This utterly addictive, brilliant novel about rum-running in the 1920s is like The Wire transplanted to Prohibition-era Detroit, by a writer of whom Stephen King has said: "Emily Schultz is my new hero." Men Walking on Water opens on a bitter winter's night in 1927, with a motley gang of small-time smugglers huddled on the banks of the Detroit River, peering towards Canada on the opposite side. A catastrophe has just occurred: while driving across the frozen water by moonlight, a decrepit Model T loaded with whisky has broken the ice and gone under--and with it, driver Alfred Moss and a bundle of money. From that defining moment, the novel weaves its startling, enthralling story, with the missing man at its centre, a man who affects all the characters in different ways. In Detroit, a young mother becomes a criminal to pay down the debt her husband, assumed dead, has left behind; a Pentecostal preacher brazenly uses his church to fund his own bootlegging operation even as he lectures against the perils of drink; and across the river, a French-Canadian woman runs her booming brothel business with the permission of the powerful Detroit gangsters who are her patrons. The looming background to this extraordinary story, as compelling as any character, is the city of Detroit--a place of grand dreams and brutal realities in 1927 as it is today, fuelled by capitalist expansion and by the collapse that follows, sitting on the border between countries, its citizens walking precariously across the river between pleasure and abstinence. This is an absolutely stunning, mature, and compulsively readable novel from one of our most talented and unique writers.

Margaret Wilmot writes like a true citizen of the world. She is as at home in the nine-part sequence: Quanta US: 'Wide-screen America.../ prelude to a Western, ' as in a sailor's hostel in Buenos Aires: (Your Holiness, Your Grace, Dear Sir, Dear Pope). She writes with a gleaming, persistent sense of wonder. Small, yet vital details are spotted, pondered and brought into the spotlight of her keen gaze, becoming poignant, whimsical and deeply significant in turn. Horse riding in Santa Catalina (Santa Catalina), she is halted by a migration of frogs: 'Each step will be a killing', and who knew that the bullying magpie can recognise itself in mirrors? Just like humans! (The Thriving Magpie) This collection breathes with her dazzling use of language, and what I can only define as a sort of heightened energy underpinned by an indefinable sense of spirituality. It is a unique and welcome addition to a sometimes rather tired contemporary poetry scene

Why did Jesus choose an imperfect man like Peter? How could He love a man like Peter? The reason we wonder is because behind, underneath, and wrapped around those questions is a deeper more personal one: how can Jesus love me? We relate to Peter, not because of his personality, but because he was every bit as flawed as we are. One moment, his faith stood strong, and the next, he opposed God’s will with his own. Peter was like us, with a desire for what is right but so inclined toward what is wrong. He was not exceptional by nature, but God used him exceptionally because he never stopped giving himself to God a little more completely after each lesson of the failure found in himself. What turned out to be Peter’s greatest strength was admitting his own weakness: his need for a Savior. Why did Jesus choose Peter? It was because of grace, always and only. Peter knew it and never stopped pointing others to Jesus. Walking on Water is for every follower of Christ who has fallen flat on his or her face and failed completely one time or another—or many times over. Jesus picked Peter up every time, and he’ll pick you up, too, whether you feel you deserve it or not.

Sand between my toes, the salt air wrapping around me like a warm, summer blanket, the crashing of waves, and the meeting of sky and water. The beach is where I see the handiwork of God. As a young child, it was there that I wished that I could walk on the water as Jesus and Peter had in Matthew 14. It was there that I learned of faith, the faith that requires you to not only step out of the boat but also to focus on Jesus and learn to walk toward Him daily. It is not enough to just get out of our comfort zones, but now we need to learn to grow and walk toward Him constantly. The Faith to Walk on Water takes a look at why standing still in our faith is no longer an option, how doubt and fear are overcome by Jesus. He does not watch from a distance, but He is always there holding out His hand for us to take hold. So what are you waiting for? Take that step, and walk on the water!

He was called Simon. He was Jonah’s son and Andrew’s brother. Both brothers had met Jesus, heard his call, and followed him, leaving everything and everyone else behind. We know the rest of the story—a story that has captured the hearts of followers of Jesus for more than two thousand years. These series of brief meditations focus on scenes from the Gospels and the Acts of the Apostles in which St. Peter appears, speaks, or acts, as well as passages from Peter’s New Testament letters. Archbishop Emeritus Giuseppe Agostino presents the biblical passage and then a short meditation that speaks to us today about our own lives of faith. With spontaneity, enthusiasm, and a passionate but sometimes wavering faith, St. Peter jumped out of the boat and walked on water. These reflections can help our own faith grow so that we, too, can get out of the boat with our eyes focused only on our Lord.

The Bible and the American Myth challenges the academic study of the Bible to orient itself to cultural criticism. The essays model an approach to the study of the Bible that entails efforts to fathom not only the meanings of texts, but the role of texts in the construction of meaning. It is all the more fascinating and poignant that the essayists are students of theology of varied backgrounds. What they have in common is the pursuit of theological studies at the mouth of Harlem. This location at the turn of the century inspired them to think differently about the focus and agenda of theological studies, especially biblical studies. Each essayist is convinced that the study of the Bible should entail the study of cultural construction and deconstruction, the study of the making and unmaking of cultural myths that shape existence.

When the long walk from Seattle to Key West finally nears an end, Alan Christoffersen must return to the west and face yet another crisis just as he has begun to heal from so much loss.

"The first comprehensive study of North American Indigenous languages as the basis of textualized orality in Indigenous literatures in English. Drawing on a significant Indigenous language structure -- the holophrase (one-word sentence) -- Neuhaus proposes "holophrastic reading" as a culturally specific reading strategy for orality in Indigenous writing. In readings of works by Ishmael Alunik (Inuvialuit), Alootook Ipellie (Inuit), Richard Van Camp (Dogrib), Thomas King (Cherokee), and Louise Bernice Halfe (Cree), she demonstrates that (para)holophrases -- the various transformations of holophrases into English-language discourse -- textualize orality in Indigenous literatures by grounding it in Indigenous linguistic traditions. Neuhaus's discussion points to the paraholophrase, the functional equivalent of the holophrase, as a central discourse device in Indigenous writing and as a figure of speech in its own right. Building on interdisciplinary research, this groundbreaking study not only links oral strategies in Indigenous writing to Indigenous rhetorical sovereignty, but also points to ancestral language influences and Indigenous rhetoric more generally as areas for future research"--Cover.

Walking on Water is a compilation of stories and narrative poems that shows Gods divine intervention in human lives.

Hiding the Audience examines how the development of Canadian prairie arts institutions in the context of an implicitly Euro- or Anglo-Canadian audience clashed with the creation of regional arts that needed to acknowledge a Native Canadian presence to flourish. It looks in detail at the regional versus international strains in the history of the Banff Centre, at the development of the Glenbow Museum and the controversy over the "Spirit Sings" exhibition, at the two decades of contention regarding statues of Louis Riel in Regina and Winnipeg, and at the contrasts in audience participation in two of 25th Street Theatre's productions, one about farmers and the other about Metis people. Primarily a work of cultural history, this study uses archival sources, post-colonial theory, and the theories implied in the fiction of Cherokee author Thomas King to probe the ways in which the whitestream assumptions of the individuals who institutionalized the arts on the Prairies hid both a Native audience and the kinds of issues and presentations such an audience might reasonably expect to see--and that might help make the settler audience understand the responsibilities of becoming native to this place. The interdisciplinary nature of the book makes it useful to scholars in Native Studies, Museum Studies, Art History, Theatre, and English, as well as to arts administrators and patrons, art lovers, and artists.