In this inspiring collection of vibrant poems, contemporary American poets speak out on a universal theme: the unbreakable bond shared by parents and their children. With kindness, nostalgia, forgiveness and love, poets recall their parents. Book jacket.

Drawn from the many books, writings, and interviews by Richard Rohr, one of the most popular spiritual writers today, this collections introduces many of the teachings for which he has become known, all organized around the central theme of Love.

"This solidly scientific book is anchored in scripture and easy to understand, It will give you an appreciation of both the scientific and spiritual bases of healing by prayer and anointing with oils."--Publisher description.

As the COVID-19 crisis took our world under siege, essential workers worldwide kept their heads up and extended their hearts to keep us safe at home. From our neighborhood mail carriers and grocery store cashiers to the truck drivers, farmers and manufacturers who make essential goods available to the millions of us around the globe, we say THANK YOU! You've kept our bellies full and minds at ease. We love you for all that you've done and continue to do for us every day.

Love and Money argues that we can’t understand contemporary queer cultures without looking through the lens of social class. Resisting old divisions between culture and economy, identity and privilege, left and queer, recognition and redistribution, Love and Money offers supple approaches to capturing class experience and class form in and around queerness. Contrary to familiar dismissals, not every queer television or movie character is like Will Truman on Will and Grace—rich, white, healthy, professional, detached from politics, community, and sex. Through ethnographic encounters with readers and cultural producers and such texts as Boys Don’t Cry, Brokeback Mountain, By Hook or By Crook, and wedding announcements in the New York Times, Love and Money sees both queerness and class across a range of idioms and practices in everyday life. How, it asks, do readers of Dorothy Allison’s novels use her work to find a queer class voice? How do gender and race broker queer class fantasy? How do independent filmmakers cross back and forth between industry and queer sectors, changing both places as they go and challenging queer ideas about bad commerce and bad taste? With an eye to the nuances and harms of class difference in queerness and a wish to use culture to forge queer and class affinities, Love and Money returns class and its politics to the study of queer life.