This is a book about books, about the pleasures, passions & rewards of reading, about authors who are dedicated to the act of writing and readers who are devoted to the joys of words in the right order. Funny, moving, and beautiful, it features an eclectic selection from some of the world's finest writers, as well as sixteen full-color paintings by artist and editor Bascove. Book jacket.

Why do we need fiction? Why do books need to be printed on paper, copyrighted, read to the finish? Do we read to challenge our vision of the world or to confirm it? Has novel writing turned into a job like any other? In Where I’m Reading From, the novelist and critic Tim Parks ranges over decades of critical reading—from Leopardi, Dickens, and Chekhov, to Virginia Woolf, D. H. Lawrence, and Thomas Bernhard, and on to contemporary work by Peter Stamm, Alice Munro, and many others—to upend our assumptions about literature and its purpose. In thirty-seven interlocking essays, Where I’m Reading From examines the rise of the “international” novel and the disappearance of “national” literary styles; how market forces shape “serious” fiction; the unintended effects of translation; the growing stasis of literary criticism; and the problematic relationship between writers’ lives and their work. Through dazzling close readings and probing self-examination, Parks wonders whether writers—and readers—can escape the twin pressures of the new global system and the novel that has become its emblematic genre.

This popular collection of books not only provides key Bible facts, character profiles, important places in history, and descriptive timelines, but it makes learning enjoyable. The Complete Book of Who's Who provides readers with a complete listing of people in the Bible with descriptions of their lives and accomplishments. The Complete Book of When and Where tells intriguing accounts of 1,001 events in Christian history and their significance. Includes a comprehensive timeline.

Self-taught photographer Hugh Mangum was born in 1877 in Durham, North Carolina, as its burgeoning tobacco economy put the frontier-like boomtown on the map. As an itinerant portraitist working primarily in North Carolina and Virginia during the rise of Jim Crow, Mangum welcomed into his temporary studios a clientele that was both racially and economically diverse. After his death in 1922, his glass plate negatives remained stored in his darkroom, a tobacco barn, for fifty years. Slated for demolition in the 1970s, the barn was saved at the last moment--and with it, this surprising and unparalleled document of life at the turn of the twentieth century, a turbulent time in the history of the American South. Hugh Mangum's multiple-image, glass plate negatives reveal the open-door policy of his studio to show us lives marked both by notable affluence and hard work, all imbued with a strong sense of individuality, self-creation, and often joy. Seen and experienced in the present, the portraits hint at unexpected relationships and histories and also confirm how historical photographs have the power to subvert familiar narratives. Mangum's photographs are not only images; they are objects that have survived a history of their own and exist within the larger political and cultural history of the American South, demonstrating the unpredictable alchemy that often characterizes the best art--its ability over time to evolve with and absorb life and meaning beyond the intentions or expectations of the artist.

"A little green snake follows a little pink snake around the park on a summer day"--

Why is the Ascension such a neglected area of biblical teaching? What exactly happened? How did the disciples react? Why did Jesus go back to heaven? What did he do next? What is he doing now? How does all this connect with our lives today? David Pawson explains why the Ascension of Jesus can still be a source of inspiration to every Christian believer.

In Where Metaphors Come From, Zoltán Kövecses proposes a metaphorical grounding that augments and refines conceptual metaphor theory according to which conceptual metaphors are based on our bodily experience. While this is certainly true in many cases of metaphor, the role of the body in metaphor creation can and should be reinterpreted, and, consequently, the body can be seen as just one of the several contexts from which metaphors can emerge (including the situational, discourse, and conceptual-cognitive contexts) - although perhaps the dominant or crucial one. Kövecses is a leader in CMT, and his argument in this book is more in line with what has been discovered about the nature of human cognition in recent years; namely, that human cognition is grounded in experience in multiple ways - embodiment, in a strict sense, being just one of them (see Barsalou, 2008; Gibbs, 2006; Pecher and Zwaan, 2005). In light of the present work, this is because cognition, including metaphorical cognition, is grounded in not only the body, but also in the situations in which people act and lead their lives, the discourses in which they are engaged at any time in communicating and interacting with each other, and the conceptual knowledge they have accumulated about the world in the course of their experience of it.

Seeking to tell worship history in the same way it is usually experienced, Walking Where Jesus Walked is a document-rich snapshot of the church in Jerusalem in the late fourth century. / Here the reader journeys with a woman visiting Jerusalem as the highlight of a Holy Land pilgrimage in the last part of the fourth century. As she marvels at the new churches built at so many sites associated with Jesus Christ, she notes how remembrance shaped by Scripture and fitting to the time and place serves as the bedrock for this church s worship. Ruth helps today s reader hear the preaching which caused shouts of delight at the tomb of Christ, know the readings which lead the congregation to weep in the shadow of Calvary, and see the new buildings which sought to manifest God s glory at the places where Jesus had walked, died, and risen from the grave. / By pairing contemporary descriptions, artistic portrayals, and worship texts with various commentaries to guide readers, this first in a series of case studies of particular worshiping communities from around the world and throughout Christian liturgical history aims to allow a worshiper today to think concretely and contextually about some of the continually important issues for Christian worship.

After Aubrey Harrison wrecks her truck on a dark highway, an unexpected twist of fate catapults her from modern-day Texas to 1836, just weeks before the battle at the Alamo. She wakes up in the life of another woman, one who looks exactly like her. Determined to find a way back, Aubrey avoids the striking young cattleman, Tapley Holland, and the complicated past he’s convinced they share. But she finds herself unwillingly engaged to the town's wealthiest and most powerful bachelor, a man with a cruel vendetta against Tapley. The deeper she falls into the past version of herself, the less she can deny her connection to Texas history and the desire she feels for cattleman. At first, destiny seems to favor the lovers. But as the beautiful countryside prepares for one of the deadliest conflicts in history, Aubrey discovers that love is not bound by time.

"Burglar Junior Bender may just be our favorite literary P.I."—Entertainment Weekly It’s three days until Christmas and Junior Bender, Hollywood’s fasttalking fixer for the felonious, is up to his ears in shopping mall Santas, Russian mobsters, desperate holiday shoppers, and (’tis the season) murder. The halls are decked, the deck is stacked, and here comes that jolly old elf. Junior Bender, divorced father of one and burglar extraordinaire, finds himself stuck inside the Edgerton Mall, and not just as a last-minute shopper (though he is that too). Edgerton isn’t exactly the epicenter of holiday cheer, despite its two Santas, canned Christmas music, chintzy bows, and festive lights. The mall is a fossil of an industry in decline; many of its stores are closed, and to make matters worse, there is a rampant shoplifting problem. The murderous Russian mobster who owns the place has decided it takes a thief to catch a thief and hires Junior—under threat—to solve the shoplifting problem for him. But Junior’s surveillance operation doesn’t go well: as Christmas Eve approaches, two people are dead and it’s obvious that shoplifting is the least of the mall’s problems. To prevent further deaths, possibly including his own, Junior must confront his dread of Christmas—both present and past.