Sue Studebaker documents samplers made by young girls in Ohio prior to 1850, the girls who made them, their families, and the teachers who taught them to stitch. Illustrations of these highly prized works are presented, along with the stories behind their creation.

The concept of God’s presence is deeply embedded in Christian teaching from God’s presence in the Garden of Eden, through the hope of God’s presence in the New Earth. But what does it that mean? Many Christians find it difficult to explain what is meant by God’s presence. We hear of God being especially present in a worship service, or of specific places where God’s presence is expected by the pilgrims who travel there. We know that God’s presence was somehow in the tabernacle, and will be part of the new earth when Jesus returns. It is also taught that God is omnipresent, that is, present everywhere and always.,/p> But what is God’s presence? What does it take for Him to dwell among His people and why does it matter? In this third volume under the Lost in Translation imprint, Deborah Roeger applies her in-depth and detailed yet extremely practical approach to Bible study to look at God’s presence in its many forms and manifestations from the creation to the restoration of God’s creation. As she traces God’s dwelling presence through the pages of Scripture she looks thoughtfully at what God requires of us so He can be present among us. In the process, she provides a thematic look at the whole of scripture that can be used as a guide to study other topics with full attention to the overall context of the story we find in Scripture. It is the story of God, who created for His glory and longs for the restoration of His dwelling presence among His creation. This understanding of the broad context will help you put other events in their proper place in the history of God’s plan of salvation. My Dwelling Place is not just an explanation of biblical terms. It is first of all an explanation of what it takes for God to come and dwell among us. It is then a call to take up our mission and the gifts God has given us and to learn to practice His presence at all times. As in each volume in this series, there is a valuable added resource in the appendix discussing how to do word studies and how to use both available tools for Bible study and to take the context of each passage seriously when doing so. This study can be read individually, but it is especially valuable as a resource for small group study or for a transforming church-wide study.

A woman reunites with her mother, Mabel, through a dream. The dream takes the daughter to heaven, where she and Mabel spend time together reviewing vignettes from Mabels childhood in the fictitious town of Shoal Crossing, Alabama, in 1918. Mabel shares visually dramatic scenes that arise around her family in a time of war, rampant diseases, racial tensions, and economic hardship. In spite of all the tribulations in her childhood, Mabel graphically demonstrates the strengths and weaknesses of those who most influence her early in life. Josie, a black woman who is a family friend and domestic worker, encompasses all the good Mabel sees as a child. Though Josie suffers from the ravages of prejudice and the resulting scars of strife, she tenderly guides Mabels thinking through sharing her relationship with God. She honestly talks to Mabel about heaven, her childhood memories, slavery, the Klan, and freedom. Josie has a special reasoning ability that poignantly teaches Mabel tolerance for, and acceptance of, life as they must live it in the rural South of 1918. Mabel and her daughter discover how ones circle of influence from childhood affects who they become as adults.

At the center of American history is a hole—a gap where some scholars’ indifference or disdain has too long stood in for the true story of the American Midwest. A first-ever chronicle of the Midwest’s formative century, The Good Country restores this American heartland to its central place in the nation’s history. Jon K. Lauck, the premier historian of the region, puts midwestern “squares” center stage—an unorthodox approach that leads to surprising conclusions. The American Midwest, in Lauck’s cogent account, was the most democratically advanced place in the world during the nineteenth century. The Good Country describes a rich civic culture that prized education, literature, libraries, and the arts; developed a stable social order grounded in Victorian norms, republican virtue, and Christian teachings; and generally put democratic ideals into practice to a greater extent than any nation to date. The outbreak of the Civil War and the fight against the slaveholding South only deepened the Midwest’s dedication to advancing a democratic culture and solidified its regional identity. The “good country” was, of course, not the “perfect country,” and Lauck devotes a chapter to the question of race in the Midwest, finding early examples of overt racism but also discovering a steady march toward racial progress. He also finds many instances of modest reforms enacted through the democratic process and designed to address particular social problems, as well as significant advances for women, who were active in civic affairs and took advantage of the Midwest’s openness to women in higher education. Lauck reaches his conclusions through a measured analysis that weighs historical achievements and injustices, rejects the acrimonious tones of the culture wars, and seeks a new historical discourse grounded in fair readings of the American past. In a trying time of contested politics and culture, his book locates a middle ground, fittingly, in the center of the country.

Offers readers a view of the quality and diversity of nineteenth-century American children's poetry. Complemented by period illustrations, this collection includes work by poets from all geographical regions, as well as rarely seen poems by immigrant and ethnic writers and by children themselves.