James

The NIV is the world's best-selling modern translation, with over 150 million copies in print since its first full publication in 1978. This highly accurate and smooth-reading version of the Bible in modern English has the largest library of printed and electronic support material of any modern translation.

Twenty-eight-year-old Oryn Patterson isn't like other people. Being an extremely shy, social introvert is only part of the problem. Oryn has dissociative identity disorder. He may look like a normal man on the outside, but spend five minutes with him, and his daily struggles begin to show. Oryn shares his life and headspace with five distinctively different alters. Reed, a protective, very straight jock. Cohen, a flamboyantly gay nineteen-year-old who is a social butterfly. Cove, a self-destructive terror, whose past haunts him. Theo, an asexual man of little emotion, whose focus is on maintaining order. And Rain, a five-year-old child whose only concern is Batman.Vaughn Sinclair is stuck in a rut. When his job doesn't offer the same thrill it once did, he decides it's time to mix-up his stagnant, boring routine. Little does he know, the man he meets during an impromptu decision to return to college is anything but ordinary.Vaughn's heart defies logic, and he finds himself falling in love with this strange new man. But how can you love someone who isn't always themself? It may not be easy, but Vaughn is determined to try.

An adventure with zombies. And vampires. And romance. And croquet. Toni Windsor is trying to live a quiet life in the green and pleasant county of Staffordshire. She’d love to finally master the rules of croquet, acquire a decent boyfriend and make some commission as an estate agent... ...but first she’s got to deal with zombies rising from their graves, vampires sneaking out of their coffins and a murder to solve. It’s all made rather more complicated by the fact that she’s the one raising all the zombies—oh, and she’s dating one of the vampires. Really, what’s a girl meant to do?

"You want me to lose control? This is it." My job? Protect the business. My calling? Protect the girl I'm not just head of the security team, I'm the brain behind Starling Key, Florida's biggest entertainment resort. Only nobody knows. Not even the man who owns it. I'm obsessive, I'm meticulous, I'm a perfectionist. I do not tolerate unprofessionalism. If things aren't done the way I want them to be, someone pays. And with a past like mine, the cost is high. When Tawny Graham crashes-literally-into the Key, she threatens my grand plans. She's a stumbling, infuriating nightmare, With a body that taunts me and eyes that haunt me. And I can't be distracted. Not when I'm so close. Then I find out the real reason she's here, And that changes everything. This enemies-to-lovers romance brings the heat to the Florida Keys against a backdrop of suspense, luxury and badass alphas.

Henry James criticized the impressionism movement, yet time and again used the word 'impressio' to represent his characters's consciousness, as well as the work of the literary artist. This book explores this anomaly, placing James's work within the wider cultural history of impressionism.

The first modern history of St James's Palace, shedding light on a remarkable building at the heart of the history of the British monarchy that remains by far the least known of the royal residences In this first modern history of St James's Palace, the authors shed new light on a remarkable building that, despite serving as the official residence of the British monarchy from 1698 to 1837, is by far the least known of the royal residences. The book explores the role of the palace as home to the heir to the throne before 1714, its impact on the development of London and the West end during the late Stuart period, and how, following the fire at the palace of Whitehall, St James's became the principal seat of the British monarchy in 1698. The arrangement and display of the paintings and furnishings making up the Royal Collection at St James's is chronicled as the book follows the fortunes of the palace through the Victorian and Edwardian periods up to the present day. Specially commissioned maps, phased plans, and digital reconstructions of the palace at key moments in its development accompany a rich array of historical drawings, watercolors, photographs, and plans. The book includes a foreword by His Royal Highness The Prince of Wales. Published in association with Royal Collection Trust

Henry James Framed is a cultural history of Henry James as a work of art. Throughout his life, James demonstrated an abiding interest in--some would say an obsession with--the visual arts. In his most influential testaments about the art of fiction, James frequently invoked a deeply felt analogy between imaginative writing and painting. At a time when having a photographic carte de visite was an expected social commonplace, James detested the necessity of replenishing his supply or of distributing his autographed image to well-wishing friends and imploring readers. Yet for a man who set the highest premium on personal privacy, James seems to have had few reservations about serving as a model for artists in other media and sat for his portrait a remarkable number of twenty-four times. Surprisingly few James scholars have brought into primary focus those occasions when the author was not writing about art but instead became art himself, through the creative expression of another's talent. To better understand the twenty-four occasions he sat for others to represent him, Michael Anesko reconstructs the specific contexts for these works' coming into being, assesses James's relationships with his artists and patrons, documents his judgments concerning the objects produced, and, insofar as possible, traces the later provenance of each of them. James's long-established intimacy with the studio world deepened his understanding of the complex relationship between the artist and his sitter. James insisted above all that a portrait was a revelation of two realities: the man whom it was the artist's conscious effort to reveal and the artist, or interpreter, expressed in the very quality and temper of that effort. The product offered a double vision--the strongest dose of life that art could give, and the strongest dose of art that life could give.

In this guide Margaret Aymer introduces the letter of James, countering arguments that it is of limited theological value and significance for early Christianity. Aymer focuses on James' theology of God's divine singularity and immutability, and of God's relationship to the community as father and benefactor. These are theological foundations for its emphasis on community actions of belief, humility and mutual care. Aymer introduces and examines the letter's stand against empire, not least in regard to wealth. Divine power is envisioned as an alternative power to that of the Romans, though in some respects it can seem equally brutal. Aymer concludes by focusing on those addressed by James's homily, the exiles in diaspora. Engaging the psychology of migration, she unpacks the migrant strategy underlying James's call to living 'unstained'. Finally, Aymer encourages student to ask what it might mean now for twenty-first-century people to take seriously a separatist migrant discourse not only as an interesting ancient writing but as a scripture, a lens through which its readers can glimpse the possibilities for how lives are to be lived, and how contemporary worlds can be interpreted and engaged?