NEW YORK TIMES BESTSELLER “A smart, wise, often side-splittingly funny master class in seeking God. Any spiritual seeker—from atheist to professional religious—will cherish this bravura tome from one of our great spiritual guides, in the lineage of C. S. Lewis, Henri Nouwen, Thomas Merton, Gandhi, and Mother Teresa. Hallelujah & amen!”—Mary Karr, author of Lit and The Liar’s Club One of America’s most beloved spiritual leaders and the New York Times bestselling author of The Jesuit Guide to (Almost) Everything and Jesus: A Pilgrimage teaches anyone to converse with God in this comprehensive guide to prayer. In The Jesuit Guide to (Almost) Everything, Father James Martin included a chapter on communicating with God. Now, he expands those thoughts in this profound and practical handbook. Learning to Pray explains what prayer is, what to expect from praying, how to do it, and how it can transform us when we make it a regular practice in our lives. A trusted guide walking beside us as we navigate our unique spiritual paths, Martin lays out the different styles and traditions of prayer throughout Christian history and invites us to experiment and discover which works best to feed our soul and build intimacy with our Creator. Father Martin makes clear there is not one secret formula for praying. But like any relationship, each person can discover the best style for building an intimate relationship with God, regardless of religion or denomination. Prayer, he teaches us, is open and accessible to anyone willing to open their heart.

Fabritio Caroso was dancing master to some of the greatest princely families of Italy, and Nobiltà di dame, his sumptuous collection of ballroom dances and their music, reflects an age that believed that the person of high rank should be a work of art, uniting strength and beauty. Caroso's detailed instructions (including rules for steps, style and etiquetter, and forty-eight actual choreographies) are unequalled by any contemporary manual in their specificity and clarity. Most dances are preceeded by an engraving showing the opening position and illustrating many aspects of dress, posture, and gesture. A full scholarly apparatus, giving new information unavailable elsewhere, makes the book even more valuable to dancers and to students of dance and music at the junction of the Renaissance and Baroque eras.