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In this slightly off-beat, deliberately challenging and striking oversized book, one of America's favourite artists offers up to 33 full-size paintings that portray scenes where things are, well, not quite right, but just enough so that most children will be able to spot the clever anomalies and paradoxes. Ages 8+.
Follow Lisa and her pets through their day, finding mistakes on each page of the story.
"A beacon of truth and wisdom for the abused and a help in their healing." --Scot McKnight and Laura Barringer, authors of A Church Called Tov "Reading this book . . . will change you forever, for the better." --Rachael Denhollander, speaker, victim advocate, and author of What Is a Girl Worth? "Sincerely thoughtful, incredibly practical, and truly compassionate book on abusive systems and the consequences of cover-ups." --Christina Edmondson, PhD, cohost of Truth's Table podcast "Am I the only one who sees this--am I just imagining things? Is something wrong with me . . . or could this be abuse?" Maybe you don't know for sure: all you know is something feels off when you think about a certain relationship or interaction with an institution or organization. You feel alone and confused--but calling it "abuse" feels extreme and unsettling, a label for what happens to other people but not you. Yet you can't shake the feeling: something's not right. In his debut book, researcher and advocate Wade Mullen introduces us to the groundbreaking world of impression management--the strategies that individuals and organizations utilize to gain power and cover up their wrongdoings. Mullen reveals a pattern that accompanies many types of abuse, almost as if abusers are somehow reading from the same playbook. If we can learn to decode these evil methods--if we can learn the language of abuse--we can help stop the cycle and make abusers less effective at accomplishing destruction in our lives. Something's Not Right will help you to identify and describe tactics that were previously unidentifiable and indescribable, and give you the language you need to move toward freedom and create a safer future for yourself and others.
With Mayor Beau accused of abuse of power and facing federal indictment, a relentless curse after her unborn nephew, and a moody, uncommunicative spirit in her room, reluctant ghost-helper Graciela Harper figures she’s got enough on her plate. The universe, as usual, figures otherwise. On a girls trip to Charleston that’s meant to give Beau some space and cheer up her cousin, Amelia, a second ghost follows Gracie back to Heron Creek. As she digs into the mystery behind the Whistling Doctor of Dueler’s Alley, things at home go from bad to worse. Leo’s not talking to her, Amelia’s depression is putting her health at risk, and Beau…well, maybe he’s not as innocent as Gracie always believed. All that takes a back seat when Gracie’s run off the road on her way back from a research trip, forcing her to face the possibility that her ghost’s secrets might not be about harmless lost love after all. In fact, he’s been the only person aware of certain documents for over two hundred years, and if Gracie helps unearth them she might find herself trapped underground…permanently.
For the living, the dead, and the people stuck somewhere in between, Heron Creek has become a battleground. Graciela Harper might be new seeing ghosts, fighting curses, and just living with her old friends again, but there’s no doubt she’s on the front lines—and overwhelmed. Leo and Mel have been arrested. Amelia teeters on the edge of a deep depression that could cost her her child. Beau, her boyfriend who might not quite be her boyfriend anymore, is breaking her heart. None of that will matter if Gracie can’t figure out how to break the hundreds year old curse on the male line of her family. She knows she needs to focus on that, but with the future of one of South Carolina’s oldest and most prestigious families hanging in the balance, she’s tempted to try to save them, too. What Gracie’s about to learn is that she can’t do this alone, and every single person who has entered her life since her return to Heron Creek will need to pitch in for her to succeed. Well, that and the fact that she might not be able to save everyone…not even herself.
A picture book for magical yet imperfect children everywhere, written by debut author Ashley Franklin and perfect for fans of such titles as Matthew A. Cherry's Hair Love, Grace Byers's I Am Enough, and Lupita Nyong'o's Sulwe. Tameika is a girl who belongs on the stage. She loves to act, sing, and dance—and she’s pretty good at it, too. So when her school announces their Snow White musical, Tameika auditions for the lead princess role. But the other kids think she’s “not quite” right to play the role. They whisper, they snicker, and they glare. Will Tameika let their harsh words be her final curtain call? Not Quite Snow White is a delightful and inspiring picture book that highlights the importance of self-confidence while taking an earnest look at what happens when that confidence is shaken or lost. Tameika encourages us all to let our magic shine.
