Ink’s Grace is a slow burn Cetean love story set in the Underwater World. This age gap romance is a journey of trauma and healing, where two wounded souls come together over chocolate. Divina knows not all scars are created equal, there are no rules for healing, that each journey has highs and lows, just like any life-giving ocean… Yet she cannot shake the idea of health she imposes on herself. Her life and body have been marked by tragedy, from before she was even born, to her most recent trials in flesh trade with the Witches. Now she is locked in a war between her passionate desire and her aversion to touch. Something must break. Francis is a disciplined male, fully in control of his mind and emotions, but Divina, Requiem housemaid and survivor, tests him with quiet snark and conservative beauty. She is delicate, couldn’t possibly want a twisted male like him. If his age didn’t turn her off, his prosthetics surely would. Except… They do both share a love of chocolate. They can work with chocolate. Then maybe they could work toward something more. That is, if the undercurrents of Cetean politics do not bring the Houses down around their gills…

Pursuing Gods grace can take nearly a lifetime, and sometimes we do not know where or when it will begin to show itself. The first two quarters of my life had been consumed with a quest for peace, happiness, but more importantly, grace. What I didnt realize until most recently is that all three of these were always well within my grasp, much closer than I ever realized. I was given the same opportunities, and I possessed some of the same qualities as many others that I knew. Was I at the top of my class? No. However, I did graduate with honors, but I chose to stop my education through books and school at a young age. My life experiences after that taught me a great deal; however, the gnawing inside of me to further my education never left. Follow my journey as I attempt to find that grace thats been missing throughout my life, hidden among the thorns and thistles that tore at my heart until the time I pursued writing a journal about my experiences. All the while, I peered through the fogginess, eventually revealing the light of Gods grace that he had always granted to me without fail. Lisas upbeat approach to life and her appreciation for Gods love is remarkable. You will notice that character trait as soon as you meet her. However, reading her soul in her words is heart warming and touching. - Donna Melber, rural school elementary teacher, Christian and Aunt Donna by marriage, whom God so richly blessed by bringing her family into my life. It is a real joy watching Lisa follow her Lord into life and ministry to see how He is showering her with His Grace. I found her book A Year Full of Grace filled with compelling reflections on Gods grace and timing as she looks back upon her life story. Enjoy her words and how she draws Gods grace into her story. - Mike Hays, Rimrock Church

Affecting Grace examines the importance of Shakespeare’s poetry and plays within German literature and thought after 1750 – including its relationship to German classicism, which favoured unreflected ease over theatricality. Kenneth S. Calhoon examines this tension against an extensive backdrop that includes a number of canonical German authors – Goethe, Schiller, Herder, Lessing, von Kleist, and Nietzsche – as well as the advent of Meissen porcelain, the painting of Bernardo Bellotto and Francesco Guardi, and aspects of German styles of architecture. Extending from Shakespeare’s The Merchant of Venice (c. 1597) to Kleist’s The Broken Jug (1806), this study turns on the paradox that the German literary world had begun to embrace Shakespeare just as it was firming up the broad but pronounced anti-Baroque sensibility found pivotally in Lessing’s critical and dramatic works. Through these investigations, Calhoon illuminates the deep cultural changes that fundamentally affected Germany’s literary and artistic traditions.

Affecting Grace examines the importance of Shakespeare's poetry and plays within German literature and thought after 1750 – including its relationship to German classicism, which favoured unreflected ease over theatricality. Kenneth S. Calhoon examines this tension against an extensive backdrop that includes a number of canonical German authors – Goethe, Schiller, Herder, Lessing, von Kleist, and Nietzsche – as well as the advent of Meissen porcelain, the painting of Bernardo Bellotto and Francesco Guardi, and aspects of German styles of architecture. Extending from Shakespeare's The Merchant of Venice (c. 1597) to Kleist's The Broken Jug (1806), this study turns on the paradox that the German literary world had begun to embrace Shakespeare just as it was firming up the broad but pronounced anti-Baroque sensibility found pivotally in Lessing's critical and dramatic works. Through these investigations, Calhoon illuminates the deep cultural changes that fundamentally affected Germany's literary and artistic traditions.