Like sounds of beautiful music, worship can renew us for God’s glory and our good by the invigorating power of God’s reverberating Word. It is God’s story that redeems all our stories. We want to tell it again and again as best we can, clearly conveying its message, meaning, richness, claim, and call. Through its every facet and component, worship that is biblically expositional can heighten how we proclaim God’s story, faithfully and creatively pointing to the One who alone offers us true identity, security, and destiny. “If you seek me you will find me, if you search with all your heart,” declares the Lord. With the ancient prophets and apostles we must repeat and repeat and repeat the most wonderful truth that God wants to be found. In Christian worship such tremendous and tender encounter is available to us as nowhere else.

What is the most effective way to grow a church? It's not a new methodology or cultural outreach strategy, it's...the Word of God. In this book, Jonathan Leeman wants you to realize that the Word, working through God's Spirit, is responsible for the growth of God's church and we need to trust it! Leeman not only informs and equips the leadership of local churches for greatest effectiveness in their preaching ministry but explains how to translate that into the life of the church throughout the week. The book also deals with two errors - not trusting the Word (resulting in a pragmatic ministry philosophy) and not living in light of the Word, (resulting in a ministry philosophy of "preaching is enough"). Reverberation explains the pulpit ministry and traces the theme of how the Word continues through the life of the church. Both theological and practical, Reverberation focuses on how the church hears, responds, discusses, implements and is transformed by the Word. No high-octane production, superstar personalities, or postmodern entreaties, just stuff that is really old, really good, and really powerful!

It’s a question hundreds of pastors ask every day:What is the best way to grow? A lot of books give a lot of answers, but the best one comes from Scripture. Word-Centered Church brings that answer into sharp focus. Written by Jonathan Leeman, editorial director for the reputable ministry 9Marks, Word-Centered Church offers a thorough treatment of one of God’s greatest concerns: growing His people and growing His church. As simple as the concept may seem, it’s one that many churches miss, and to their own detriment. Because when churches center everything they do on God’s Word—when the pulpit ministry gives direction to every aspect of the church’s life—growth happens God’s way. God’s Word is what creates the church, and it’s what sustains it, too. Theological and practical, Word-Centered Church focuses on how the church hears, responds to, discusses, implements, and is transformed by Scripture. It’s not about high-octane production, superstar personalities, or postmodern entreaties, but stuff that is really old, really good, and really powerful. Word-Centered Church is the ministry-model book that churches need, because it advances the model God designed. For anyone who wants to grow or help others grow, Word-Centered Church is indispensable.

Good Press Publishing presents to you this meticulously edited Stephen Crane collection:_x000D_ Table of Contents:_x000D_ Novels and Novellas:_x000D_ The Red Badge of Courage_x000D_ Maggie: A Girl of the Streets_x000D_ George's Mother_x000D_ The Third Violet_x000D_ Active Service_x000D_ The Monster_x000D_ The O'Ruddy_x000D_ Short Stories:_x000D_ The Little Regiment and Other Episodes from the American Civil War:_x000D_ The Little Regiment_x000D_ Three Miraculous Soldiers_x000D_ A Mystery of Heroism_x000D_ An Indiana Campaign_x000D_ A Grey Sleeve_x000D_ The Veteran_x000D_ The Open Boat and Other Stories:_x000D_ The Open Boat_x000D_ A Man and Some Others_x000D_ The Bride comes to Yellow Sky_x000D_ The Wise Men_x000D_ The Five White Mice_x000D_ Flanagan and His Short_x000D_ Filibustering Adventure_x000D_ Horses_x000D_ Death and the Child_x000D_ An Experiment in Misery_x000D_ The Men in the Storm_x000D_ The Dual that was not Fought_x000D_ An Ominous Baby_x000D_ A Great Mistake_x000D_ An Eloquence of Grief_x000D_ The Auction_x000D_ The Pace of Youth_x000D_ A Detail_x000D_ Blue Hotel_x000D_ His New Mittens_x000D_ Whilomville Stories:_x000D_ The Angel Child_x000D_ Lynx-Hunting_x000D_ The Lover and the Telltale_x000D_ "Showin' Off"_x000D_ Making an Orator_x000D_ Shame_x000D_ The Carriage-Lamps_x000D_ The Knife_x000D_ The Stove_x000D_ The Trial, Execution, and Burial of Homer Phelps_x000D_ The Fight_x000D_ The City Urchin and the Chaste Villagers_x000D_ A Little Pilgrimage_x000D_ Wounds in the Rain – War Stories:_x000D_ The Price of the Harness_x000D_ The Lone Charge of William B. Perkins_x000D_ The Clan of No-Name_x000D_ God Rest Ye, Merry Gentlemen_x000D_ The Revenge of the Adolphus_x000D_ The Sergeant's Private Madhouse_x000D_ Virtue in War_x000D_ Marines Signalling under Fire at Guantanamo_x000D_ This Majestic Lie_x000D_ War Memories_x000D_ The Second Generation_x000D_ Great Battles of the World:_x000D_ Vittoria_x000D_ The Siege of Plevna_x000D_ The Storming of Burkersdorf Heights_x000D_ A Swede's Campaign in Germany_x000D_ The Storming of Badajoz_x000D_ The Brief Campaign Against New Orleans_x000D_ The Battle of Solferino_x000D_ The Battle of Bunker Hill_x000D_ Last Words:_x000D_ The Reluctant Voyagers_x000D_ Spitzbergen Tales_x000D_ Wyoming Valley Tales_x000D_ London Impressions_x000D_ New York Sketches_x000D_ The Assassins in Modern Battles_x000D_ Irish Notes_x000D_ Sullivan County Sketches_x000D_ Miscellaneous_x000D_ The Black Dog _x000D_ A Tent in Agony_x000D_ An Experiment in Luxury_x000D_ The Scotch Express_x000D_ Twelve O'Clock_x000D_ Manacled_x000D_ A Dark-Brown Dog..._x000D_ Poetry:_x000D_ The Black Riders and Other Lines_x000D_ War is Kind_x000D_ _x000D_ _x000D_ _x000D_

