When Laura met Scott, they quickly became high school sweethearts. They looked forward to a life filled with happiness, but their dreams darkened when Scott lost his eyesight. Eager to regroup, the couple moves back to Scotts hometown in Carter, Texas. Its just like dozens of other small towns in that part of the state, with an oil company controlling its school systems, police department, and politics. Not long after they arrive, however, Scotts father, Jack, is found shot dead in his car. The authorities rule it a suicide, and Scott blames himself for his fathers death. He thinks that his blindness must have pushed him over the edge. With her marriage getting worse by the day, Laura begins to have doubts about her father-in-laws suicide. She knows that Jack Sellers was a man who loved himself too much to take his own life. When she questions the deputy sheriff and discovers that he, too, has doubts about the death, she sets out on a mission to catch a killer. Now, Lauras marriage and her life depend on finding a killer that few people believe exists in the small town of Carter. A Blind Intention will help catch Jack Sellers' killer.

An independent teacher, based in Alexandria throughout the second half of the fourth century, Didymus appealed to many within the broadly Origenist currents of Egyptian asceticism, including Jerome, Rufinus, and Evagrius. His commentaries, lecture-notes, and theological treatises show him specifically committed to the legacy of Origen and Philo, rather than a broader 'Alexandrian' or noetic reading of Scripture. Yet his concern was not to answer classic 'Antiochene' critique but rather offer a faithful continuation of many aspects of Origen's thought and exegesis, now made consistent with the broader anti-subordinationist developments in Nicene faith from the 350s onwards. In doing so he made virtue a primary category of reality, human existence, and life, in ways that go beyond the traditional philosophical tropes. This 'turn to virtue' draws parallels with wider fourth-century trends but it sets Didymus' own Origenism apart from those of other Origenists, such as Eusebius of Caesarea or Evagrius of Pontus. Thus detailed discussion focuses on Didymus' portrayal of virtue, sin, and passion, which together form the constant hermeneutical terrain for his anagogical exegesis and exhortation to a dynamic process of ascent. Speculative comments of Origen on the pre-existence of the soul, salvation of the devil, pre-passion, and the sin of Adam are shown to be reframed, both to aid the individual's navigation of the return to virtue and to answer the challenge of contemporary Manichaean and Apollinarian beliefs.

With Mathilde Blind: Late-Victorian Culture and the Woman of Letters, James Diedrick offers a groundbreaking critical biography of the German-born British poet Mathilde Blind (1841–1896), a freethinking radical feminist. Born to politically radical parents, Blind had, by the time she was thirty, become a pioneering female aesthete in a mostly male community of writers, painters, and critics, including Algernon Charles Swinburne, William Morris, Ford Madox Brown, William Michael Rossetti, and Richard Garnett. By the 1880s she had become widely recognized for a body of writing that engaged contemporary issues such as the Woman Question, the forced eviction of Scottish tenant farmers in the Highland Clearances, and Darwin’s evolutionary theory. She subsequently emerged as a prominent voice and leader among New Woman writers at the end of the century, including Mona Caird, Rosamund Marriott Watson, and Katharine Tynan. She also developed important associations with leading male decadent writers of the fin de siècle, most notably, Oscar Wilde and Arthur Symons. Despite her extensive contributions to Victorian debates on aesthetics, religion, nationhood, imperialism, gender, and sexuality, however, Blind has yet to receive the prominence she deserves in studies of the period. As the first full-length biography of this trailblazing woman of letters, Mathilde Blind underscores the importance of her poetry and her critical writings (her work on Shelley, biographies of George Eliot and Madame Roland, and her translations of Strauss and Bashkirtseff) for the literature and culture of the fin de siècle.

Do newborns think? Do they know that "three" is greater than "two"? Do they prefer "right" to "wrong"? What about emotions--can newborns recognize happiness or anger? If the answer to these questions is yes, then how are our inborn thoughts and feelings encoded in our bodies? Could they persist after we die? Going all the way back to ancient Greece, human nature and the mind-body problem have been the topics of fierce scholarly debates. But laypeople also have strong opinions about such matters. Most people believe, for example, that newborn babies don't know the difference between right and wrong--such knowledge, they insist, can only be learned. For emotions, they presume the opposite--that our capacity to feel fear, for example, is both inborn and embodied. These beliefs are stories we tell ourselves about what we know and who we are. They reflect and influence our understanding of ourselves and others and they guide every aspect of our lives. In The Blind Storyteller, the cognitive psychologist Iris Berent exposes a chasm between our intuitive understanding of human nature and the conclusions emerging from science. Her conclusions show that many of our stories are misguided. Just like Homer, we, the storyteller, are blind. How could we get it so wrong? In a twist that could have come out of a Greek tragedy, Berent proposes that our errors are our fate. These mistakes emanate from the very principles that make our minds tick: Our blindness to human nature is rooted in human nature itself. An intellectual journey that draws on philosophy, anthropology, linguistics, cognitive science, and Berent's own cutting-edge research, The Blind Storyteller grapples with a host of provocative questions, from why we are so afraid of zombies, to whether dyslexia is "just in our heads," from what happens to us when we die, to why we are so infatuated with our brains. The end result is a startling new perspective on the age-old nature/nurture debate--and on what it means to be human.

The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)

The blind photographer cannot see a butterfly perched perfectly still on a flower, a bowl of sweet-smelling fruit, or a child's rattle on a darkened floor, but the mind's eye is sharply focused. How then, do blind or partially sighted people capture such extraordinary images? The photographs in this revelatory book suggest a deeper truth: that blindness is itself a kind of seeing, and that those who can see are often blind to the strangeness and beauty of the world around them. As the blind photographer Evgen Bavcar writes, "Photography must belong to the blind, who in their daily existence have learned to become the masters of camera obscura." Through the photographs of more than fifty blind or partially sighted people from around the world, this exhilarating book—the first to explore this phenomenon in all its vibrancy and diversity—will make you see differently.