'Life provides infinite shades of light and dark...' Victoria Hislop, bestselling author and champion of the short story, has chosen her favourite short stories by women writers. Here are prizewinners, famous wits, well-known feminists, national treasures and rising stars. All the stories in this volume are about life – happy, sad, mundane and extraordinary – it is captured here in all its rich variety. CONTRIBUTORS: Willa Cather, Virginia Woolf, Ellen Gilchrist, Dorothy Parker, Doris Lessing, Penelope Fitzgerald, Margaret Atwood, Penelope Lively, Anita Desai, Alice Munro, Elspeth Davie, Penelope Fitzgerald, Alice Walker, A. M. Homes, Anne Enright, Elizabeth Jolley, Jane Gardam, Alison Lurie, Nicola Barker, Jennifer Egan, Muriel Spark, Hilary Mantel, A. S. Byatt, Maggie Gee, Ali Smith, A. L. Kennedy, Polly Samson, Helen Simpson and Stella Duffy.

This book explores the universal human existential trauma of "original loss," a trauma the author describes as arising from our primal, human evolutionary loss of experiencing ourselves as innately belonging to, and instinctively at home within, the larger natural world. In this trauma arose our existential awareness of impermanence and mortality along with the need to mourn that loss in order to create a sense of belonging and identity. The book describes how the invention of art and group ritual became the collective ways we mourn our shared existential loss. It describes as well how it is the art within the psychoanalytic practice that enables both patient and analyst to grieve their individual versions of our shared original loss. Drawing on the work of Winnicott, Loewald and Ogden, as well as art theory and religion, this book offers a new perspective on the intersection of metaphorical artistic thinking and psychoanalysis. This book will appeal to psychoanalysts, psychotherapists, and scholars of poetic, visual and muscial metaphor, creativity, evolution and history of art.

Preaching from Inside the Story is a book that seeks to carve out an understanding of narrative preaching in an age where there is little agreement about its nature and practice. Capitalizing on the works of Craddock and Lowry, it seeks to find an expanded palette upon which the preacher may engage the larger canvas of narrative preaching. This book will engage the mind by introducing neuroscientific understandings of creativity; build upon the foundations of the philosophy of stories by engaging Aristotle's foundational understanding of narrative; and renew the Lowry Loop by expanding this seminal work and how it should be understood in our current culture. Preaching from Inside the Story breaks new ground by encouraging preachers to move inside stories and tell them from the inside out providing a positive effect, thereby affording non-narrative preachers to connect with storytelling principles. Ultimately, it is filled with examples of how to do narrative in a very practical way. However, in showing these practical examples, the reader is involved in a deep analysis of those narrative sermons and how they fit into an overall narrative understanding of preaching. In the final analysis, it invites the reader to take a fresh journey into narrative preaching.

The problem this project attempts to solve is to develop a workable moral education in light of the clash between religious forms of moral education and U.S. Supreme Court decisions concerning them. The concept of story and storytelling has been suggested as a unifying focus for disparate prescriptions for moral education. Several recent approaches to moral storytelling have been proposed. The approaches of William Bennett, Nel Noddings, and Herbert Kohl are among those which have attempted to combine moral education and storytelling within the last decade. Bennett is identified with other theorists whose primary concern is the moral content of a story. Noddings is identified as a process theorist, whose primary concern is the process of moral storytelling, not the content. Kohl is identified as a reflection theorist, whose approach challenges tradition in the hope of creating a more moral society. Each one of these three approaches attempts to provide a comprehensive program of moral education, but they fall short of that goal. The purpose of this project, then, is to construct a storytelling moral education program that improves upon earlier approaches. Using the three levels of moral thinking posited by R.M. Hare, a three-level approach to moral storytelling is proposed. The intuitive, critical, and meta-ethical levels of moral thinking that Hare refers to are used to frame a new, three-level, approach to moral storytelling. The three-level approach combines content, process, and reflection into a unified prescription for moral education. Thus, a more comprehensive plan for moral education through storytelling is developed, one that respects traditional forms of moral education while remaining within the parameters set by the U.S. Supreme Court.

