Sentence Description A powerfully moving memoir about one boy's life, the severe traumas of abuse at the hands of a cult leader, and how faith in God led him out of his nightmare and into a life

Katherine becomes the lover of a mysterious Russian library owner for 30 days at an unforeseen and devastating price. All that Russian aeromancist, Lann Dréan, wants is to enjoy a month of peace in the privately owned monastery in Santiago he is turning into a home. When an American literature student walks into his library of antique books, his holiday intentions change. The untouchable Lann is inexplicably enraptured. For all his famed control, he can’t stay away from Katherine White. Gifted with a hunted talent and a price on his head, the best Lann can offer Kat are thirty days of unequalled passion before returning to his paranormal crime task force in New York. If Kat consents to his terms, she will agree to walk away on Day Thirty. Forever. But his uncontainable desire comes with an unforeseen price. Note: This book ends on a cliffhanger. Kat and Lann's story concludes in Aeromancist, Book 3. The books in this series must be read in order. The series is complete.

A substantial selection of classic essays allows readers to trace the history of the essay from Swift to Woolf and Orwell and beyond. A selection of the finest of contemporary essays—from Witold Rybcynski to David Sedaris and Elizabeth Kolbert—provides a broad sample of the genre in the late twentieth and early twenty-first centuries. The academic essays begin with classic selections from such writers as Darwin and Charles Lyell, but the emphasis is on recent decades. Emphasized as well are academic papers or essays that have been especially influential or controversial, from Luis and Walter Alvarez’s suggestion that an asteroid caused the extinction of the dinosaurs to Judith Rich Harris’s argument that the influence of peers may be at least as influential in the formation of personality as that of parents. Works of different lengths, levels of difficulty and subject matter are all represented, as are narrative, descriptive and persuasive essays. Also included in the text is a range of questions and suggestions for discussion. The text selections are numbered by paragraph for ready reference. Added to the second edition are new selections by Malcolm Gladwell, Doris Lessing, Eric Schlosser, Binyavanga Wainaina, and over twenty others. This new edition also provides pairings of informal and academic articles that address the same topic, allowing readers to consider contrasting approaches.

For 1,600 years its message lay hidden. When the bound papyrus pages of this lost gospel finally reached scholars who could unlock its meaning, they were astounded. Here was a gospel that had not been seen since the early days of Christianity, and which few experts had even thought existed–a gospel told from the perspective of Judas Iscariot, history’s ultimate traitor. And far from being a villain, the Judas that emerges in its pages is a hero. In this radical reinterpretation, Jesus asks Judas to betray him. In contrast to the New Testament Gospels, Judas Iscariot is presented as a role model for all those who wish to be disciples of Jesus and is the one apostle who truly understands Jesus. Discovered by farmers in the 1970s in Middle Egypt, the codex containing the gospel was bought and sold by antiquities traders, secreted away, and carried across three continents, all the while suffering damage that reduced much of it to fragments. In 2001, it finally found its way into the hands of a team of experts who would painstakingly reassemble and restore it. The Gospel of Judas has been translated from its original Coptic to clear prose, and is accompanied by commentary that explains its fascinating history in the context of the early Church, offering a whole new way of understanding the message of Jesus Christ.

The first of its kind, this companion to British-Jewish theatre brings a neglected dimension in the work of many prominent British theatre-makers to the fore. Its structure reflects the historical development of British-Jewish theatre from the 1950s onwards, beginning with an analysis of the first generation of writers that now forms the core of post-war British drama (including Tom Stoppard, Harold Pinter and Arnold Wesker) and moving on to significant thematic force-fields and faultlines such as the Holocaust, antisemitism and Israel/Palestine. The book also covers the new generation of British-Jewish playwrights, with a special emphasis on the contribution of women writers and the role of particular theatres in the development of British-Jewish theatre, as well as TV drama. Included in the book are fascinating interviews with a set of significant theatre practitioners working today, including Ryan Craig, Patrick Marber, John Nathan, Julia Pascal and Nicholas Hytner. The companion addresses, not only aesthetic and ideological concerns, but also recent transformations with regard to institutional contexts and frameworks of cultural policies.