Lucia Hulsether

The scene opens in a bustling restaurant in Delhi, where a young woman leans in close to her grandfather, whose eyes sparkle with memories of his childhood in Lahore, Pakistan. He points to faded photograph of two young boys: “This is me. And this is Yusuf.” Every evening they flew…

I think we should be cautious about attempts to frame the Boston bombings, or for that matter any profound act of violence, mainly as a failure of (or an injunction for) “interfaith cooperation.”

Tribulation Trail, and other “Hell Houses” are not solely managing hypothetical fears of what may happen in end-times scenarios; they are about managing fears about the present and imagining a way out now. This “way out” is much more than metaphysical. It seems to fit with the material realities of what it is like to be a member of the working class of the U.S., by offering a sense of orientation and self-worth to people who have been demoralized and exploited in almost every other possible way.