This unique and meticulously edited collection of Stephen Crane's greatest works includes: Novels and Novellas:_x000D_ The Red Badge of Courage_x000D_ Maggie: A Girl of the Streets_x000D_ George's Mother_x000D_ The Third Violet_x000D_ Active Service_x000D_ The Monster_x000D_ The O'Ruddy_x000D_ Short Stories:_x000D_ The Little Regiment and Other Episodes from the American Civil War:_x000D_ The Little Regiment_x000D_ Three Miraculous Soldiers_x000D_ A Mystery of Heroism_x000D_ An Indiana Campaign_x000D_ A Grey Sleeve_x000D_ The Veteran_x000D_ The Open Boat and Other Stories:_x000D_ The Open Boat_x000D_ A Man and Some Others_x000D_ The Bride comes to Yellow Sky_x000D_ The Wise Men_x000D_ The Five White Mice_x000D_ Flanagan and His Short_x000D_ Filibustering Adventure_x000D_ Horses_x000D_ Death and the Child_x000D_ An Experiment in Misery_x000D_ The Men in the Storm_x000D_ The Dual that was not Fought_x000D_ An Ominous Baby_x000D_ A Great Mistake_x000D_ An Eloquence of Grief_x000D_ The Auction_x000D_ The Pace of Youth_x000D_ A Detail_x000D_ Blue Hotel_x000D_ His New Mittens_x000D_ Whilomville Stories:_x000D_ The Angel Child_x000D_ Lynx-Hunting_x000D_ The Lover and the Telltale_x000D_ "Showin' Off"_x000D_ Making an Orator_x000D_ Shame_x000D_ The Carriage-Lamps_x000D_ The Knife_x000D_ The Stove_x000D_ The Trial, Execution, and Burial of Homer Phelps_x000D_ The Fight_x000D_ The City Urchin and the Chaste Villagers_x000D_ A Little Pilgrimage_x000D_ Wounds in the Rain – War Stories:_x000D_ The Price of the Harness_x000D_ The Lone Charge of William B. Perkins_x000D_ The Clan of No-Name_x000D_ God Rest Ye, Merry Gentlemen_x000D_ The Revenge of the Adolphus_x000D_ The Sergeant's Private Madhouse_x000D_ Virtue in War_x000D_ Marines Signalling under Fire at Guantanamo_x000D_ This Majestic Lie_x000D_ War Memories_x000D_ The Second Generation_x000D_ Great Battles of the World:_x000D_ Vittoria_x000D_ The Siege of Plevna_x000D_ The Storming of Burkersdorf Heights_x000D_ A Swede's Campaign in Germany_x000D_ The Storming of Badajoz_x000D_ The Brief Campaign Against New Orleans_x000D_ The Battle of Solferino_x000D_ The Battle of Bunker Hill_x000D_ Last Words:_x000D_ The Reluctant Voyagers_x000D_ Spitzbergen Tales_x000D_ Wyoming Valley Tales_x000D_ London Impressions_x000D_ New York Sketches_x000D_ The Assassins in Modern Battles_x000D_ Irish Notes_x000D_ Sullivan County Sketches_x000D_ Miscellaneous_x000D_ Other Short Stories_x000D_ Poetry:_x000D_ The Black Riders and Other Lines_x000D_ War is Kind

