A story with two endings tells how a hard-working widow loses the son she cherishes.

Throughout history, secret societies have played a crucial role in shaping events that have created our world. Only an inner circle of power elite know the full extent of the influence of the conspiracy. It is Paris, 1772, and Sigismundo Celine knows he is destined to play an important part in this history-behind-history. The masons, the English nobil ity, the Jabobites, the Rosicrucians, the ruling clique of pre-Revolution France: these are but a few of the factions involved in the machinations and intrigue in which Sigismundo has become enmeshed. Thrown into the Bastille, shot at, assaulted by assassins, tortured, and brutally interrogated, he knows only what he is and what he must do to become the one spoken of in the old texts. But what he doesn't know could kill him: the secret powers of Maria, the Italian beauty who has become an English Lady; the Irish fisherman, Moon, who stumbles across the inner workings of an unsuspected cult; and the question they keep asking: the identity of The Widow's Son.

"When I first came across Nouwen's phase 'downward mobility, ' it struck me as radical, counterintuitive, and profoundly true. His reminder of Jesus' message goes against nearly everything in modern life, but ignoring it has led to most of the urgent problems we now face: global warming, poverty, and a deep sense of alienation. Perhaps it is not too late to change, and Henri Nouwen has shown the way." Philip Yancy In this short work, Henri Nouwen offers a penetrating reflection on the challenge of the spiritual life, especially the call to imitate Christ's example of "downward mobility." Illustrated with drawings by Vincent van Gogh, The Selfless Way of Christ is an inspiring guide for ministers and everyone walking the path of discipleship.

Pass the bottle and I'll tell you a story of whiskey and wheelguns; of when mighty Buffalo Soldiers patrolled the desert on iron steeds, and of cannibal lizard men deep in the Louisiana bayou; of Navajo skin-walkers and the Mexican undead; of the forgotten tomb of an ancient Mayan god and the Man with Bronze Teeth. A story of the lawman Zarahemla Two Crows and the young widow who together stormed the gates of Hell to rescue her son. A story, my friend, of when the west was weird.

“One night when she was four and sleeping in the bottom bunk of her bunk bed, Ruth Cole woke to the sound of lovemaking—it was coming from her parents’ bedroom.” This sentence opens John Irving’s ninth novel, A Widow for One Year, a story of a family marked by tragedy. Ruth Cole is a complex, often self-contradictory character—a “difficult” woman. By no means is she conventionally “nice,” but she will never be forgotten. Ruth’s story is told in three parts, each focusing on a critical time in her life. When we first meet her—on Long Island, in the summer of 1958—Ruth is only four. The second window into Ruth’s life opens on the fall of 1990, when she is an unmarried woman whose personal life is not nearly as successful as her literary career. She distrusts her judgment in men, for good reason. A Widow for One Year closes in the autumn of 1995, when Ruth Cole is a forty-one-year-old widow and mother. She’s about to fall in love for the first time. Richly comic, as well as deeply disturbing, A Widow for One Year is a multilayered love story of astonishing emotional force. Both ribald and erotic, it is also a brilliant novel about the passage of time and the relentlessness of grief.

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