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This book is quite unique. The reason that it is so is because it is written by her incarnation into the next life, about the previous one. So prove me a liar about reincarnation, by refuting the reality of this book. I must call it fiction, because, I used the information I know as a skeleton, and created a story around it. It is a story of betrayal, revenge, steamy lovemaking, hope, and tragedy. It follows her up to the (SW) spirit world to show what occurs when she commits suicide, and ascends, until I returned.
A Grief Observed is a collection of Lewis's reflections on the experience of bereavement following the death of his wife, Joy Davidman, in 1960. The book was first published under the pseudonym N.W. Clerk as Lewis wished to avoid identification as the author. Though republished in 1963 after his death under his own name, the text still refers to his wife as "H" (her first name, which she rarely used, was Helen). The book is compiled from the four notebooks which Lewis used to vent and explore his grief. He illustrates the everyday trials of his life without Joy and explores fundamental questions of faith and theodicy. Lewis's step-son (Joy's son) Douglas Gresham points out in his 1994 introduction that the indefinite article 'a' in the title makes it clear that Lewis's grief is not the quintessential grief experience at the loss of a loved one, but one individual's perspective among countless others. The book helped inspire a 1985 television movie Shadowlands, as well as a 1993 film of the same name. Clive Staples Lewis (1898-1963) was a British novelist, poet, academic, medievalist, lay theologian and Christian apologist. He is best known for his fictional work, especially The Screwtape Letters, The Chronicles of Narnia, and The Space Trilogy, and for his non-fiction Christian apologetics, such as Mere Christianity, Miracles, and The Problem of Pain.
An intimate narrative history of World War I told through the stories of twenty men and women from around the globe--a powerful, illuminating, heart-rending picture of what the war was really like. In this masterful book, renowned historian Peter Englund describes this epoch-defining event by weaving together accounts of the average man or woman who experienced it. Drawing on the diaries, journals, and letters of twenty individuals from Belgium, Denmark, France, Great Britain, Germany, Austria, Hungary, Italy, Australia, New Zealand, Russia, Venezuela, and the United States, Englund’s collection of these varied perspectives describes not a course of events but "a world of feeling." Composed in short chapters that move between the home front and the front lines, The Beauty and Sorrow brings to life these twenty particular people and lets them speak for all who were shaped in some way by the War, but whose voices have remained unheard.
Her Choice to Heal guides women through post-abortion healing by sharing personal stories and offering practical tools, compassionate support, and hope in Christ.
Grieving women in early modern English drama, this study argues, recall not only those of Classical tragedy, but also, and more significantly, the lamenting women of medieval English drama, especially the Virgin Mary. Looking at the plays of Shakespeare, Kyd, and Webster, this book presents a new perspective on early modern drama grounded upon three original interrelated points. First, it explores how the motif of the mourning woman on the early modern stage embodies the cultural trauma of the Reformation in England. Second, the author here brings to light the extent to which the figures of early modern drama recall those of the recent medieval past. Finally, Goodland addresses how these representations embody actual mourning practices that were viewed as increasingly disturbing after the Reformation. Female Mourning and Tragedy in Medieval and Renaissance English Drama synthesizes and is relevant to several areas of recent scholarly interest, including the performance of gender, the history of emotion, studies of death and mourning, and the cultural trauma of the Reformation.