From its misty beginnings as part of the mainland in the Stone Age, this history covers Lindisfarne's formation as an island, the Roman and Anglo-Saxon eras, the influence of Columba and Iona, Lindisfarne's own apostle, Bede and the monastic tradition, the coming of the Vikings, the Benedictine years and the dissolution of the monasteries.

ISSN: 2397-9607 Issue 231 ÿ In this 231st issue of the Baba Indaba?s Children's Stories series, Baba Indaba narrates the Arabian Nights tale of ?The Story of the Fisherman? ÿPlus four more Tales from the Arabian Nights. Also included in this bumper edition are ?the story of king yoon n and the sage doob n?, ?the story of the husband and the parrot?, ?the story of the envious wezeer and the prince and the ghooleh? and lastly, ?the story of the young king of the black islands? ÿ In The Story of the Fisherman Baba tells how a poor fisherman unexpectedly hauls in the carcass of an ass in his nets. Even though his catch was worthless he gave praise to God for his ability to work and catch fish. He brought the carcass ashore and laid it out to dry thinking the skin may be of value and returned to his fishing. On the second cast of his nets he found them to be even heavier than the first. Still he dragged them ashore. On examining the nets he found in it only a large jar, full of sand and mud. On seeing this, his ÿheart was troubled as he wondered what he and his family were to eat that night. He put the jar aside and a third time, cast the net, and waited till it had sunk and was motionless: he then drew it out, and found in it a quantity of broken jars and pots. Upon seeing this, he raised his head towards heaven, and said, O God, Thou knowest that I cast not my net more than four times; and I have now cast it three times! Then?exclaiming, In the name of God!?he cast the net again into the sea, and waited till it was still; when he attempted to draw it up, but could not, for it clung to the bottom. ÿ He worked away at the nets and found in it a bottle of brass, filled with something, and having its mouth closed with a stopper of lead, bearing the impression of the seal of our lord Suleym n. At the sight of this, the fisherman was rejoiced, and said, This I will sell in the copper-market; for it is worth ten pieces of gold. He then shook it, and found it to be heavy, and said, I must open it, and see what is in it, and store it in my bag; and then I will sell the bottle in the coppermarket. So he took out a knife, and picked at the lead until he extracted it from the bottle. He then laid the bottle on the ground, and shook it, that its contents might pour out; but there came forth from it nothing but smoke, which ascended towards the sky, and spread over the face of the earth; at which he wondered excessively. ÿ After a little while, the smoke collected together, and was condensed, and then became agitated, and was converted into an 'Efreet (a Genie), whose head was in the clouds, while his feet rested upon the ground: his head was like a dome: his hands were like winnowing forks; and his legs, like masts: his mouth resembled a cavern: his teeth were like stones; his nostrils, like trumpets; and his eyes, like lamps. ÿ And so begins the story of the fisherman and the genie which takes many twists and turns along the way with altogether surprising results. And just what are they you ask? And what of the other stories you ask? Well, you?ll just have to download and read the full story to find out what they?re about and how they relate to The Story of the Fisherman . ÿ 33% of the profit from the sale of this book will be donated to charities. ÿ INCLUDES LINKS TO DOWNLOAD 8 FREE STORIES ÿ Each issue also has a "WHERE IN THE WORLD - LOOK IT UP" section, where young readers are challenged to look up a place on a map somewhere in the world. The place, town or city is relevant to the story. HINT - use Google maps. ÿ Baba Indaba is a fictitious Zulu storyteller who narrates children's stories from around the world. Baba Indaba translates as "Father of Stories". ÿ

