Perhaps the first miracle was that she lived. The crowds keep coming. They arrive, all with their reasons, all with their doubts and certainties and everything in between. More and more every day, drawn by rumor and whisper and desperate wish. They come to Shaker Street to see eight-year-old Anabelle Vincent, who lies in a coma-like state--unable to move or speak. They come because a visitor experienced what seemed like a miracle and believed it happened because of Anabelle. Word spreads. There are more visitors, more supposed miracles, more stories on TV and the Internet. But is this the divine at work or something else?

New York Times bestselling author Lee Strobel trains his investigative sights on the hot-button question: is it really credible to believe God intervenes supernaturally in people's lives today? This provocative book starts with an unlikely interview in which America's foremost skeptic builds a seemingly persuasive case against the miraculous. But then Strobel travels the country to quiz scholars to see whether they can offer solid answers to atheist objections. Along the way, he encounters astounding accounts of healings and other phenomena that simply cannot be explained away by naturalistic causes. The book features the results of exclusive new scientific polling that shows miracle accounts are much more common than people think. What's more, Strobel delves into the most controversial question of all: what about miracles that don't happen? If God can intervene in the world, why doesn't he do it more often to relieve suffering? Many American Christians are embarrassed by the supernatural, not wanting to look odd or extreme to their neighbors. Yet, The Case for Miracles shows not only that the miraculous is possible, but that God still does intervene in our world in awe-inspiring ways. Here’s a unique book that examines all sides of this issue and comes away with a passionate defense for God's divine action in lives today. Also available: The Case for Miracles Spanish edition, kids' edition, and student edition.

Annabel Beam is one of three sisters raised in the Texas countryside by loving parents. But what should have been a happy, carefree childhood was blighted when Annabel developed a painful and seemingly incurable digestive disorder. Her parents spared no expense in the search for a cure, but medical experts assured them there was none. On a rare day when Annabel felt well enough to play outside, she was climbing an old hollowed-out tree when a branch snapped and she fell, head first, thirty feet down inside the tree. Miraculously, she survived the fall but was knocked unconscious. Rescued and later released from hospital, Annabel told her mother, 'you know I went to heaven when I was in that tree'. Annabel shared with her mother her amazing experience of talking to God, who told her that it wasn't her time and that she must go back. What happened next was the greatest miracle of all. Annabel was inexplicably cured of her illness and her doctors could offer no explanation. Written by Annabel's mother Christy, Miracles from Heaven is the story of a little girl's - and a family's - inspiring journey. Deeply moving and heartwarming, the book recounts the fateful day of the accident, Annabel's description of her time in heaven and her miraculous recovery. This is the story of how one family never gave up hope.

Leanne Strong hates June eighth even though it’s supposed to a day for celebration. Fifteen years ago on that date, baby Leanne was purported to be miraculously healed of a spinal cord defect after her mother prayed to a religious mystic who was later elevated to sainthood. Since Leanne’s unexplained cure, thousands of people gather in her small town every year to celebrate her miracle—a miracle she doesn't remember but still accepts as real—most of the time. When teen pitching phenom Braeden Dalisay moves into the house across the street from Leanne, he harbors a chip on his shoulder even larger than his athletic talent. Forced to spend the summer in the same law office, he and Leanne carry on a working relationship that vacillates between stormy and silent. After Leanne finds out that Braeden’s sister, Emeline, recently passed away, the reason for his behavior becomes clear. Emeline Dalisay was a girl who didn’t get a miracle. Time softens Braeden’s anger, and he and Leanne eventually draw closer. But when he and his family are hit with another traumatic event, he pulls away, the unfairness of life a deep wound. Leanne wants to help Braeden and his family heal as much as she wants a relationship with him. More than that, she wants a miracle for Braeden.

Having spent several years in and out of hospitals for a life-threatening illness, pragmatic sixteen-year-old Cam is relocated by her miracle-seeking mother to a town in Maine known for its mystical healing qualities.

Barbara Stanwyck (1907–1990) rose from the ranks of chorus girl to become one of Hollywood's most talented leading women—and America's highest-paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy. Dan Callahan considers both Stanwyck's life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure, The Miracle Woman, and The Bitter Tea of General Yen; her Pre-Code movies Night Nurse and Baby Face; and her classic roles in Stella Dallas, Remember the Night, The Lady Eve, and Double Indemnity. After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity. Callahan examines Stanwyck's career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There's Always Tomorrow, and two outrageous westerns, The Furies and Forty Guns. The book positions Stanwyck where she belongs—at the very top of her profession—and offers a close, sympathetic reading of her performances in all their range and complexity.