Welcome to a way to break your emotional pain. Learn you can live in happiness with reformed skills and approaches. You will relate to my personal story in so many ways, fraught with cope, unmanageability, grief, guilt and frustration. Through philosophical recounting of how we became our personalities, we begin to uptick our attitude and conversation. We will crystalize your honesty and spirituality, honing your assets with strength, courage, and hope. Light up your brain and achieve higher understanding and communication. Break that habit, improve love, recover from brokenness.

There are so many people in the world. Over seven billion! They come in all sorts of shapes, sizes, and colors. Some are happy, and some are grumpy. Some live in tall towers in the city, while others live in cottages in the field. Some like to read, and some like to sing. And yet, even with so many people in this world, there is no one quite like you! Ideal for children ages 4-8. No One Else like You written by Siska Goeminne and illustrated by Merel Eyckerman, doesn't follow a character, but approaches diversity from a distance. "In this world there are more than seven billion people," it begins, then explores the many things those people do. Some work, some drive around. Some have tattoos. Some people are happy and some people are sad. People believe all kinds of things and practice all forms of religion. Everyone is different. Those differences, however, are what ultimately unite us: We’re all different, and that’s what we all have in common. The illustrations do a nice job of conveying the great diversity of people in the world. —The New York Times “A joyous and realistic commemoration of the strengths and weaknesses of the human race...children will enjoy exploring the multifaceted illustrated examples within the intricate scenes.” —Kirkus Reviews

Chely Wright, singer, songwriter, country music star, writes in this moving, telling memoir about her life and her career; about growing up in America’s heartland, the youngest of three children; about barely remembering a time when she didn’t know she was different. She writes about her parents, putting down roots in their twenties in the farming town of Wellsville, Kansas, Old Glory flying atop the poles on the town’s manicured lawns, and being raised to believe that hard work, honesty, and determination would take her far. She writes of making up her mind at a young age to become a country music star, knowing then that her feelings and crushes on girls were “sinful” and hoping and praying that she would somehow be “fixed.” (“Dear God, please don’t let me be gay. I promise not to lie. I promise not to steal. I promise to always believe in you . . . Please take it away.”) We see her, high school homecoming queen, heading out on her own at seventeen and landing a job as a featured vocalist on the Ozark Jubilee (the show that started Brenda Lee, Red Foley, and Porter Wagoner), being cast in Country Music U.S.A., doing four live shows a day, and—after only a few months in Nashville—her dream coming true, performing on the stage of the Grand Ole Opry . . . She describes writing and singing her own songs for producers who’d discovered and recorded the likes of Reba McEntire, Shania Twain, and Toby Keith, who heard in her music something special and signed her to a record contract, releasing her first album and sending her out on the road on her first bus tour . . . She writes of sacrificing all for a shot at success that would come a couple of years later with her first hit single, “Shut Up And Drive” . . . her songs (from her fourth album, Single White Female) climbing the Billboard chart for twenty-nine weeks, hitting the #1 spot . . . She writes about the friends she made along the way—Vince Gill, Brad Paisley, and others—writing songs, recording and touring together, some of the friendships developing into romantic attachments that did not end happily . . . Keeping the truth of who she was clutched deep inside, trying to ignore it in a world she longed to be a part of—and now was—a world in which country music stars had never been, could not be, openly gay . . . She writes of the very real prospect of losing everything she’d worked so hard to create . . . doing her best to have a real life—her best not good enough . . . And in the face of everything she did to keep herself afloat, she writes about how the vortex of success and hiding who she was took its toll: her life, a tangled mess she didn’t see coming, didn’t want to; and, finally, finding the guts to untangle herself from the image of the country music star she’d become, an image steeped in long-standing ideals and notions about who—and what—a country artist is, and what their fans expect them to be . . . I am a songwriter,” she writes. “I am a singer of my songs—and I have a story to tell. As I’ve traveled this path that has delivered me to where I am today, my monument of thanks, paying honor to God, remains. I will do all I can with what I have been given . . .” Like Me is fearless, inspiring, true.

For many Americans, the election of Barack Obama as the country's first black president signaled that we had become a post-racial nation - some even suggested that race was no longer worth discussing. Of course, the evidence tells a very different story. And while social scientists are fully engaged in examining the facts of race, normative political thought has failed to grapple with race as an interesting moral case or as a focus in the expansive theory of social justice. Political thought's under participation in the debate over the status of blacks in American society raises serious concerns since the main academic task of political theory is to adjudicate discrepancies between the demands of ideal justice and social realities. Christopher J. Lebron contends that it is the duty of political thought to address the moral problems that attend racial inequality and to make those problems salient to a democratic polity. Thus, in The Color of Our Shame, he asks two major questions. First, given the success of the Civil Rights Act and the sharp decline in overt racist norms, how can we explain the persistence of systemic racial inequality? Second, once we have settled on an explanation, what might political philosophy have to offer in terms of a solution? In order to answer these questions Lebron suggests that we reconceive of racial inequality as a condition that marks the normative status of black citizens in the eyes of the nation. He argues that our collective response to racial inequality ought to be shame. While we reject race as a reason for marginalizing blacks on the basis of liberal democratic ideals, we fail to live up to those ideals - a situation that Lebron sees as a failure of national character. Drawing on a wide array of resources including liberal theory, virtue ethics, history, and popular culture, Lebron proposes a move toward a "perfectionist politics" that would compel a higher level of racially relevant moral excellence from individuals and institutions and enable America to meet the democratic ideals that it has set for itself.

A listing of 547 songs contained on 308 recordings for children, organized alphabetically under 170 subject headings. Includes a core list of forty-six recommendations.

The message of this book: "Trust In Me and No One Else (I Am the Lord: Thy God);" seeks to open mankind's eyes to the realization that He is the only true and dependable source that we can place our trust in. It focuses on the fact that man will fail, so don't be alarmed or disappointed when man let you down. That is man's nature. God is not a liar, His Word is true and has been proven; for it has stand the test of time. God is worthy of our trust. He created us, He died and arose on the third day as He said He would. His existence has been proven in my life, and in that of others. Would you trust Him? There is no regrets in so doing. This book's mission is to convenience as many as it can before its too late that God is not a counterfeit. He is real!