From the 2020 winner of the Thomas Shapcott Award comes a sophisticated, impressive and rich collection of poetry that unpacks the complexity of family, grief, and cross-cultural and queer identity. These richly allusive poems weigh violence and tenderness, wound and cure, history and future. Boldly and tenderly, they balance loss and gain, adventure and quiet, as they hum to one another of love and loss. This is a scintillating and exhilarating collection from an accomplished and distinctive new voice.

A history of the shifting and conflicting ideas about when, where, and how we should touch our children Discussing issues of parent-child contact ranging from breastfeeding to sexual abuse, Jean O'Malley Halley traces the evolution of mainstream ideas about touching between adults and children over the course of the twentieth century in the United States. Debates over when a child should be weaned and whether to allow a child to sleep in the parent's bed reveal deep differences in conceptions of appropriate adult-child contact. Boundaries of Touch shows how arguments about adult-child touch have been politicized, simplified, and bifurcated into "naturalist" and "behaviorist" viewpoints, thereby sharpening certain binary constructions such as mind/body and male/female. Halley discusses the gendering of ideas about touch that were advanced by influential social scientists and parenting experts including Benjamin Spock, Alfred C. Kinsey, and Luther Emmett Holt. She also explores how touch ideology fared within and against the post-World War II feminist movements, especially with respect to issues of breastfeeding and sleeping with a child versus using a crib. In addition to contemporary periodicals and self-help books on child rearing, Halley uses information gathered from interviews she conducted with mothers ranging in age from twenty-eight to seventy-three. Throughout, she reveals how the parent-child relationship, far from being a private or benign subject, continues as a highly contested, politicized affair of keen public interest.

From New York Times bestselling author Jane Feather comes the first of a wonderful new trilogy, The Blackwater Brides, set in the sensually im-proper Georgian period, in which three noble brothers discover they will be forced to find brides under highly unusual circumstances. Jasper Sullivan, Earl of Blackwater, needs a prostitute. Not in the usual way, however. His wealthy uncle’s will promises to divide his huge fortune among his nephews if each rescues a fallen woman . . . by marrying her! And since Jasper’s estates were already mortgaged to the hilt before he inherited them, when he catches a pretty young prostitute trying to pick his pocket, he immediately makes his proposal. Clarissa Astley is not at all what Jasper believes. The orphaned daughter of a prosperous merchant, she is searching the seedier districts of London for her young brother, abducted by their evil guardian, who wants the little boy’s inheritance. But she needs powerful help, and the darkly handsome Earl of Blackwater is certainly that. So she pretends to be exactly what he assumed— a risky charade for an innocent virgin. But when passion flares between Jasper and Clarissa, the deception becomes even more difficult to handle. . . .

The Altar of Innocence is about a mother who is in unfilled artist and a daughter who struggles to untangle the web of her mother¿s depression, alcoholism, and suicide attempt. As the daughter grows into a woman, she experiences her own confrontation with depression and a crumbling marriage. Deeply dissatisfied with the explanation of depression as a chemical imbalance in the brain, she peers into her own dark night of the soul and undertakes a spiritual journey. In order to finally claim her voice, she must overcome the patriarchy of the mental health system, challenge her treatment options, and navigate an increasingly difficult relationship with her husband. The poems in The Altar of Innocence come from my heart and from the sincere desire to share my journey in the hopes that others may find courage and inspiration. ¿Ann Bracken creates a vibrant dialogue with her reader. Her emotional vocabulary is wholeheartedly offered to us like a gift to the world. Bracken¿s strength comes from an equilibrium between idea and performance¿interior and exterior lives, smartly drawn. With a strong voice, vitally engaged, she presents characters and behavior without judgment. Poetry is the vehicle that makes us laugh and cry at her ¿Altar of Innocence.¿ ¿Grace Cavalieri, poet and producer of the radio show ¿The Poet and the Poem from the Library of Congress¿ ¿The Altar of Innocence offers readers a rare and compassionate look at depression. By telling her mother¿s story and sharing her own, Ann Bracken takes us on an intimate journey through two generations of mental illness and ultimate healing. Readers will find hope in her journey.¿ ¿ Laura Shovan, writer and publisher of Little Patuxant Review

Richard Gavin's new collection has some of the finest weird fiction I have ever read, tales that are unique and effective. His sequel to H. P. Lovecraft's 'The Hound' is especially delicious. This is a wonderful book, highly recommended! W. H. Pugmire Richard Gavin is one of the bright new stars in contemporary weird fiction. His richly textured style, deft character portrayal, and powerful horrific conceptions make every one of his tales a pleasure to read. S. T. Joshi If you hear some in Kadath saying, Numinous, Terrifying, or Beautiful, they are either talking about the Northern Lights or the work of Richard Gavin. Canada? They re calling it Canada now? Whatever. Don Webb Canadian author Richard Gavin has established himself as a leading contemporary writer of weird fiction. His richly nuanced prose style, his imaginative range, and his shrewdness in the portrayal of character and domestic conflict make his tales far more than mere shudder-coining. In this fourth collection of short stories and novelettes, Gavin again casts a wide imaginative net, from haunted Canadian woodlands to the carnivorous mesas of the American frontier, from Lovecraft s New England to the spirit traditions of Japan. Of the dozen stories included in this book, eight are previously unpublished a rich new feast of terror for devotees of a writer who works in the tradition of Poe, Machen, Blackwood, and Ligotti. Richard Gavin is the author of three previous short story collections, Charnel Wine (2004), Omens (2007), and The Darkly Splendid Realm (2009). Gavin lives in Ontario, Canada, with his beloved wife and their brood.

What does it mean to be in the presence of God's holiness? How can it affect us whether we seek it out or stumble upon it? Can it truly change our very reality to encounter it? The essayists in this volume explore these questions at the heart of Christian worship, considering the oft-neglected Old Testament as essential to understand our purpose in worship. Following the structure of the Hebrew canon -- beginning with the Pentateuch, moving through to the Psalms, then wisdom literature -- each chapter considers a separate aspect of worship, from theater to the Sabbath to sacred space, offering new inspiration. In the final essay Carol Bechtel "rereads the book of Job through the lens of our human limitations (as opposed to the usual theme of theodicy)," with compelling applications for both life and worship. Each of these essays concludes with two appropriately themed hymns and a "For Further Reading" list. Five of the seven contain sidebars that illustrate and enrich key points. Evocative woodcut artwork by Margaret Adams Parker provides a striking backdrop to the text. Taken together, these essays testify powerfully to the belief that the Old Testament is not only valuable but also essential to "whole" and fully foundational preaching and worship. Written primarily by Old Testament professors, Touching the Altar will make an engaging supplemental text for introductory or elective Old Testament courses and will also go far toward providing deeper worship for any Christian. Contributors: Carol M. Bechtel Thomas A. Boogaart Corrine L. Carvalho Ellen F. Davis J. Clinton McCann Jr. Dennis T. Olson Margaret Adams Parker John D. Witvliet

The Roman Catholic leadership still refuses to ordain women officially or even to recognize that women are capable of ordination. But is the widely held assumption that women have always been excluded from such roles historically accurate? How might the current debate change if our view of the history of women's ordination were to change? In The Hidden History of Women's Ordination, Gary Macy argues that for the first twelve hundred years of Christianity, women were in fact ordained into various roles in the church. He uncovers references to the ordination of women in papal, episcopal and theological documents of the time, and the rites for these ordinations have survived. The insistence among scholars that women were not ordained, Macy shows, is based on a later definition of ordination, one that would have been unknown in the early Middle Ages.