All We Know Of Heaven

When Maureen and Bridget, two sixteen-year-old best friends who look like sisters, are in a terrible car accident and one of them dies, they are at first incorrectly identified at the hospital, and then, as Maureen achieves a remarkable recovery, she must deal with the repercussions of the accident, the mix-up, and some choices she made while she was getting better.

With "careful prose and a tone of humble striving" (New York Times Book Review), this revelatory first novel by a cloistered monk traces a young man's search for wisdom among the inhabitants of a Cistercian monastery. In 1973, Paul Seneschal, a shy nineteen-year-old from rural Manitoba, takes flight from the world behind the wrought iron gates of St. Norbert Abbey. Here forty monks grow their own food, wake at three in the morning to pray, and converse largely through a spare but expressive vocabulary of hand signals. Renamed Brother Antoine, Paul strives for wisdom and holiness, yet life within the cloister can't block out all of humanity's foibles. One monk lapses into pyromania; another, a French Canadian, attacks any English-speaker who gets too close; another resembles "a bald Martha Ray." We soon see that even in this rarefied realm, human folly nestles cheek by jowl with the divine. A wise yet refreshingly humorous account of a life of faith, ALL WE KNOW OF HEAVEN offers an a fascinating glimpse into a quiet world that very few people know about.

Bridget Flannery and Maureen O'Malley have been BFFs since forever. Then a brief moment of inattention on an icy road leaves one girl dead and the other in a coma, battered beyond recognition. Family and friends mourn one friend's loss and pray for the other's recovery. Then the doctors discover they have made a terrible mistake. The girl who lived is the one who everyone thought had died. Based on a true case of mistaken identity, All We Know of Heaven is a universal story that no one can read unmoved: a drama of ordinary people caught up in an unimaginable tragedy and of the healing power of hope and love.

Have You Ever Wondered . . . What will Heaven look like? Will I recognize my family and friends? Will childhood pets be there? We all have questions about what Heaven will be like, and now the answers are right at your fingertips! Inspired by Randy Alcorn’s million-copy bestseller, Heaven, this beautiful little book provides solid, biblically based answers to more than 100 questions about God, Heaven, angels, and eternity. So if you’ve ever wondered if Heaven is for real—the answer is yes! In fact, you won’t believe how real it actually is.

"Standing on the shoulders of C.S. Lewis", Kreeft provides a look at the nature of heaven. A refreshingly clear, theologically sound glimpse of the "undiscovered country". Kreeft speaks to the heart and the mind for an unexcelled look at one of the most popular, yet least understood, subjects in religion.

Seamus Heaney, Denis Donoghue, William Pritchard, Marilyn Butler, Harold Bloom, and many others have praised Helen Vendler as one of the most attentive readers of poetry. Here, Vendler turns her illuminating skills as a critic to 150 selected poems of Emily Dickinson. As she did in The Art of Shakespeare’s Sonnets, she serves as an incomparable guide, considering both stylistic and imaginative features of the poems. In selecting these poems for commentary Vendler chooses to exhibit many aspects of Dickinson’s work as a poet, “from her first-person poems to the poems of grand abstraction, from her ecstatic verses to her unparalleled depictions of emotional numbness, from her comic anecdotes to her painful poems of aftermath.” Included here are many expected favorites as well as more complex and less often anthologized poems. Taken together, Vendler’s selection reveals Emily Dickinson’s development as a poet, her astonishing range, and her revelation of what Wordsworth called “the history and science of feeling.” In accompanying commentaries Vendler offers a deeper acquaintance with Dickinson the writer, “the inventive conceiver and linguistic shaper of her perennial themes.” All of Dickinson’s preoccupations—death, religion, love, the natural world, the nature of thought—are explored here in detail, but Vendler always takes care to emphasize the poet’s startling imagination and the ingenuity of her linguistic invention. Whether exploring less familiar poems or favorites we thought we knew, Vendler reveals Dickinson as “a master” of a revolutionary verse-language of immediacy and power. Dickinson: Selected Poems and Commentaries will be an indispensable reference work for students of Dickinson and readers of lyric poetry.

"A poem is best read in the light of all the other poems ever written." So said Robert Frost in instructing readers on how to achieve poetic literacy. George Monteiro's newest book follows that dictum to enhance our understanding of Frost's most valuable poems by demonstrating the ways in which they circulate among the constellations of great poems and essays of the New England Renaissance. Monteiro reads Frost's own poetry not against "all the other poems ever written" but in the light of poems and essays by his precursors, particularly Emerson, Thoreau, and Dickinson. Familiar poems such as "Mending Wall," "After Apple-Picking," "Birches," "Stopping by Woods on a Snowy Evening," "The Road Not Taken," and "Mowing," as well as lesser known poems such as "The Draft Horse," "The Ax-Helve," "The Bonfire," "Dust of Snow," "A Cabin in the Clearing," "The Cocoon," and "Pod of the Milkweed," are renewed by fresh and original readings that show why and how these poems pay tribute to their distinguished sources. Frost's insistence that Emerson and Thoreau were the giants of nineteenth-century American letters is confirmed by the many poems, variously influenced, that derive from them. His attitude toward Emily Dickinson, however, was more complex and sometimes less generous. In his twenties he molded his poetry after hers. But later, after he joined the faculty of Amherst College, he found her to be less a benefactor than a competitor. Monteiro tells a two-stranded tale of attraction, imitation, and homage countered by competition, denigration, and grudging acceptance of Dickinson's greatness as a woman poet. In a daring move, he composes—out of Frost's own words and phrases—the talk on Emily Dickinson that Frost was never invited to give. In showing how Frost's work converses with that of his predecessors, Monteiro gives us a new Frost whose poetry is seen as the culmination of an intensely felt New England literary experience.

Philosophy of Heaven is a creative writing of subconscious fact in higher states of consciousness, through which Merhebi presents his redefinition of the philosophy of feeling and understanding of the universe. This is an ideal gift to the one who has everything and a treasure to the one who has nothing. In over one hundred chapters, he shares a very important world and entertains our minds and souls. Merhebi emerges as a thinker, feeler, doodler, humorist, lover, and soul handler, and above all, he provokes your mind. He expresses his feelings and ideas in a variety of ways poetically, theoretically, and mathematically but always challenges the readers feelings and beliefs on politics, religion, philosophy, personal self-sufficiency, trade, love, discrimination, parenthood, domination, relationships, time and space, and the structure of the universe. His self-professed aim for this book is to generate a theory of the geometric forms of the invisible commonsense logic as nothing to be truth. He proposes that as humans of the day, we believe in what is beyond our knowledge capacity and we function by need. He sees the challenge as one of bringing what we feel in line with what we know, harmoniously accommodating our conscious knowledge with the needs of our subconscious feelings.