I can’t undo all I have done to myself, what I have let an appetite for love do to me. I have wanted all the world, its beauties and its injuries; some days, I think that is punishment enough. Maya C. Popa's poems explore the capacity of wonder to reawaken our appetite for the world, at a time that is fraught with the threat of endings, engaging lucidly with the most profound questions we face in our collective responsibilities and our relations with each other. She writes with love and wonder of a world poised at a perilous moment: “My children, will they exist by the time / it’s irreversible?” she asks. “Will they live / astonished at the thought of ice / not pulled from the mouth of a machine?” Popa takes seriously the poet’s duty to pay attention, to seek what Seamus Heaney called “the images... adequate to our predicament”. To read her poems is to pause again and again at the precision of imagery, breadth of ideas, and the warmth and generousness of her lyric voice. These are beautiful and profound lyric poems that will delay you, affect you, and invite you to return.

"Koehler's mind is amazing and he has the literary skills to match. Simply reading this book, both your mind and your heart will be expanded. You won't see the world quite the same after reading it, so in a very real way the world won't be the same. Koehler is one of those extraordinary souls who makes you think a bit differently about the world - and thus he changes it, one essay at a time." - Marianne Williamson, author of Tears to Triumph: The Spiritual Journey from Suffering to Enlightenment Koehler is "someone who has fought through unthinkable adversity and made a mission out of offering the world a view of peace, cooperation, benevolence and self-education taken on for the common good. I don't know many people in the world, if any, who are putting their shoulder to so noble a task. ... He empowers his readers to find the highest levels of personal philosophy in the most innocuous of places." - Jason Stoneking, author of Audience of None

The Wound and the Stitch traces a history of imagery and language centered on the concept of woundedness and the stitching together of fragmented selves. Focusing particularly on California and its historical violences against Chicanx bodies, Loretta Victoria Ramirez argues that woundedness has become a ubiquitous and significant form of Chicanx self-representation, especially in late twentieth-century print media and art. Ramirez maps a genealogy of the female body from late medieval Iberian devotional sculptures to contemporary strategies of self-representation. By doing so, she shows how wounds—metaphorical, physical, historical, and linguistic—are inherited and manifested as ongoing violations of the body and othered forms of identity. Beyond simply exposing these wounds, however, Ramirez also shows us how they can be healed—or rather stitched. Drawing on Mesoamerican concepts of securing stability during lived turmoil, or nepantla, Ramirez investigates how creators such as Cherríe Moraga, Renee Tajima-Peña, Guillermo Gómez-Peña, and Amalia Mesa-Bains repurpose the concept of woundedness to advocate for redress and offer delicate, ephemeral moments of healing. Positioning woundedness as a potent method to express Chicanx realities and transform the self from one that is wounded to one that is stitched, this book emphasizes the necessity of acknowledgment and ethical restitution for colonial legacies. It will be valued by scholars and students interested in the history of rhetorics, twentieth-century Chicanx art, and Latinx studies.

This edited collection explores the image of the wound as a ‘cultural symptom’ and a literary-visual trope at the core of representations of a new concept of selfhood in Early Modern Italian and English cultures, as expressed in the two complementary poles of poetry and theatre. The semantic field of the wounded body concerns both the image of the wound as a traumatic event, which leaves a mark on someone’s body and soul (and prompts one to investigate its causes and potential solutions), and the motif of the scar, which draws attention to the fact that time has passed and urges those who look at it to engage in an introspective and analytical process. By studying and describing the transmission of this metaphoric paradigm through the literary tradition, the contributors show how the image of the bodily wound—from Petrarch’s representation of the Self to the overt crisis that affects the heroes and the poetic worlds created by Ariosto and Tasso, Spenser and Shakespeare—could respond to the emergence of Modernity as a new cultural feature.

Have you ever wondered what the most important part of the Bible is? Among all the do's and don'ts and shoulds and shouldn'ts, do you know what's absolutely essential? Bestselling author and pastor Max Lucado teaches us that the answer lies at the foot of the cross. Come with Max as he guides you through the drama of the death and resurrection of Jesus Christ, bringing to life Peter's denial, Pilate's hesitancy, and John's loyalty. No Wonder They Call Him the Savior will lead you up the hill of mankind's highest hope and remind you why he deserves to be called our Savior. In No Wonder They Call Him the Savior, you'll see Jesus' final acts in a new light: His final prayer of forgiveness His plea honored His request of love His question of suffering His confession of humanity His call of deliverance The cry of completion In No Wonder They Call Him the Savior, Max invites you to relive the events leading up to Jesus' crucifixion, from the foggy garden of Gethsemane to the incandescent room of the resurrection. Let's examine this hour in history. Let's look at the witnesses. Let's listen to the voices. Let's observe the one they call the Savior. And, most of all, let's see if we can find hope in the unlikeliest place: at the cross.

Explores the wounded body in literature from Homer to Toni Morrison, examining how it functions archetypally as both a cultural metaphor and a poetic image.

Reproduction of the original: The Russian Grandmother’s Wonder Tales by Louise Seymour Houghton