No TV, no cell phone, no social media, no family or friends. Just alone in silence for sixty days. Written from a small cabin in the mountains above Santa Cruz, California, Bok's diary recounts his retreat into solitude and his search for a return to the simplicity of pure being. Without distraction, he has no choice but to face whatever comes—whether it's the incessant chatter of the mind, the arising of overwhelming emotions, or the simple observations of running water and birdsong. We say it's Bok's diary, but he draws us in so intimately that these sixty days become our own. Through this intense and immersive process, both for Bok and the reader, a deeper place is found within, a place of stillness and well being. You may be surprised what Bok finds, or more importantly, what he doesn't find. Alexandra Burda’s illustrations are a perfect compliment to the sparseness, sensitivity and beauty of the text.

Originating from weekly talks given to a contemplative community of monks and nuns, the meditations in this book aim to help people surrender their lives to God.

Quietness and conflict, life and death, place and memory, politics and pity, friendship and peace. Jill Segger weaves a tapestry of poetry and prose that takes us on journeys of personal transformation set against (and responsive to) the backdrop of turmoil in the world around us.

The story of one ... little boy trapped in silence.

Sister Jeremy Hall, O.S.B., a member of Saint Benedict's Monastery, lived as a hermit for 20 years. During that time she gained renown as a wellspring of wisdom and gifted retreat leader.

"In the Holocaust novel, silence is always a character, and the word is always its subject matter." So writes David Patterson in this profound and original study of more than thirty important writers. Contrary to existing views, he argues, the Holocaust novel is not an attempt to depict an unimaginable reality or an ineffable horror. It is, rather, an endeavor to fetch the word from silence and restore it to meaning, to resurrect the human soul, to regenerate the relation between the self and God, the self and other, the self and itself. This book is less a critical study in the usual sense than an impassioned meditation on the deeper sources of the Holocaust novel. Among the authors examined are Elie Wiesel, Arnost Lustig, Aharon Appelfeld, Katzetnik 135633, Primo Levi, Yehuda Amichai, Piotr Rawicz, A. Anatoli, Saul Bellow, I.B. Singer, Anna Langfus, Rachmil Bryks, and Ilse Aichinger. The Shriek of Silence is a first in several respects: the first to examine the Holocaust novels in their original languages, the first to articulate a theoretical basis for its approach, and the first phenomenological investigation—one that attempts to penetrate the process of creation for these novelists. Organized along conceptual lines, the book examines "the word in exile," the themes of death of the father and the child, transformations of the self, and the implications of the reader. Its philosophical foundations are Rosenzweig, Buber, Neher, and Levinas. Its critical approach is shaped by Bakhtin. The novelists of the Holocaust, in witnessing through their words, regain their voices and in so doing are reborn. By probing the depths of their struggle, Patterson's study draws us too toward a higher understanding, perhaps even our own rebirth.

Silent reading is now universally accepted as normal; indeed reading aloud to oneself may be interpreted as showing a lack of ability or understanding. Yet reading aloud was usual, indeed unavoidable, throughout antiquity and most of the middle ages. Saenger investigates the origins of the gradual separation of words within a continuous written text and the consequent development of silent reading. He then explores the spread of these practices throughout western Europe, and the eventual domination of silent reading in the late medieval period. A detailed work with substantial notes and appendices for reference.