There are many complexities associated with ministering to another person. Where does a helper begin? What’s important to notice? Is there an overall ministry strategy that’s beneficial? Saints, Sufferers, and Sinners by author and counselor Michael R. Emlet outlines a model of one-another ministry based on how God sees and loves his people. Emlet helps readers use Scripture to find foundational categories for understanding and approaching one another, which serve as guideposts for wise care. Filled with everyday illustrations as well as counseling examples, Emlet demonstrates what it looks like to approach fellow believers simultaneously as saints, sufferers, and sinners. As part of CCEF's Helping the Helper series, this guide for ministry provides an overall framework for wisely helping any person, balancing all three aspects of our experience as Christians.

Saints, Sinners, Saviors: Strong Black Women in African American Literature posits strength as a frequently contradictory and damaging trait for black women characters in several literary works of the twentieth century. Authors of these works draw upon popular images of African American women in producing what they believe to be safe literary representations. Instead, strength becomes a problematic trait, at times a disease, in many characters in which it appears. It has a detrimental impact on the relatives and neighbors of such women as well as on the women themselves. The pattern of portraying women characters as strong in African American literature has become so pronounced that it has stifled the literature.

“Saints, Sinners and Draconian Knights” is a collection of poems which is a tribute to the working class people of modern society, whose song generally goes unsung. The poet’s inspiration behind this book is due to his time spent working on a construction site as an engineer and his personal experiences while practicing criminal law. These experiences completely changed his perspective about life and his poetry is a reflection of that. He is also a musician and a music teacher and through this book has paid rich tributes to his personal idols like Jim Morrison, Bob Dylan, Ray Manzarek, Nelson Mandela, Kailash Satyarthi, Diego Maradona, etc.

Christians are SAINTS. They are not sinners in the present tense saved by grace. Sinners is what they used to be. The Bible nowhere teaches that a Christian has a sin nature or can be labeled a sinner. This is established through examination of the three terms - sinners, Saints and flesh - from a linguistic view as well as from their context in scripture. Additionally there is a comprehensive search of the scriptures on the nature of the Saint. This will empower every Christian to live what he knows.

A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints,' 'Sinners,' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints,' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.