A million years from now, the galaxy is divided between the vast, cooperative meta-civilisation known as the Amalgam, and the silent occupiers of the galactic core known as the Aloof. The Aloof have long rejected all attempts by the Amalgam to enter their territory, but have permitted travellers to take a perilous ride as unencrypted data in their communications network, providing a short-cut across the galaxy's central bulge. When Rakesh encounters a traveller, Lahl, who claims she was woken by the Aloof on such a journey and shown a meteor full of traces of DNA, he accepts her challenge to try to find the uncharted world deep in the Aloof's territory from which the meteor originated. Roi and Zak live inside the Splinter, a world of rock that swims in a sea of light they call the Incandescence. Living on the margins of a rigidly organised society, they seek to decipher the subtle clues that can reveal the true nature of the Splinter. In fact, the Splinter is orbiting a black hole, which is about to capture a neighbouring star, wreaking havoc. As the signs of danger grow, Roi, Zak, and a growing band of recruits struggle to understand and take control of their fate. Meanwhile, Rakesh is gradually uncovering their remote history, and his search for the lost DNA world ultimately leads him to a civilisation trapped in cultural stagnation, and startling revelations about the true nature and motives of the Aloof.

The cards are on the table; you’re holding and I’m folding. I don’t want to play this game, but it doesn’t change the fact that I am. THEY know what I am. THEY know what I’ve done. BUT do they know who I am? Or do they see what everyone else sees? A broken enigmatist with nowhere to run? Well, if I can’t run, I’ll hide… this is the story of fourteen years and the fourteen months that changed it all Incandescence paints a picture of the teenage psyche – confused, alone and scared. It talks about being brilliant, beautiful and different by simply being yourself. By bringing together an anthology of poems, Incandescence embodies what it truly means to be human; what it means to feel scared; what it means to feel loved. And what it means to feel like you were meant for something more. Because you were. And you are. Relatable to all ages, all Incandescence needs is a cup of coffee, a reliable window seat and the will to imagine.

Spanning over 25 years of proclaiming the Word, this volume presents Ben Witherington's preaching for each season of the church year, arranged according to the church calendar.

As anyone will discover who casually dips into this beautiful collection, the women mystics of Christian tradition offer a lucid alternative to today's more rationalistic approaches to God. They offer a way to peace, laughter, love, and connection with each other, and they show us a picture of a tender, nurturing, forgiving God who is as intimate as our own breath. There are indeed "women's ways of knowing" and they are revealed in these insightful daily readings. Incandescence offers fresh translations from the writings of famous and not-so-famous mystics---Julian of Norwich, Mechthild of Magdeburg, Catherine of Siena, Hildegard of Bingen, Gertrude of Helfta, Margery Kempe, and others. Each reading includes a meditation, prayer, poem, or song, providing an oasis in a hectic day. The topics in this luminous volume include: *God's divine, mothering love *The guidance of God's light *The sensuality of faith *A helpful and friendly Trinity

Reprint of the original, first published in 1887.

This beautiful volume focuses on a five-year period in Elizabeth Peyton’s evolving career to suggest not only a visual chronicle of an age, its heroes, heroines, and interests, but also of an individual’s life—that of Peyton herself. Elizabeth Peyton’s work has been renowned since the early 1990s, when she began exhibiting her paintings and drawings of artists, musicians, historical figures, and friends. This new volume, prepared by the artist in collaboration with designer Brendan Dugan, founder of Karma bookstore and gallery, presents a concentrated view of a period bookended by two exhibitions in Brussels, one in 2009 and the second in 2014, a time of introspection, and the development of a more personal painterly language. This phase of Peyton’s work is about a new realism and a considered situating of her interests and passions in relation to her own working practice. We see her range expand to take in lush still lifes composed of books, flowers, and fragmentary interiors; expressive, blooddrenched scenes drawn from Richard Wagner’s operas; and many magnificent and subtle portraits of peers and mentors, historical or present-day. From David Bowie to celebrated tenor Jonas Kaufmann; from Delacroix and Giorgione to Peyton’s artist peers such as Matthew Barney and Klara Liden; from Friday Night Lights actor Taylor Kitsch to tattoo artist Scott Campbell, as well as numerous self-portraits, her work is about narrowing the distance between the self and the object of fascination. “They are people expressing what it is to be human. Most art that’s any good is trying to do that—trying to put a voice to feeling. And in particular, the feeling of their time,” writes Peyton.