The legacy of success crowned by innocent remains perpetually as the guiding path for generations. Success through a corrupt manner gives birth to insecurity, lawlessness and atrocities. Mankind is bred and fed with false love. False love is the birth of corrupt manners. Mankind is the creator of its own worst nightmares. If you want to live, learn how to live. If you live by the sword, you are compelled to die by the sword. True love is life. Life is all about self-expression through love and conformity with the world in which you find yourself. This precious book; “The Secret of Success” is meant to enlighten mankind for the transformation of its inner world and the outer world to suit the creative power of the entire existence and its natural laws. Global peace is attainable only through love, innocent and the sense of justice. Love is the solution to every problem in life. Love unites. Unity is strength. With love and unity, we forge ahead for Perfect peace and everlasting prosperity for the human race.

DigiCat presents to you this meticulously edited Stephen Crane collection: Table of Contents: Novels and Novellas: The Red Badge of Courage Maggie: A Girl of the Streets George's Mother The Third Violet Active Service The Monster The O'Ruddy Short Stories: The Little Regiment and Other Episodes from the American Civil War: The Little Regiment Three Miraculous Soldiers A Mystery of Heroism An Indiana Campaign A Grey Sleeve The Veteran The Open Boat and Other Stories: The Open Boat A Man and Some Others The Bride comes to Yellow Sky The Wise Men The Five White Mice Flanagan and His Short Filibustering Adventure Horses Death and the Child An Experiment in Misery The Men in the Storm The Dual that was not Fought An Ominous Baby A Great Mistake An Eloquence of Grief The Auction The Pace of Youth A Detail Blue Hotel His New Mittens Whilomville Stories: The Angel Child Lynx-Hunting The Lover and the Telltale "Showin' Off" Making an Orator Shame The Carriage-Lamps The Knife The Stove The Trial, Execution, and Burial of Homer Phelps The Fight The City Urchin and the Chaste Villagers A Little Pilgrimage Wounds in the Rain – War Stories: The Price of the Harness The Lone Charge of William B. Perkins The Clan of No-Name God Rest Ye, Merry Gentlemen The Revenge of the Adolphus The Sergeant's Private Madhouse Virtue in War Marines Signalling under Fire at Guantanamo This Majestic Lie War Memories The Second Generation Great Battles of the World: Vittoria The Siege of Plevna The Storming of Burkersdorf Heights A Swede's Campaign in Germany The Storming of Badajoz The Brief Campaign Against New Orleans The Battle of Solferino The Battle of Bunker Hill Last Words: The Reluctant Voyagers Spitzbergen Tales Wyoming Valley Tales London Impressions New York Sketches The Assassins in Modern Battles Irish Notes Sullivan County Sketches Miscellaneous The Black Dog A Tent in Agony An Experiment in Luxury The Scotch Express Twelve O'Clock Manacled A Dark-Brown Dog... Poetry: The Black Riders and Other Lines War is Kind

The Complete Works of Stephen Crane is a comprehensive collection of the seminal author's writings, showcasing his unique literary style that combines realism with impressionism. Crane's works often explore themes of war, nature, and the human condition, providing readers with a profound insight into the complexities of life in the late 19th century. His vivid descriptions and powerful narratives make his works a standout in American literature, influencing future generations of writers. The collection includes his most famous works such as The Red Badge of Courage and Maggie: A Girl of the Streets, as well as lesser-known gems that offer a deeper understanding of Crane's artistry. Stephen Crane's ability to capture the harsh realities of the world with unflinching honesty and sensitivity makes this collection a must-read for anyone interested in classic literature or the human experience. His tragic and untimely death at a young age adds a poignant layer to his works, reminding readers of the fleeting nature of life and art. The Complete Works of Stephen Crane is a timeless masterpiece that continues to resonate with readers today, making it a valuable addition to any literary enthusiast's library.

