants, hopes, dreams, and cholera from the Old World to the New, David Dick paints a world where the causes of disease are little understood, where faith is not always a comfort, where human questioning often goes unanswered, and where unexpected death is frequently attributed to the wrath of an angry God. Cynthia's story unfolds in the midst of the first of four great cholera epidemics to sweep America in the mid-nineteenth century, and her journey through life, from New Orleans up the Mississippi and Ohio rivers and across the Bluegrass to Lexington, parallels the track followed by the deadly scourge. More powerfully told than any factual, statistical, or scientific account could ever manage, yet based upon historical events, this tale of disease, ignorance, and narrow-mindedness is supported by a central theme of hope that ultimately brings redemption.

A historical novel of prejudice and plague, The Scourges of Heaven sweeps gracefully, joyfully, painfully across centuries and generations. Through Cynthia Anne Ferguson, orphaned aboard a vessel carrying immigrants, hopes, dreams, and cholera from the Old World to the New, David Dick paints a world where the causes of disease are little understood, where faith is not always a comfort, where human questioning often goes unanswered, and where unexpected death is frequently attributed to the wrath of an angry God. Cynthia's story unfolds in the midst of the first of four great cholera epidemics to sweep America in the mid-nineteenth century, and her journey through life, from New Orleans up the Mississippi and Ohio rivers and across the Bluegrass to Lexington, parallels the track followed by the deadly scourge. More powerfully told than any factual, statistical, or scientific account could ever manage, yet based upon historical events, this tale of disease, ignorance, and narrow-mindedness is supported by a central theme of hope that ultimately brings redemption.

This book is a sequel to Nathan Ron's Erasmus and the “Other.” Should we consider Erasmus an involved or public intellectual alongside figures such as Machiavelli, Milton, Locke, Voltaire, and Montesquieu? Was Erasmus really an independent intellectual? In Ron's estimation, Erasmus did not fully live up to his professed principles of Christian peace. Despite the anti-war preaching so eminent in his writings, he made no stand against the warlike and expansionist foreign policies of specific European kings of his era, and even praised the glory won by Francis I on the battlefield of Marignano (1515). Furthermore, in the face of Henry VIII’s execution of his beloved Thomas More and John Fisher, and the atrocities committed by the Spanish against indigenous peoples in the New World, Erasmus preferred self-censorship to expressions of protest or criticism and did not step forward to reproach kings of their misdeeds or crimes.