Jan Thompson takes you with her through the first year of widowhood. Honest and real, from the agony of uselessness to the newness of purpose, widows will know that they are not alone. Families, friends and pastors will better understand how to relate and minister to the widow. When she felt she would suffocate in her anguish, Jan felt the breath of the Holy Spirit. When she reached out for her husband, it was God who touched her. The widow brings before her Lord all that she has, and places it on the altar. God blesses her mite into a strength she could not have imagined, and gives her "The Widow's Might" to live once again; abundantly, in victory and grace.

What happens when your husband dies unexpectedly in the prime of your life and marriage? In Widow’s Might, Kim Knight shares her experience when her husband suddenly and unexpectedly died at fifty-six years old. In one day, Kim went from planning her future with her best friend to planning a funeral, searching for passwords to online accounts, trying to return to normal when things were no longer normal, and finding God in the middle of trauma and grief. Widow’s Might is for young or middle-aged widows and those who love them. The book helps those who’ve experienced a tragic loss to better understand the confusing and unpredictable path of grief as well as the challenges and promise of new growth. Learning to embrace a life different from the one you imagined isn’t something you’re going to master by the end of year one, when your family and friends think you should, or when you hope you might. You can deeply embrace and honor your marriage to your late spouse and still find contentment, happiness, and maybe even love in the days ahead. Widow’s Might will give you the strength and wisdom to discover new life on the other side of death. Look toward what God has in store for you. And—every once in a while—spend the day in your pajamas and eat popcorn for dinner. It’s okay.

"These stories focus on the Byzantine social politics within small Georgia towns; they typically display an earthy vernacular, gossipy digressions, and down-home wisdom".--Library Journal.

Explores how widows were portrayed in early American culture, and how widows themselves created identities in response to their unique roles. Utilizing widows' wills, prescriptive literature, court appearances, newspaper advertisements and letters, the author analyzes how widows in colonial Massachusetts, South Carolina, and Maryland navigated their domestic, legal, economic, and community roles in early American society.

Liv Bergen is hunting a serial killer who uses the same method as an uncaught serial killer from the past, working with FBI agent Streeter Pierce, who finds himself falling in love with her, as he tries to recruit her into the bureau.

"Widow" is one title women do not want to have. Yet, according to the Surgeon General’s office, 800,000 people become widows or widowers every year in the United States alone. Every aspect of a widow’s existence changes—like it or not, ready or not. These changes add to the emotional roller coaster that most women experience after losing their husband. Miriam Neff understands the ride. As she struggled to understand and accept her new role after her husband’s death, she recognized the need for women to hear from others about their experiences and what helped them transition to this new stage of life. From One Widow to Another offers practical advice for those facing the loss of a spouse. Drawing from her own loss, Neff walks with the reader through practical issues to a sense of encouragement.

Charlotte Perkins Gilman was America's leading feminist intellectual of the early twentieth century. The Yellow Wall-Paper and Other Stories makes available the fullest selection of her short fiction ever printed. It features her pioneering feminist masterpiece, her neglected stories contemporary with The Yellow Wall-Paper, and her later explorations of `the woman of fifty'. The introduction to this edition places Gilman in the cultural and historical context of the American divided self, her Beecher heritage, and her contribution to the female Gothic.