The eleven volumes of this edition contain all, save one, of the dramas which Henrik Ibsen himself admitted to the canon of his works. The one exception is his earliest, and very immature, tragedy, Catilina, first published in 1850, and republished in 1875. This play is interesting in the light reflected from the poet’s later achievements, but has little or no inherent value. A great part of its interest lies in the very crudities of its style, which it would be a thankless task to reproduce in translation. Moreover, the poet impaired even its biographical value by largely rewriting it before its republication. He did not make it, or attempt to make it, a better play, but he in some measure corrected its juvenility of expression. Which version, then, should a translator choose? To go back to the original would seem a deliberate disregard of the poet’s wishes; while, on the other hand, the retouched version is clearly of far inferior interest. It seemed advisable, therefore, to leave the play alone, so far as this edition was concerned. Still more clearly did it appear unnecessary to include The Warrior’s Barrow and Olaf Liliekrans, two early plays which were never admitted to any edition prepared by the poet himself. They were included in a Supplementary Volume of the Norwegian collected edition, issued in 1902, when Ibsen’s life-work was over. They have even less intrinsic value than Catilina, and ought certainly to be kept apart from the works by which he desired to be remembered. A fourth youthful production, St. John’s Night, remains to this day in manuscript. Not even German piety has dragged it to light. With two exceptions, the plays appear in their chronological order. The exceptions are Love’s Comedy, which ought by rights to come between The Vikings and The Pretenders, and Emperor and Galilean, which ought to followThe League of Youth instead of preceding it. The reasons of convenience which prompted these departures from the exact order are pretty obvious. It seemed highly desirable to bring the two Saga Plays, if I may so call them, into one volume; while as for Emperor and Galilean, it could not have been placed between The League of Youth and Pillars of Society save by separating its two parts, and assigning Caesar’s Apostasy to Volume V., The Emperor Julian to Volume VI. For the translations of all the plays in this edition, except Love’s Comedy and Brand, I am ultimately responsible, in the sense that I have exercised an unrestricted right of revision. This means, of course, that, in plays originally translated by others, the merits of the English version belong for the most part to the original translator, while the faults may have been introduced, and must have been sanctioned, by me. The revision, whether fortunate or otherwise, has in all cases been very thorough. In their unrevised form, these translations have met with a good deal of praise and with some blame. I trust that the revision has rendered them more praiseworthy, but I can scarcely hope that it has met all the objections of those critics who have found them blameworthy. For, in some cases at any rate these objections proceeded from theories of the translator’s function widely divergent from my own—theories of which nothing, probably, could disabuse the critic’s mind, save a little experience of the difficulties of translating (as distinct from adapting) dramatic prose. Ibsen is at once extremely easy and extremely difficult to translate. It is extremely easy, in his prose plays, to realise his meaning; it is often extremely difficult to convey it in natural, colloquial, and yet not too colloquial, English. He is especially fond of laying barbed-wire entanglements for the translator’s feet, in the shape of recurrent phrases for which it is absolutely impossible to find an equivalent that will fit in all the different contexts. But this is only one of many classes of obstacles which encountered us on almost every page. I think, indeed, that my collaborators and I may take it as no small compliment that some of our critics have apparently not realised the difficulties of our task, or divined the laborious hours which have often gone to the turning of a single phrase. And, in not a few cases, the difficulties have proved sheer impossibilities. I will cite only one instance. Writing of The Master Builder, a very competent, and indeed generous, critic finds in it “a curious example of perhaps inevitable inadequacy.... ‘Duty! Duty! Duty!’ Hilda once exclaims in a scornful outburst. ‘What a short, sharp, stinging word!’ The epithets do not seem specially apt. But in the original she cries out ‘Pligt! Pligt! Pligt!’ and the very word stings and snaps.” I submit that in this criticism there is one superfluous word—to wit, the “perhaps” which qualifies “inevitable.” For the term used by Hilda, and for the idea in her mind, there is only one possible English equivalent: “Duty.” The actress can speak it so as more or less to justify Hilda’s feeling towards it; and, for the rest, the audience must “piece out our imperfections with their thoughts” and assume that the Norwegian word has rather more of a sting in its sound. It might be possible, no doubt, to adapt Hilda’s phrase to the English word, and say, “It sounds like the swish of a whip lash,” or something to that effect. But this is a sort of freedom which, rightly or wrongly, I hold inadmissible. Once grant the right of adaptation, even in small particulars, and it would be impossible to say where it should stop. The versions here presented (of the prose plays, at any rate) are translations, not paraphrases. If we have ever dropped into paraphrase, it is a dereliction of principle; and I do not remember an instance. For stage purposes, no doubt, a little paring of rough edges is here and there allowable; but even that, I think, should seldom go beyond the omission of lines which manifestly lose their force in translation, or are incomprehensible without a footnote.