Three years after the tragedy, Steven is a stay-at-home, single dad of Annie and Josh in Lake Tahoe and still grieving the loss of their mother. He also adopted Hannah and her little sister, Priscilla, and invited their Aunt Martha to join his family. Amah, a ten year-old African girl is sold as a "bride." But has she been sent to the human trafficking market? Julie Anne Brent is viciously attacked in New York City. She is no longer the beautiful supermodel and has nothing to live for.This is the story of how God weaves the lives of people together and gives them a reason to live."Your beauty should not come from outward adornment, such as elaborate hairstyles and the wearing of gold jewelry or fine clothes. Rather, it should be that of your inner self. The unfading beauty of a gentle and quiet spirit which is of great worth in God's sight." 1 Peter 3:3-4.

Vynasha has become prisoner with the other wyld beasts of the castle, but she is not alone. As she discovers the true nature of the other beasts, she learns she must embrace madness in order to free them all. Vynasha is willing to do anything to end the curse, even if that means transforming into a monster.

Beauty engages fourth-century bishop Gregory of Nyssa to address beauty's place in theology and the broader world. With the recent resurgence of attention to beauty among theologians, questions still remain about what exactly beauty is, how it is perceived, and whether we should celebrate its return. If beauty fell out of favor because it was seen to distract from the weightier concerns of poverty and suffering--because it can even be a tool of oppression--why should we laud it now? Gregory's writings offer surprisingly rich and relevant reflections that can move contemporary conversations beyond current impasses and critiques of beauty. Drawing Gregory into conversation with such disparate voices as novelist J. M. Coetzee and art theorist Kaja Silverman, Beauty displays the importance of beauty to theology and theology to beauty in a discussion that bridges ancient and modern, practical and theoretical, secular and religious.

Challenging the reflexive identification of images with vice.