DiaBLOGue

The Man Lying in the Grass

We’re in Ogden, Utah, on the second day of May, heading home to Orem after a Sunday afternoon with grandchildren. Carol is driving south on Washington Boulevard passing low business buildings whose shadows are covering the lawns and reaching out into the street. Up ahead, I spot a man lying in the grass maybe twenty feet back from the curb. A drunk sleeping himself sober? I wonder. Probably drunk . . . But what if he’s a diabetic whose sugar is low and he can’t get up? 

My Belief

In 1831 at the same time that Joseph Smith was receiving visions and establishing a new church because no contemporary religion was true—they had all become dead relics with no prophecy in them—Scottish writer Thomas…

Critique of Alma 36 as an Extended Chiasm

Dialogue 38.4 (Winter 2006):105–156
He has written about it at least four times. It reflects most of the problems with all of his extended chiasms. My argument is that he has im￾posed chiasmus on the Book of Mormon where none was intended.

A Marvelous Work and a Possession: Book of Mormon Historicity as Postcolonialism

Dialogue 38.4 (Winter 2006):45–82
the original text, unfortunately, no longer exists on this earth, and we are left only with the assurances of a “translator” that the testimony contained in the record is “true,” although we do not, in fact, have even the complete text as it left the hand of the translator/scribe.

Mormon Europeans or European Mormons? An “Afro-European” View on Religious Colonization

Mormon history is part of the colonization history of the American West; and the LDS Church, as a major player in that process, still bears a colonization imprint in many ways. The colonizing days are over now, and the Church is part of a major political presence in the world, no longer the colonized, but rather the colonizer. In this article, I argue that the Utah-based modern Church has replicated the same colonization process on its membership abroad to which it was once subjected.

About the Artist: Bonnie Posselli

A native of Salt Lake City, Bonnie Posselli was introduced early by her mother to plein air painting, which she describes as her “abiding love and strongest asset.” She has traveled extensively to paint in…