Labyrinths and labyrintine borders have been around for a very long time. In fact, they have been used outside of formal religion as a ritual object to express spiritual values for at least 3500 years in countries all over the world, including China, India, the Holy Land, Ireland, Southern Europe, Scandinavia, pre-Columbian America, and England. They can be found at Neolithic and Sardinian and Hopi rock art sites, in Hindu temples and Taoist shrines, bordering Minoan frescoes, and in Roman mosaics. They have been incorporated into Roman Catholic and Episcopal cathedrals, Protestant churches, and in New Age retreat centres. They have been carved into rocks, turf, and wood; engraved in metal; laid out in stones; woven in reeds; set in tiles; painted and drawn. In other words, the labyrinth is a nearly universal form and comes as close as we can to an archetype. An archetype is a symbol that appeals to us at an unconscious level. We don’t have to struggle with its meaning intellectually. Its symbolic meaning is somehow ingrained in us, part of our very nature. As a result, it may appeal to us without our even understanding why. It is always risky to talk about the meaning of such an archetypal symbol. We know that it must carry a wealth of meaning to appeal to so many different sorts of people over such a long stretch of time. But we can, tentatively, explore some of its meanings if we stay aware that we can never really plumb all of its riches.

Ancient and medieval labyrinths embody paradox, according to Penelope Reed Doob. Their structure allows a double perspective—the baffling, fragmented prospect confronting the maze-treader within, and the comprehensive vision available to those without. Mazes simultaneously assert order and chaos, artistry and confusion, articulated clarity and bewildering complexity, perfected pattern and hesitant process. In this handsomely illustrated book, Doob reconstructs from a variety of literary and visual sources the idea of the labyrinth from the classical period through the Middle Ages. Doob first examines several complementary traditions of the maze topos, showing how ancient historical and geographical writings generate metaphors in which the labyrinth signifies admirable complexity, while poetic texts tend to suggest that the labyrinth is a sign of moral duplicity. She then describes two common models of the labyrinth and explores their formal implications: the unicursal model, with no false turnings, found almost universally in the visual arts; and the multicursal model, with blind alleys and dead ends, characteristic of literary texts. This paradigmatic clash between the labyrinths of art and of literature becomes a key to the metaphorical potential of the maze, as Doob's examination of a vast array of materials from the classical period through the Middle Ages suggests. She concludes with linked readings of four "labyrinths of words": Virgil's Aeneid, Boethius' Consolation of Philosophy, Dante's Divine Comedy, and Chaucer's House of Fame, each of which plays with and transforms received ideas of the labyrinth as well as reflecting and responding to aspects of the texts that influenced it. Doob not only provides fresh theoretical and historical perspectives on the labyrinth tradition, but also portrays a complex medieval aesthetic that helps us to approach structurally elaborate early works. Readers in such fields as Classical literature, Medieval Studies, Renaissance Studies, comparative literature, literary theory, art history, and intellectual history will welcome this wide-ranging and illuminating book.

There is a scarcity of professional literature and research that focuses on women's spiritual development and experiences and how they may differ from those of men. For women, the spiritual is often inner-focused, rather than transcendent; relational, rather than solitary; and interdependent, rather than autonomous. Dancing the Labyrinth integrates knowledge of women's psychological and spiritual development alongside stories of a diverse group of women to examine how spirituality changes over the adult life course; the catalysts for said changes (e.g., the natural aging process or traumatic events); and feminist spirituality, which highlights the importance of relationships (to self, others, and God). While the authors focus on spirituality, they examine the experiences of women who express their spirituality within both traditional and non-traditional paths. The text also includes several chapters that highlight specific clinical interventions professionals can use to implement spirituality into their practice with women. Written in an engaging and accessible style, this book serves as a helpful resource for mental health practitioners, pastoral counselors, spiritual directors, and lay audiences interested in better understanding of the nuances of women's spiritual development and experiences.

In a secret war waged in worlds both virtual and real, the fates of nations depend on the definitive weapon. And that weapon is knowledge—knowledge to die for. . . . The race is heating up between the U.S. and China to develop a quantum computer with infinite capabilities to crack any enemy’s codes, yet keep secure its own secrets. The government that achieves this goal will win a crucial prize. No other computer system will be safe from the reach of this master machine. Dr. Jaron Kwok was working for the U.S. government to build such a computer. But in a posh hotel in Hong Kong, a Chinese policewoman sifts through the bizarre, ashlike remains of what’s left of the doctor. With the clock ticking, alliances will be forged—and there are those who will stop at nothing to discover what the doctor knew. As the search for answers intensifies, it becomes chillingly clear that the quantum computer both sides so desperately want will be more powerful, more dangerous than anyone could have ever imagined. For in the twenty-first century, machines become gods, gods become machines, and the once-impossible now lies within reach. The key to unlimited knowledge will create the ultimate weapon of mass destruction—or humanity’s last chance to save itself. . . .

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