Five volumes on sanctification published under one cover, presenting biblical foundations and keys to spiritual growth in Christ. It includes 'Abide Above', 'The Green Letters', 'The Ground of Growth', 'The Principle of Position', and 'The Reckoning That Counts'.

This is the first book in the author's series on Christian maturity.

"I was hungry and you gave me no food, I was thirsty and you gave me no drink, I was a stranger and you did not welcome me, naked and you did not clothe me, sick and in prison and you did not visit me."? Matthew 25:42-43 ESV In many Bibles, Christ’s words are set apart with a red font. It should be obvious, but this distinction helps remind us that when God becomes Man and that Man speaks—it’s probably something we cannot afford to miss. So why doesn’t the church take these “red letters” to heart? Why aren’t we doing more to be Christ’s hands and feet to the poor, the disenfranchised, the weary, the ill, the fatherless, the prisoners? It’s all there—in red letters. Why has the Church shirked its responsibilities, leaving the work to be done by governments, rock stars, and celebrities? The Gospel wasn’t only meant to be read—it was meant to be lived. From the HIV crisis in Africa to a single abused and lonely child in Russia, the Church must seize the opportunity to serve with a radical, reckless abandon. Author Tom Davis offers both challenge and encouragement to get involved in an increasingly interconnected, desperate modern world.

Inspired by the true story of Tyler Doughtie, whose life is depicted in the major motion picture "Letters to God," this endearing children's picture book builds on the film's popularity about Tyler's uplifting and contagious faith. Full color.

The final book of the Bible, Revelation prophesies the ultimate judgement of mankind in a series of allegorical visions, grisly images and numerological predictions. According to these, empires will fall, the "Beast" will be destroyed and Christ will rule a new Jerusalem. With an introduction by Will Self.

This book presents the poetry and letters of the American writer Adelaide Crapsey (1878–1914). Her best poetry deserves to be enjoyed by a larger audience, and her letters and newly discovered biographical materials reveal new charm and meaning in an intriguingly elusive character. Crapsey did not live to see any of her mature poetry published: she received notice that her first poem had been accepted for publication only a week before she died. Posthumous editions of her Verse (in 1915, 1922, and 1934), however, brought her recognition and respect. Carl Sandburg paid her a poetic tribute. American critic Yvor Winters praised her as "a minor poet of great distinction" and felt that her poems remained "in their way honest and acutely perceptive." Her best work is compressed, terse, related in this respect to the work of another American poet who won posthumous recognition, Emily Dickinson. Crapsey is best known as the inventor of the cinquain, a poem of five short lines of unequal length: one-stress, two-stress, three-stress, four-stress, and one-stress. The cinquain is one of the few modern verse forms developed in English, and its brevity and characteristic thought pattern seem to have been influenced by Japanese forms. Crapsey's indebtedness to Japanese poetry and her relation to Imagism have long been subjects for debate. As Winters notes, the work of Crapsey "achieves more effectively than did almost any of the Imagists the aims of Imagism." The critical introduction by Professor Susan Sutton Smith examines these problems. Much of Crapsey's poetry is reticent, withdrawn, and private, and she believed strongly in the individual's right to privacy. Whatever new biographical materials reveal of her and of her relations with family and friends, however, shows a charming and courageous woman. Her courage and humor show especially well in her correspondence with her friend Esther Lowenthal and in the letters with her friend Jean Webster McKinney, author of Daddy Long-Legs, who died soon after Crapsey.