ISSN: 2397-9607 Issue 221 In this 221st issue of the Baba Indaba’s Children's Stories series, Baba Indaba narrates the New Zealand, Maori tale of Hine-Moa (Hin-ee-moh-ah). This story occurs in and around Lake Rotorua, in the central North Island of New Zealand. Rangi-Uru was the name of the mother of a chief called Tutanekai; she was the wife of Whakaue-Kaipapa (the great ancestor of the Ngatiwhakaue tribe (Naa-ti-fak-ou-eh)); but she at one time ran away with a chief named Tuwharetoa (the great ancestor of the Te Heuheu and the Ngatituwharetoa tribes); before this she had three sons by Whakaue, their names were Tawakeheimoa, Ngararanui, and Tuteaiti. It was after the birth of this third son, that Rangi-Uru eloped with Tuwharetoa, who had come to Rotorua as a stranger on a visit. From this affair sprang Tutanekai, who was an illegitimate child; but finally, Whakaue and Rangi-Uru were united again, and she had another son whose name was Kopako; and then she had a daughter whom they named Tupa; she was the last child of Whakaue. They all resided on the island of Mokoia in Lake Rotorua. Word reached the sons of Tutanekai of a maiden of rare beauty named Hine Moa and each of the brothers desired to have her as a wife. Tutanekai played the horn, and his friend Tiki the pipe. In the evenings they would play their instruments, and in calm evenings the sound of their music was wafted by the gentle land--breezes across the lake to the village at Owhata, where dwelt the beautiful young Hine-Moa, the younger sister of Wahiao Often Hine-Moa would hear the sweet sounding music of the instruments of Tutanekai and Tiki, which gladdened her heart 'In the great assembly of the people Hine-Moa had seen Tutanekai, and they often glanced at each other and sometimes caught the eye of one another which they both found pleasing. They found this pleasing, and thought each other worthy of love, so that in their breasts the secret passion for the other grew. But what of their unrequited love? Tutanekai was the youngest and would be the last of the brothers to be considered a suitable husband for Hinemoa. What were they to do? Would young love and their passion find a way? You are invited to download the story here and find out what the outcome of their growing love was? 33% of the profit from the sale of this book will be donated to charities. INCLUDES LINKS TO DOWNLOAD 8 FREE STORIES Each issue also has a "WHERE IN THE WORLD - LOOK IT UP" section, where young readers are challenged to look up a place on a map somewhere in the world. The place, town or city is relevant to the story. HINT - use Google maps. Baba Indaba is a fictitious Zulu storyteller who narrates children's stories from around the world. Baba Indaba translates as "Father of Stories".

Unlock the more straightforward side of The Story of a Seagull and the Cat Who Taught Her to Fly with this concise and insightful summary and analysis! This engaging summary presents an analysis of The Story of a Seagull and the Cat Who Taught Her to Fly by Luis Sepúlveda, which tells the story of the unlikely relationship between an orphaned seagull and a group of cats, who raise her as one of their own. Behind Sepúlveda’s heartwarming and often comical tale lies a serious message: the story’s animals can teach us a great deal about working together, accepting our differences and protecting the world around us. The Story of a Seagull and the Cat Who Taught Her to Fly was an immediate critical and commercial success: it won a number of awards, and has been translated into several languages. Luis Sepúlveda is an award-winning Chilean-born author known for both his writing, which spans an impressive range of genres, and his firm stances on political and environmental issues. Find out everything you need to know about The Story of a Seagull and the Cat Who Taught Her to Fly in a fraction of the time! This in-depth and informative reading guide brings you: • A complete plot summary • Character studies • Key themes and symbols • Questions for further reflection Why choose BrightSummaries.com? Available in print and digital format, our publications are designed to accompany you on your reading journey. The clear and concise style makes for easy understanding, providing the perfect opportunity to improve your literary knowledge in no time. See the very best of literature in a whole new light with BrightSummaries.com!

In 1820, a young farm boy in search of truth has a vision of God the Father and Jesus Christ. Three years later, an angel guides him to an ancient record buried in a hill near his home. With God’s help, he translates the record and organizes the Savior’s church in the latter days. Soon others join him, accepting the invitation to become Saints through the Atonement of Jesus Christ. But opposition and violence follow those who defy old traditions to embrace restored truths. The women and men who join the church must choose whether or not they will stay true to their covenants, establish Zion, and proclaim the gospel to a troubled world. The Standard of Truth is the first book in Saints, a new, four-volume narrative history of The Church of Jesus Christ of Latter-day Saints. Fast-paced, meticulously researched, Saints recounts true stories of Latter-day Saints across the globe and answers the Lord’s call to write history “for the good of the church, and for the rising generations” (Doctrine and Covenants 69:8).