Hidden in His Own Story is an invitation to reconsider and re-imagine both the humanity and divinity of Jesus. It is an invitation to people who are not familiar with the Bible stories and have only heard them through other sources, also to many who have rejected traditional interpretations of the stories as religious dogma, and to many people who are so steeped in the stories that they have become cliche. Even the most clever storyteller or writer of fiction can never totally disguise or deny their personal influence on the story. And most of us have had the experience of someone beginning a story with, "I know a person who . . . " when in fact that "person" is the one telling the story. Why not imagine the same when Jesus says, "Once there was a man . . . ?"

The seventh-born rat of the seventh-born litter is always a rat in want of adventure.Tilbury Twitch-Whiskers is no exception.He just doesn't know it yet . . .The curse of a legendary diamond hangs heavy over the Dockland Rats - and it becomes clear only Tilbury can break the curse and save ratkind from disaster. To carry out his destiny, this timid young rat must leave the comfort of home for the very first time . . .Tilbury's quest takes him to new lands, where huge cats and unfamiliar rats rule the streets and skies. Tilbury must risk everything to return the cursed jewel to its rightful owner . . . and along the way, he just might discover what true treasure is.

From standing alone in a doorway of a house on an early-May morning, looking out on the torn backstreets of a Texas city in the early 1990s, Fr. Tom Jackson--a marginal Episcopal priest and former shrink--began to experience a new life in what seemed to be a strange placeand the house would quickly become known as St. Dismas House (named for a criminal/saint)and the House would fill and overflow with hundreds and hundreds of folksand a roller-coaster ride would follow: a community life of work and ministry and emotion and loss and gain and there would be more Houses and more folks and more kaleidoscopic life. Although this personal narrative is a continuation of the journey described in Fr. Toms earlier diary, Go Back, You Didnt Say May I, it is, in fact, an entity unto itself: a record of the risks and glories of real people dealing with the life-and-death vagaries of Companionship at the turning of a new millenniumone day at a time.

"Earth is Ours." is a fresh and uniquely original story line that bridges many genres. It is a story of a symbiotic relationship between a self-aware female computer and an American Indian man dying of old age. This is a forced relationship dictated by mutual needs for survival in a world stripped of technology by aliens. The main characters begin the fight of their lives, but before they can fight the fierce aliens, Levi and Amy must fight for control of who they will be jointly. What begins as conflict of minds, develops into tolerance, then cooperation and finally love. This love of total oneness creates a unity of incredible power and strength that provides the means to fight the aliens. Female brains and male brawn unite to battle against incredible odds for the survival of the human race. The conflict of minds, action, adventure and suspense are all interlaced into a compelling and fast paced adventure. The characters are three dimensional with real emotions, not always perfect, but always interacting. The story is presented from differing viewpoints with the two main characters expressing some of the same events from both a male and female perspective. As they interface, the events are often seen from conflicting emotions and motivations; sometimes cynical and often humorous. It is the ultimate struggle of male versus female while combating monstrous aliens. As expected, this action story has a strong appeal to men, while the romance aspect compliments the story expanding the appeal to women. Additionally, one of the main characters is Amy, a particularly, brilliant and forceful female who demands attention from both sexes. Her male counterpart is very physical and masculine, representing everything Amy is not. Both characters and sexes are presented in a positive although conflicting way at times. These characters, and the story, are strong and their saga continues in its sequel "Target Earth."

Borges once stated that he had never created a character: 'It's always me, subtly disguised'. This book focuses on the ways in which Borges uses events and experiences from his own life, in order to demonstrate how they become the principal structuring motifs of his work. It aims to show how these experiences, despite being 'heavily disguised', are crucial components of some of Borges's most canonical short stories, particularly from the famous collections Ficciones and El Aleph. Exploring the rich tapestry of symmetries, doubles and allusions and the roles played by translation and the figure of the creator, the book provides new readings of these stories, revealing their hidden personal, emotional and spiritual dimensions. These insights shed fresh light on Borges's supreme literary craftsmanship and the intimate puzzles of his fictions.

Clementine Fargar, a 17-year-old Seattle high school student, is forced to leave school for a time following the death of her parents and trouble with her eyes. She goes to to live with her older brother, Dave, on Whidby Island, part of the beautiful, mysterious Puget Sound with its Indian-haunted islands. Even though he's only two years older than her, Dave Farger is the superintendent of a black powder repository. Little did Clem suspect her and her brother's lives would soon be turned upside down when an unknown enemy begins to make trouble. Who is the elusive Man in the Fishmask, and what is he up to?

This Norton Critical Edition includes four stories—two set on stormy seas, two on calm seas, all four based on the same incident—that speak to each other in interesting ways. The stories in this Norton Critical Edition maintain the connection and sequencing that Joseph Conrad saw among them. In his “Author’s Note” to ‘Twixt Land and Sea, Conrad writes of his two “Calm-pieces” (“The Secret Sharer” and The Shadow-Line) and his two “Storm-pieces” (The Nigger of the “Narcissus” and “Typhoon”). This edition is based on the first English book edition for the stories and the first American edition for the “Author’s Note” for The Shadow-Line, “Typhoon,” and “The Secret Sharer.” The stories are accompanied by explanatory annotations, a note on the texts (including a list of textual emendations), and a preface. “Backgrounds and Contexts” brings together relevant correspondence and contemporary reviews from both British and American sources. Also included are documents related to Conrad’s sources for the stories, among them Charles Arthur Sankey’s “Ordeal of the Cutty Sark: A True Story of Mutiny, Murder on the High Seas.” To help readers navigate, the editor includes a glossary of nautical terms as well as diagrams of the kinds of ships that appear in the stories. “Criticism” includes fifteen essays representing both new and established voices. The essays are arranged by story, with the focus on Conrad’s major themes—colonialism, narrative, gender, and race. Albert J. Guerard, Lillian Nayder, Mark D. Larabee, Fredric Jameson, F. R. Leavis, and John G. Peters are among the contributors. A chronology of Conrad’s life and work and a selected bibliography are also included.

A definitive account of one of the most dominant trends in recent historical writing, The Cultural Turn in U.S. History takes stock of the field at the same time as it showcases exemplars of its practice. The first of this volume’s three distinct sections offers a comprehensive genealogy of American cultural history, tracing its multifaceted origins, defining debates, and intersections with adjacent fields. The second section comprises previously unpublished essays by a distinguished roster of contributors who illuminate the discipline’s rich potential by plumbing topics that range from nineteenth-century anxieties about greenback dollars to confidence games in 1920s Harlem, from Shirley Temple’s career to the story of a Chicano community in San Diego that created a public park under a local freeway. Featuring an equally wide ranging selection of pieces that meditate on the future of the field, the final section explores such subjects as the different strains of cultural history, its relationships with arenas from mass entertainment to public policy, and the ways it has been shaped by catastrophe. Taken together, these essays represent a watershed moment in the life of a discipline, harnessing its vitality to offer a glimpse of the shape it will take in years to come.