God is lavishly, excessively, and outrageously loving in every iota of His infinite being. God is, in a word, extravagant. It's His nature! When we realize just how extravagant and outrageous His love is for us, it unleashes in our hearts and minds an extravagance of devotion that transforms life into an experience previously inconceivable. But that's not all. Our extravagance of devotion prompts further expressions of extravagance from God. This is the extravagance cycle, and it is as real today as it was in 1000 B.C. for David or in 30 A.D. for Mary of Bethany. All throughout the Scriptures, we see that lives of extravagant devotion and surrender to Him captured the heart of God and they still do! Experience the extravagant cycle for yourself and recognize how much He loves you. Offer Him your devotion and whatever resources of time, talents, and treasure you have, so He can bless and multiply them. It may be all you have and that's what makes your gift extravagant. But when you do the simple deed of giving it to Him, He'll work miracles and touch others through you in a way that will make you eager to see where the cycle takes you next.

Dragons. Art. Revolution. The new blockbuster original fantasy work from Nebula, Hugo and Clarke award nominated author Yoon Ha Lee! “An arresting tale of loyalty, identity, and the power of art... Lee’s masterful storytelling is sure to wow.” - Publishers Weekly, starred review Gyen Jebi isn’t a fighter or a subversive. They just want to paint. One day they’re jobless and desperate; the next, Jebi finds themself recruited by the Ministry of Armor to paint the mystical sigils that animate the occupying government’s automaton soldiers. But when Jebi discovers the depths of the Razanei government’s horrifying crimes—and the awful source of the magical pigments they use—they find they can no longer stay out of politics. What they can do is steal Arazi, the ministry’s mighty dragon automaton, and find a way to fight…

Catalogue published in conjunction with the exhibition "Extravagant Inventions: the Princely Furniture of the Roentgens" on view at The Metropolitan Museum of Art, New York, from October 30, 2102, through January 27, 2013.

Part of the American Literatures Initiative Series 2011 Winner of the Alan Bray Memorial Book Award presented by the Modern Language Association Challenging the conception of empowerment associated with the Black Power Movement and its political and intellectual legacies in the present, Darieck Scott contends that power can be found not only in martial resistance, but, surprisingly, where the black body has been inflicted with harm or humiliation. Theorizing the relation between blackness and abjection by foregrounding often neglected depictions of the sexual exploitation and humiliation of men in works by James Weldon Johnson, Toni Morrison, Amiri Baraka, and Samuel R. Delany, Extravagant Abjection asks: If we’re racialized through domination and abjection, what is the political, personal, and psychological potential in racialization-through-abjection? Using the figure of male rape as a lens through which to examine this question, Scott argues that blackness in relation to abjection endows its inheritors with a form of counter-intuitive power—indeed, what can be thought of as a revised notion of black power. This power is found at the point at which ego, identity, body, race, and nation seem to reveal themselves as utterly penetrated and compromised, without defensible boundary. Yet in Extravagant Abjection, “power” assumes an unexpected and paradoxical form. In arguing that blackness endows its inheritors with a surprising form of counter–intuitive power—as a resource for the political present—found at the very point of violation, Extravagant Abjection enriches our understanding of the construction of black male identity.

From the senior pastor of New Life Church, a “timely, thought-provoking, inspiring, and uplifting” (The Gazette, Colorado) book that redefines the notion of extravagance by using the parable of the Good Samaritan to demonstrate how to live a truly compassionate and selfless life of giving freely without expecting anything in return. We all know people in our lives who have “yes” faces. They are calm but energetic, present but still purposeful with their time. They’re genuine in their desire to know about you—how you’re doing, what you’re up to, how you feel. Even with full lives of their own, they somehow still have the energy to inquire about others. These are extravagant people. In Extravagant, Pastor Brady Boyd shows us that by constantly offering up our time, talents, and hearts we can live life more like these exceptional people. Drawing on the parable of the Good Samaritan, he encourages us to stop living a life driven by selfish desire and start building lasting relationships that will be spiritually fulfilling. Discover how to begin this transformation by ceasing to be a passerby and become one who pauses in the course of daily life. By embracing the spirit of generosity, Pastor Boyd shows us that the path to a happier life is by living closer to God’s vision and building a community that will be there in times of need. “Boyd’s illuminating insights are a perfect primer for living a more self-aware, spiritually fulfilling life” (Shelf Awareness) and just the remedy we need in today’s fractured culture and troubled times.

