Since the founding of the United States in the late eighteenth century, Americans have rooted their national identity in their relationship with the wider world. America’s geopolitical position, its civilizing mission, its identity as the home of a chosen people, and its security requirements have shaped not only Americans’ external relations but also their very sense of themselves and who they are in a world of other peoples.

American nationalism has of course had several other sources than the outside world.1 The virtue of republican self-government – what might be identified as “civic nationalism” – has been an obviously powerful font of America’s self-identity, particularly the ways in which Americans have seen themselves as different, even superior, to other countries.

The discursive sphere of Islam explored in this book emerges through the interaction of texts of many genres, elaborating faith and engaging with multiple previous, neighboring, and intertwined cultures, and disseminated through ritual, poetry, music, geometry, and painting. The ideas about perception woven through them suggest that the questions that we ask through modern, Euronormative frameworks of religion, art, and history often veil Islamic culture in the name of revealing it. This not only alters dominant understandings of Islam and its arts, but also destabilizes the presumed universalism of disciplinary art history. Positing the broader category of ‘perceptual culture’ against the analytic limitations implicit in the categories ‘art’ and ‘history,’ this introduction critiques the modern segregation of culture from religion as disingenuous. Rather than inviting a ‘Western’ reader trying to understand an Islamic ‘other,’ it situates the reader, regardless of faith or heritage, as a modern subject using historical theological, philosophical, and poetic discourses to enter an earlier episteme and engage with Islamic cultures of the past. The resulting study emphasizes interfaith communication and Sufism as central aspects of Islamic perceptual cultures. It reflects on the performative character of perception as experienced through the eye, the ear, or the heart.

Gail Crowther examines Plath’s ambivalent response to religion by highlighting how the context of her religious upbringing lay at the root of her theological questionings. Crowther examines the impact of the Plath family’s Unitarian faith on Plath’s writing, her study of religion throughout her school and college education, and her adult position of reluctant atheism. Crowther shows how Plath’s writing disrupts Judeo–Christian ideas of patrilineage, instead putting Marian notions of love, care and redemption at the centre of her poems.