Fifteen-year-old Jenny knows she isn’t normal. She can’t tolerate being in a crowd, being touched, being near certain people, or sometimes just being. Then she meets a group of friends at her new school and learns that, like them, she is actually an empath – someone who is highly sensitive to the emotions and energy of the people and environment around her. Jenny knows her empath gifts hold the power to make a profound difference in her life and the lives of those around her – if only she could control them. With her new empath friends, her “crazy” Aunt Maggie, and her first love, the gorgeous and soulful Nathan, Jenny goes on a roller coaster ride of fear, tragedy, adventure, and desire. Her new awareness and skills are tested in a final climactic crisis. Supplementing the novel is a music soundtrack featuring new artists, including Taryn Kawaja, who performs the book’s theme song, “Sacrifice Me", written by the author of the book.

Narrative strategies for vast fictional worlds across a variety of media, from World of Warcraft to The Wire. The ever-expanding capacities of computing offer new narrative possibilities for virtual worlds. Yet vast narratives—featuring an ongoing and intricately developed storyline, many characters, and multiple settings—did not originate with, and are not limited to, Massively Multiplayer Online Games. Thomas Mann's Joseph and His Brothers, J. R. R. Tolkien's Lord of the Rings, Marvel's Spiderman, and the complex stories of such television shows as Dr. Who, The Sopranos, and Lost all present vast fictional worlds. Third Person explores strategies of vast narrative across a variety of media, including video games, television, literature, comic books, tabletop games, and digital art. The contributors—media and television scholars, novelists, comic creators, game designers, and others—investigate such issues as continuity, canonicity, interactivity, fan fiction, technological innovation, and cross-media phenomena. Chapters examine a range of topics, including storytelling in a multiplayer environment; narrative techniques for a 3,000,000-page novel; continuity (or the impossibility of it) in Doctor Who; managing multiple intertwined narratives in superhero comics; the spatial experience of the Final Fantasy role-playing games; World of Warcraft adventure texts created by designers and fans; and the serial storytelling of The Wire. Taken together, the multidisciplinary conversations in Third Person, along with Harrigan and Wardrip-Fruin's earlier collections First Person and Second Person, offer essential insights into how fictions are constructed and maintained in very different forms of media at the beginning of the twenty-first century.

Raising Intuitive Children helps parents understand an intuitive child's world and teaches them how to validate, not suppress, these intuitive abilities. The stakes are high; if intuitive children get dismissed, they can lose their way, their joy, and their spirit. Psychotherapist Caron Goode teams up with parenting expert and coach Tara Paterson to share explanations, stories, and examples—many from Tara's own family—in this ground-breaking guide. It shows how to: Know if a child is intuitively gifted. Shift the parenting style to meet a child's style and strengths. Use breathing techniques to stay centered, calm, and optimistic. Create rituals so children can feel solid and bring forth their intuitive intelligence. Deal with environmental and nutrition elements that especially affect intuitives. Explore strategies for bonding and communication at each stage of development.

The riveting, untold story of the “Father of Christian Rock” and the conflicts that launched a billion-dollar industry at the dawn of America’s culture wars. In 1969, in Capitol Records' Hollywood studio, a blonde-haired troubadour named Larry Norman laid track for an album that would launch a new genre of music and one of the strangest, most interesting careers in modern rock. Having spent the bulk of the 1960s playing on bills with acts like the Who, Janis Joplin, and the Doors, Norman decided that he wanted to sing about the most countercultural subject of all: Jesus. Billboard called Norman “the most important songwriter since Paul Simon,” and his music would go on to inspire members of bands as diverse as U2, The Pixies, Guns ‘N Roses, and more. To a young generation of Christians who wanted a way to be different in the American cultural scene, Larry was a godsend—spinning songs about one’s eternal soul as deftly as he did ones critiquing consumerism, middle-class values, and the Vietnam War. To the religious establishment, however, he was a thorn in the side; and to secular music fans, he was an enigma, constantly offering up Jesus to problems they didn’t think were problems. Paul McCartney himself once told Larry, “You could be famous if you’d just drop the God stuff,” a statement that would foreshadow Norman’s ultimate demise. In Why Should the Devil Have all the Good Music?, Gregory Alan Thornbury draws on unparalleled access to Norman’s personal papers and archives to narrate the conflicts that defined the singer’s life, as he crisscrossed the developing fault lines between Evangelicals and mainstream American culture—friction that continues to this day. What emerges is a twisting, engrossing story about ambition, art, friendship, betrayal, and the turns one’s life can take when you believe God is on your side.