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Vols. 2-6 include "Theological and Semitic literature for 1898-1901, a bibliographical supplement to the American journal of theology and the American journal of Semitic languages and literatures. By W. Muss-Arnolt." (Separately paged)
Mary Baker Eddy. Speaking for herself offers an unprecedented look at the woman hailed in 1907 as "...the most famous, interesting, and powerful woman in America, if not the world" (Human Life magazine). First in a series of books featuring her previously unpublished writings, this is a volume where Eddy's voice is heard as never before. Mary Baker Eddy's accomplishments as a healer. author, publisher, and founder of an international newspaper and a worldwide movement are extraordinary when viewed in light of her nineteenth-century surroundings. Jana K. Riess, Religion Book Review Editor for Publishers Weekly, notes that Eddy "...persistently enlarged the boundaries of spirituality, womanhood, and medicine more than a century ago. She was a unique, strong, and visionary leader, a product of the nineteenth century who looked into the future and claimed its progress." Dr. Riess's insightful introduction looks at the societal context in which Eddy lived and made her lasting legacy. As the current interest in spirituality continues to rise, Eddy's bold concepts about spirituality, health, and womanhood are more relevant than ever. In the words of Dr. Riess, "Her personal story could be any of ours, and it inspires us to transcend our circumstances as she did." Book jacket.
Mark Twain is America’s—perhaps the world’s—best known humorous writer. Yet many commentators in his time and our own have thought of humor as merely an attractive surface feature rather than a crucial part of both the meaning and the structure of Twain’s writings. This book begins with a discussion of humor, and then demonstrates how Twain’s artistic strategies, his remarkable achievements, and even his philosophy were bound together in his conception of humor, and how this conception developed across a forty-five year career. Kolb shows that Twain is a writer whose lifelong mode of perception is essentially humorous, a writer who sees the world in the sharp clash of contrast, whose native language is exaggeration, and whose vision unravels and reorganizes our perceptions. Humor, in all its mercurial complexity, is at the center of Mark Twain’s talent, his successes, and his limitations. It is as a humorist—amiably comic, sharply satiric, grimly ironic, simultaneously humorous and serious—that he is best understood.