“One of the greatest love stories in world literature.”-Vladimir Nabokov “Anna Karenina is a perfect work of art. This novel contains a humane message that has not yet been heeded in Europe and that is much needed by the people of the western world.”-Fyodor Dostoevsky “The truth is we are not to take Anna Karenina as a work of art; we are to take it as a piece of life.”-Matthew Arnold Although love and infidelity are a major themes of Leo Tolstoy’s epic Russian novel Anna Karenina (1877), there is a startling scope of philosophical and theological insight within the pages of this monumental work. The pinnacle of the realist novel, the commonplace lives and frustrations of the characters within Anna Karenina are woven together in parallel subtexts that ask difficult questions. The story of the extramarital affair between Anna Karenina and the young bachelor Count Vronsky is at the center of this complex work of literature. When Anna’s husband discovers the infidelity of his wife, his primary concern is not the well-being of his marriage, but his own self-image. The downward spiral of Anna’s illicit behavior is paralleled with the story of Kitty and Konstantin Levin, who is a wealthy agriculturalist but somewhat socially clumsy figure. Levin and Kitty’s love is unblemished, yet his struggles with faith and his unrelenting philosophical questioning paint a profound portrait of internal anguish. This classic novel examines the depth of the human soul against the backdrop of 19th-century Russia as no other work of literature has done. With an eye-catching new cover, and professionally typeset manuscript, this edition of Anna Karenina is both modern and readable.
This timely book confronts this challenge of defining a new relationship between researchers and their research. It sets out, simply and accessibly, how you can become a more rounded, authentic researcher.
In the depths of the cosmos there is madness to be found and there are stories to be told... The Elder Gods, Cthulhu, Nyarlethotep, and the like have a taste for fear, for madness, for flesh... But over the years they have grown bored with the taste of the standard straight, white male so often portrayed in the tales of the Mythos. Like a human being with a hankering for Thai after a steady diet of steak and potatoes, the Gods of the Mythos are craving something different... An African Igbo head man defends his tribe against eldritch incursion with the help of his own Gods... A deeply scarred man gathers strength from Sobek, the Egyptian God who claimed him young, as he stands against the horrors shoulder to shoulder with a Priestess of Bast... A Jewish lesbian rides into town to save it from the Unspeakable, with a little help from her girlfriend and her rich heritage... All this and more await you in these pages. Welcome to equal opportunity madness...
George L. Parsenios explores the legal character of the Gospel of John in the light of classical literature, especially Greek drama. Johannine interpreters have explored with increasing interest both the legal quality and the dramatic quality of the Fourth Gospel, but often do not connect these two ways of reading John. Some interpreters even assume that the one approach excludes the other, and that John is either legal or dramatic, but not both. Legal rhetoric and tragic drama, however, were joined throughout antiquity in a complex pattern of mutual influence. To connect John to drama, therefore, is to connect John to legal rhetoric, and doing so helps to see even more clearly the pervasiveness of the legal motif in the Gospel of John. Tracing the legal character of seeking in Sophocles' Oedipus Rex, for example, sheds new light on the legal character of seeking in the Fourth Gospel, especially in the enigmatic comment of Jesus at John 8:50. New insights are also offered regarding the evidentiary character of the signs of Jesus, based on comparison with Aristotle's comments about signs and rhetorical evidence in both the Poetics and Rhetoric, as well as by comparison with plays by Aeschylus, Sophocles and Euripides. To call the signs of Jesus evidence, however, does not remove them from the dialectical tension inherent in Johannine theology. If the signs are evidence, they are evidence in a world in which the basis of forming judgments has been problematized by the appearance of the Word in the flesh.