work was shaped by twentieth-century Third World theorizing and decolonization movements, including liberation theologians and philosophers, met and did research. Marcos cultivated there an ethos of interculturality beyond multiculturalism, similar to the ways in which indigenous movements today utilize and defend the notion of interculturality.In addition to interculturality, Marcoss training involved the adoption of a transdisciplinary approach before (and beyond) more recent defenses of interdisciplinarity in the academy. Different from interdisciplinarity, transdisciplinarity does not seek to combine existing disciplines, but rather questions their ontological status and seeks to forge conceptual tools that are adequate to the problems and questions addressed. In Marcoss work, these problems and questions emerge out of a peculiar training as well as dialogues with indigenous women and feminists of color in the United States and elsewhere.I have indicated before that Taken from the Lips is a post-secular, transmodern, and decolonial work. It is post-secular because, first, it doesnt partake of the secularization thesis according to which modernity gradually leads to the disappearance or confinement of religion to the private. She finds what she calls religion in both the private and the public sphere, and her approach does not posit a radical division between the two. Marcoss approach is also post-secular in that it resists making a firm differentiation between whatever appears as sacred and the secular. Rather, consistent with the idea of fluidity that she finds in Mesoamerican religion, whatever appears as sacred has elements of the secular, and vice versa. Another feature of its post-secularity is that the author breaks the division between her as the secular cognitive subject on the one hand, and the presumed object of study as the typical representative of the religious other. Theory emerges in Taken from the Lips at the intersection of subject and object, at a point when the subject not only observes and documents, but is herself transformed and learns. This learning is reflected in the way in which the book itself is written and in the way the author combines methods of investigation. In the process of writing the book, Marcos becomes a curandera (female healer) herself, opening new vistas to overcome the blindness of much religious studies theorizing.The world that gradually unfolds in Taken from the Lips is a rich one filled with theories that come out of lips and that are expressed in practices that defy the splits between sacred and secular as well as between modern and traditional. This is also what makes this work not only post-secular, but also transmodern. The concept of transmodernity was first formulated by philosopher and historian Enrique Dussel in The Invention of the Americas: Eclipse of the Other and the Myth of Modernity.[2] I have argued that this book represents a qualitative shift in Dussels historic-philosophical work in that it is concerned not only with establishing the relevance of Latin America for world-history, or with showing the extent to which European modernity is partly constituted by its relation to the Americas, but with spelling out an understanding of 1492 from the perspective of indigenous peoples, and particularly the Aztecs