In modern society, 1 in 3 women have been sexually abused in some form. Currently the news relays stories of women and girls being trafficked as sex slaves. The problems in our world are growing. Christians must face their own demons in order to respond to the needs of others, instead of turning a blind eye or over-reacting to those problems. This bible study is designed to help women who have been sexually abused to overcome the residuals of that abuse in a safe and down-to-earth manner, using the Bible and psychology in a complementary way. The end result sought for is a restored woman with a desire to minister to others. We have been first-hand witnesses of beautifully changed lives, healed marriages and restored families as a result of this study.

In Caught in the Act, Joseph Litvak reveals not only the surprising wealth of theatrical themes in the canonical nineteenth-century English novel, but also the complex and over-determined politics of this theatricality. Nineteenth-century fiction is typically understood as enshrining the bourgeois values of privacy, domesticity, subjectivity, and sincerity. But Litvak demonstrates that private experience in the novels of Jane Austen, Charlotte Bronte, George Eliot, and Henry James is in fact a rigorous enactment of a public script that constructs normative gender and class identities. These novels also display extravagant theatrical forms like travesty, transvestism, charade, and carnival. The theatricality enforces social norms at the same time that it provides ways for novelists to resist them. Litvak thus challenges recent interpretations of the nineteenth-century novel as a disciplinary apparatus. His approach encourages a rethinking of the genre and its varied cultural contexts in all their instability and ambivalence. In addition to a new interpretation, this rethinking offers a new, more frankly theatrical approach to interpretation itself. Litvak argues that the theatricality of the nineteenth-century novel anticipates the late twentieth-century strategies of feminist and gay critical performance.

"Bring up a child in the way he shall go and when he is older he shall not depart from it." Grace Lee believed that Bible verse fervently. She was certain her daughter, Rosemary, would be not only an active Southern Baptist but a foreign missionary as well. During the late ‘60s, changes were afoot, forcing Grace to realize things were not what they ought to have been. Though she tried to close her eyes to political and social turmoil, the glaring faults she began seeing in her church were another matter. Dorothy Blackwell, a fellow-member in the Woman’s Missionary Union, had the reputation of being a “good” Southerner but church members were often askance at her vocal championing of what was considered the “Radical Left.” Dorothy’s strong convictions prompted Grace to explore her own unspoken doubts about the new direction their church was taking. She was utterly amazed when she realized the profound influence Miss Dorothy had on Rosemary, as well. While the rumble of fundamentalism shook her church to its very foundations, Grace also struggled with her vision of service for Rosemary. Was she prepared for the consequences of what she and Dorothy championed: the commitment to conscience?