"Here is the journal which ultimately proved the motive force for The Magnificent Obsession, the journal as it was set down by Doctor Hudson himself. One feels that he must have been a real person (or that at any rate, in his fictional being he represented the personification of someone’s experience and thought). Here we learn whence came the power—the inner strength through which he built spiritual, physical and worldly success. Here we trace the various experiments which proved his own theory. And here too we follow his opinion on a world facing much of what our world is facing today. This gives the book not only the customary hypodermic that Doctor Douglas so ably administers, but a timeliness that is not to be ignored. There is no one writing today who can put more punch into a sermon—without making one conscious it is a sermon." —Kirkus Review Lloyd C. Douglas was an American minister and author born in Indiana in 1877. He was married and had two children. He did not write his first novel until the age of 50 but was considered to be one of the most popular writers of his time. His works usually had a moral and religious tone. Two of his best known works were The Robe and The Big Fisherman, which were made into major motion pictures. The Robe, written in 1942, sold over two million copies in hardcover alone. It held the number one position on the New York Times Best Seller list for over a year and remained on the list for an additional two years. The film version of The Robe hit the screen in 1953 and starred Richard Burton.

John Piper pleads with fellow pastors to abandon the professionalization of the pastorate and pursue the prophetic call of the Bible for radical ministry.

First published in 1996. This new book gives voice to an emerging consensus among bereavement scholars that our understanding of the grief process needs to be expanded. The dominant 20th century model holds that the function of grief and mourning is to cut bonds with the deceased, thereby freeing the survivor to reinvest in new relationships in the present. Pathological grief has been defined in terms of holding on to the deceased. Close examination reveals that this model is based more on the cultural values of modernity than on any substantial data of what people actually do. Presenting data from several populations, 22 authors - among the most respected in their fields - demonstrate that the health resolution of grief enables one to maintain a continuing bond with the deceased. Despite cultural disapproval and lack of validation by professionals, survivors find places for the dead in their on-going lives and even in their communities. Such bonds are not denial: the deceased can provide resources for enriched functioning in the present. Chapters examine widows and widowers, bereaved children, parents and siblings, and a population previously excluded from bereavement research: adoptees and their birth parents. Bereavement in Japanese culture is also discussed, as are meanings and implications of this new model of grief. Opening new areas of research and scholarly dialogue, this work provides the basis for significant developments in clinical practice in the field.

E. H. Gombrich's Little History of the World, though written in 1935, has become one of the treasures of historical writing since its first publication in English in 2005. The Yale edition alone has now sold over half a million copies, and the book is available worldwide in almost thirty languages. Gombrich was of course the best-known art historian of his time, and his text suggests illustrations on every page. This illustrated edition of the Little History brings together the pellucid humanity of his narrative with the images that may well have been in his mind's eye as he wrote the book. The two hundred illustrations—most of them in full color—are not simple embellishments, though they are beautiful. They emerge from the text, enrich the author's intention, and deepen the pleasure of reading this remarkable work. For this edition the text is reset in a spacious format, flowing around illustrations that range from paintings to line drawings, emblems, motifs, and symbols. The book incorporates freshly drawn maps, a revised preface, and a new index. Blending high-grade design, fine paper, and classic binding, this is both a sumptuous gift book and an enhanced edition of a timeless account of human history.

What keeps so many of us from doing what we long to do? Why is there a naysayer within? How can we avoid the roadblocks of any creative endeavor—be it starting up a dream business venture, writing a novel, or painting a masterpiece? The War of Art identifies the enemy that every one of us must face, outlines a battle plan to conquer this internal foe, then pinpoints just how to achieve the greatest success. The War of Art emphasizes the resolve needed to recognize and overcome the obstacles of ambition and then effectively shows how to reach the highest level of creative discipline. Think of it as tough love . . . for yourself.

Over a millennium ago, Erna, a seismically active yet beautiful world was settled by colonists from far-distant Earth. But the seemingly habitable planet was fraught with perils no one could have foretold. The colonists found themselves caught in a desperate battle for survival against the fae, a terrifying natural force with the power to prey upon the human mind itself, drawing forth a person's worst nightmare images or most treasured dreams and indiscriminately giving them life. Twelve centuries after fate first stranded the colonists on Erna, mankind has achieved an uneasy stalemate, and human sorcerers manipulate the fae for their own profit, little realizing that demonic forces which feed upon such efforts are rapidly gaining in strength. Now, as the hordes of the dark fae multiply, four people—Priest, Adept, Apprentice, and Sorcerer—are about to be drawn inexorably together for a mission which will force them to confront an evil beyond their imagining, in a conflict which will put not only their own lives but the very fate of humankind in jeopardy.

A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit by a convicted murder againt the journalist who wrote a book about his crime, Malcolm delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. Featuring the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung. Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.