On a trip to Florida to visit her widowed mother, Winnie learns that when it comes to the Wilde women, the apple didn't fall far from the tree.
Her spirited elderly mother wants to remarry but the groom's family objects. A handsome doctor is just the medicine Winnie needs for family-induced headaches.
Chism Talbert had loved her first, and best -- but he had broken her heart. He was the caretaker's handsome son.
She was Minta Westerly, the privileged girl who'd surrendered to him one starry summer night -- then been abandoned when he abruptly left town. Now she was back in the big house where she'd spent family vacations -- and suddenly, impossibly, Chism walked through the door, pinning her with mesmerizing eyes that burned with fury and desire. Both were haunted by the dreams they'd woven together, the promises they'd whispered under a willow tree -- and both were devastated by a misunderstanding that still felt like a betrayal. But the years apart and the pain they had denied only fed the fires of passion that sizzled within. Minta longed to taste the magic of Chism's lips once more, even if he insisted that time had made them strangers. Could she make him see she belonged in his world, and that he would have a home in her heart forever?
Can the origins of morality be explained entirely in evolutionary terms? If so, what are the implications for Christian moral theology and ethics? Is the latter redundant, as socio-biologists often assert? Stephen Pope argues that theologians need to engage with evolutionary theory rather than ignoring it. He shows that our growing knowledge of human evolution is compatible with Christian faith and morality, provided that the former is not interpreted reductionistically and the latter is not understood in fundamentalist ways. Christian ethics ought to incorporate evolutionary approaches to human nature to the extent that they provide helpful knowledge of the conditions of human flourishing, both collective and individual. From this perspective, a strong affirmation of human dignity and appreciation for the theological virtues of faith, hope and charity is consistent with a revised account of natural law and the cardinal virtues.
"New York" brings together painter Alex Katz's most striking images of his hometown and the dear friends with which he made it his own. Coming of age during the triumph of the New York School of painting, Katz synthesized its influences with wide-ranging interests shared by many of the New York School poets. Of the more than 40 paintings and aquatints gathered here, many depict that distinguished circle, as well as the iconic skyline where they changed the world. Katz is best known as a painter of people, and the wide cross-section of portraits here demonstrates the variety he brings to the genre, along with dramatic variations in scale, abrupt cropping and subtle artifices such as luxuriant backdrops that turn out to be earlier Katz paintings. Along with an essay and interview, "New York" includes an extraordinary selection of poems from friends of the artist, including some of the most important American poets of the late twentieth century, among them Frank O'Hara, Kenneth Koch, John Ashbery and Robert Creeley. Katz was born in Brooklyn in 1927 and studied at the Cooper Union and Skowhegan School of Painting and Sculpture. His work has been the subject of nearly 200 international solo exhibitions.
From the beginning, American culture was steeped in the language of theology. The arts, in particular, were inextricably linked with religion. As author Gene Edward Veith shows in Painters of Faith, belief in the spiritual power of art provided the basis for America’s first major artistic movement, the Hudson River School. The personal faith of Thomas Cole, Asher B. Durand, Jasper Cropsey, Frederic Church, and the other Hudson River School painters inspired their transcendent landscapes. In this fascinating and beautifully illustrated work, Veith explores that faith and the crucial role it played in their artistic creations. Aesthetics, he shows, could not be separated from theology. In reconstructing the worldview of the artists as well as of much of the American public in the nineteenth century, Veith delves into the writings of Martin Luther, John Calvin, and the American Puritan preacher Jonathan Edwards to find the roots of a Protestant aesthetic. While Protestantism is not ordinarily associated with a strong artistic tradition, Veith reveals how Protestant Christianity in nineteenth-century America was indeed a catalyst for the arts. In fact, the clergy were among the most ardent promoters of the arts in the new republic, and theological journals continually carried on discussions about art. The Hudson River School artists, in particular, expressed ambitious themes, employing narrative, symbolism, and allegory to convey moral and spiritual truths. Complete with forty-two full-color illustrations, Painters of Faith is an in-depth examination of the artistic and theological context in which these painters worked—and a gripping look at the cultural development of early America.
Senegal will transport you deep into the country’s rich, multifaceted cuisine. You’ll feel the sun at your back and the cool breeze off the Atlantic, hear the sizzle of freshly caught fish hitting the grill, and bask in the tropical palm forests of Casamance. Inspired by the depth of Senegalese cooking and the many people he’s met on his culinary journey, these recipes are Pierre Thiam’s own creative, modern takes on the traditional. Learn to cook the vibrant, diverse food of Senegal, such as soulful stews full of meat falling off the bone; healthy ancient grains and dark leafy greens with superfood properties; fresh seafood grilled over open flame, served with salsas singing of bright citrus and fiery peppers; and lots of fresh vegetables and salads bursting with West African flavors.
Pierre’s first book, Yolele!, introduced Senegalese food to the world, and now Senegal takes a deeper dive, showcasing the ingredients and techniques elemental to Senegalese cooking, the food producers at the heart of its survival, and the unique cultural and historical context it exists in. You’ll meet local farmers, fishermen, humble food producers, and home cooks each with stories to tell and recipes to share and savor. You won’t just be learning to make a few dishes, you’ll learn about the Senegalese people, the stories of their past, and importantly, the issues they face today and tomorrow. This is the food of Senegal, from the source to the bowl.
Meet A.K. Swift, a working-class war veteran and family man who is haunted by visions of nuclear apocalypse. When matters of conscience determine that he can no longer support the State-sponsored institutions that create the machines that threaten the living, A.K.decides to stop paying. Trouble is, he's not a very good tax resister. He forgets to attend the meetings and doesn't bother to fill out the proper forms. Now he worries there may be consequences. From the dustbin of Cold War protest literature, Bradley Smith s The Man Who Saw His Own Liver emerges as a heartfelt meditation on the time problem of the individual against authority. Rooted in libertarian theory and the moribund tradition of American transcendentalism, it is the story of an accidental rebel trembling in comic defiance under the yoke of God and State, and before the face Leviathan of modern Bureaucracy. Smith's writing is animated by a crisp and laconic prose-poetic hum. His is a uniquely personal canvass in which storytelling and gently wrought polemics interweave, seamly, with turns of magical realism coming to rest in that frail, strangely familiar liminal space, where ineffable exaltation and terror transcend the political. Originally conceived and performed for the stage in 1983, The Man Who Saw His Own Liver is presented by Nine-Banded books in novelized form.
It is appended with Smith s short story, Joseph Conrad and the Monster from the Deep. We hope you enjoy it.