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Find power in your prayer like never before with this inspiring guide from #1 New York Times bestselling author Bishop T.D. Jakes. In a time when women carry more influence than any other generation, the power of prayer has never been more important to remind us that we do not have to bear our crosses alone. We need prayer to stand guard over our hearts and minds and over the hearts and minds of our families. Women today are shattering glass ceilings and forging new paths in the world. What Happens When a Woman Prays is a clarion call for women to continue their progressive march of empowerment by dreaming like their daughters and praying like their grandmothers. Through exploring the lives of 10 prayer-filled women of the Bible, Bishop Jakes emphasizes the life-changing power that women have when they find their identity, their strength, their healing, and their voices in Christ.

Esther was in the right place at the right time. When God's guiding hand made her queen over a foreign race, she used her influence to save her people. Women of every age and walk of life will discover how to— cultivate an abiding trust in God depend wholly upon God in prayer prepare for and persist in the assignments God gives As women are obedient to God's leading, they will find strength and inner beauty flowing through them as they positively affect the lives of those around them.

Many churchgoers will recognize the name William Bradbury, a nineteenth-century American composer of popular hymns still sung at Sunday services. Bradbury’s name may also bring to mind Esther, the Beautiful Queen, his choral setting of a text based on the biblical Book of Esther. The uncomplicated score became enormously popular almost immediately after its initial publication in 1856. In From Biblical Book to Musical Megahit: William B. Bradbury’s “Esther, the Beautiful Queen,” Juanita Karpf traces the work’s rich performance and reception history. Bradbury emphatically stated that he intended Esther to be sung as an unadorned religious and educational piece. Yet many music directors exploited the potential for his score, producing elaborately staged events with costumes, scenery, and acting. Although directors retained Bradbury’s original music, they nonetheless facilitated Esther’s rapid entrée into the realm of music theater. This stylistic transformation ignited a firestorm of controversy. Some clergy and religiously pious citizens condemned theatrical representations of biblical texts as the epitome of debauchery, sacrilege, and sin. In contrast, more tolerant and open-minded theater enthusiasts welcomed the dramatic staging of Esther as wholesome entertainment and as evidence of a refreshingly enlightened approach to biblical interpretation. However heated this debate seemed at times, it did little to quell the continued rise in popularity of Esther. In fact, by the late 1860s, Bradbury’s score had worked its way across the continent, north to Canada and, eventually, to Great Britain, Australia, Asia, and Africa. With performances recorded over a century after Bradbury published his score, Esther became, by any measure, an international megahit.