Starting from meditations on the ancient Pueblo Indian ruins at Kiet Seel, a collection of photography, poetry, and personal essays ponders the histories of conquest and displacement, religion and mythology, humans' relationship with space, gender and womanhood, nature, and politics.

Expertly and sensitively selected by her granddaughter Bianca, The Essential Ruth Stone bears witness to a vivid fifty-year career of one of America’s most influential and pioneering poets. Distilling twelve books into a single volume―from the wild formalism of her early work to the science-filled cosmic intellect of her final collection―The Essential Ruth Stone shows a visionary poet with a physical grasp on language. Dazzling, humorous and grief-stricken poems explore the continuity of loss and love, in the spectral appearances of the dead husband, to portraits of an American childhood, life during wartime, and complex metaphysical inquiries into consciousness itself. Ruth Stone’s feminism, mysticism and overall fierceness shine through her wit and passion. Moving gracefully between the loneliness of grief and loss to the fullness of life and love, Stone approaches all her subjects with a profound humanity, an understanding born from her own lived experiences.

This collection explores the fragile territory between remembering and forgetting, both as an individual experience and in the life of a society. If in the end all is subject to "time's slow bleed", these poems enact the capacity of the imagination "to pass through ancient walls" and to reorder failures long gone in time into more hopeful connections. Poems recreate those childhood moments when physical presences, such as the "great house" at Drax Hall provoke the "beginning of poetry", the searching for what is "hidden in the dark", and thence to a grasp of the history that society would rather forget. For while forgetting is human, the collection also explores how amnesia can be cultivated in society as a means of hiding the sources of contemporary privilege and economic power. Poems such as "Canvas" (about the images from English and American magazines that patch up the hangings in an old woman's "tumbledown dwelling") not only picture children "tiptoe at the rim of the world" but, without needing to say it, show those children as far more familiar with Garbo's "bright blue eyes/ and shiny red lipstick" than with the history and meaning of Drax Hall. If there are echoes of Walcott's poem where "all in compassion ends", Phillips is no less compassionate, but much readier to see "History's wound still bleeding / to its last drop" - a wound extending down to a powerful poem in memory of George Floyd. If the collection calls out "Speak, stones, bear witness!", poems also pay tribute to those who in the rural village memorialised the lives of the unconsidered poor, who, like the village historian, Miss Lewis, speaks across the years into contemporary urban life "to remind me who I am". Esther Phillips' poems are always lucid and musical; they gain a rewarding complexity from being part of the collection's careful architecture that offers a richly nuanced inner dialogue about the meaning of experience in time. Not least powerful in this conversation are the sequence of poems about Barbadian childhoods, poems of grace, humour and insight. When Barbados chose Esther Phillips as its first poet laureate it knew what it was doing: electing a poet who could speak truth, who could challenge and console her nation - and all of us.

Most people think of evangelism as something an individual does--one person talking to one or more other people about the gospel. Bryan Stone, however, argues that evangelism is the duty and call of the entire church as a body of witness. Evangelism after Christendom explores what it means to understand and put to work evangelism as a rich practice of the church, grounding evangelism in the stories of Israel, Jesus, and the Apostles. This thorough treatment is marked by an astute sensitivity to the ways in which Christian evangelism has in the past been practiced violently, intentionally or unintentionally. Pointing to exemplars both Protestant and Catholic, Stone shows pastors, professors, and students how evangelism can work nonviolently.

What does it mean to evangelize ethically in a multicultural climate? Following his successful Evangelism after Christendom, Bryan Stone addresses reasons evangelism often fails and explains how it can become distorted as a Christian practice. Stone urges us to consider a new approach, arguing for evangelism as a work of imagination and a witness to beauty rather than a crass effort to compete for converts in pluralistic contexts. He shows that the way we lead our lives as Christians is the most meaningful tool of evangelism in today's rapidly changing world.

This text presents the story of the arrest and trial of Clay Shaw, charged with conspiracy in the assassination of John F. Kennedy. Headline news for almost three years in the 1960s, the investigation was uncovered as a set-up, then in 1990, Oliver Stone's film told the same lies again.

A collection of sardonic, crafty poems questions the role of convention in everyday life.