Why do Christians even mature Christians still sin so often? Why doesn't God set us free? We seem to notice more sin in our lives all the time, and we wonder if our progress is a constant disappointment to God. Where is the joy and peace we read about in the Bible? Speaking from her own struggles, Barbara Duguid turns to the writings of John Newton to teach us a theology with a purpose for our failure and guilt one that adjusts our expectations of ourselves. Her empathetic, honest approach lifts our focus from our own performance back to the God who is bigger than our failures and who uses them. Rediscover how God's extravagant grace makes the gospel once again feel like the good news it truly is

In what promises to be a breakout in Charles Finch's bestselling series, Charles Lenox travels to the New York and Newport of the dawning Gilded Age to investigate the death of a beautiful socialite. London, 1878. With faith in Scotland Yard shattered after a damning corruption investigation, Charles Lenox's detective agency is rapidly expanding. The gentleman sleuth has all the work he can handle, two children, and an intriguing new murder case. But when Prime Minister Benjamin Disraeli offers him the opportunity to undertake a diplomatic mission for the Queen, Lenox welcomes the chance to satisfy an unfulfilled yearning: to travel to America. Arriving in New York, he begins to receive introductions into both its old Knickerbocker society and its new robber baron splendor. Then, a shock: the death of the season's most beautiful debutante, who appears to have thrown herself from a cliff. Or was it murder? Lenox’s reputation has preceded him to the States, and he is summoned to a magnificent Newport mansion to investigate the mysterious death. What ensues is a fiendish game of cat and mouse. Witty, complex, and tender, An Extravagant Death is Charles Finch's triumphant return to the main storyline of his beloved Charles Lenox series—a devilish mystery, a social drama, and an unforgettable first trip for an Englishman coming to America.

"When church historians reflect on the worship revolution that happened around the turn of the 21st century, Darlene Zschech will be credited for playing a major role," Bill Hybels says. While challenging the Christian in the congregation to be an extravagant worshiper, Zschech also presents valuable insights and help for the worship leader. These are the words of a woman of God who lives what she writes.

Taking extra-vagans literally (Lat. ‘wandering outside, out of bounds’), this volume comprises nine case studies on extravagant morphology ranging from pattern-extending derivational processes via theory-challenging compounding processes to interface-straddling morphosyntactic phenomena. As a heuristic approach, morphological extravagance captures word-formation processes characterised by constraint violations, interface phenomena as well as borderline phenomena not easily reconcilable with traditional postulates of morphological accounts. In this regard, the notion of extravagance allows for an exploration of rule-bending language use both empirically and theoretically. The volume makes a valuable contribution to studies on morphological variation, which has only recently seen a renewed and growing interest in morphological phenomena that challenge morphological frameworks. The volume is of interest to all researchers who seek to gain a broader understanding of the mechanisms and factors at work in morphological variation and who are interested in the reassessment of morphological theorising in light of empirical data.

Brian T. May argues that, contrary to widely held assumptions of postcolonial literary criticism, a distinctive subset of postcolonial novels significantly values and scrupulously explores a healthy individuality. These "extravagant" postcolonial works focus less on collective social reality than on the intimate subjectivity of their characters. Their authors, most of whom received some portion of a canonical western education, do not subordinate the ambitions of their fiction to explicit political causes so much as create a cosmopolitan rhetorical focus suitable to their western-educated, western-trained, audiences. May pursues this argument by scrutinizing novels composed during the thirty-year postindependence, postcolonial era of Anglophone fiction, a period that began with the Nigerian Chinua Achebe's Things Fall Apart and that ended, many would say, with the Ayatollah Khomeini's 1989 publication of the Rushdie Fatwa. May contends that the postcolonial authors under consideration—Naipaul, Rushdie, Achebe, Rhys, Gordimer, and Coetzee—inherited modernism and refashioned it. His account of their work demonstrates how it reflects and transfigures modernists such as Conrad, Eliot, Yeats, Proust, Joyce, and Beckett. Tracing the influence of humanistic values and charting the ethical and aesthetic significance of individualism, May demonstrates that these works of "extravagant postcolonialism" represent less a departure from than a continuation and evolution of modernism.