These Are Not The Words

New York City in the 1960s is the humming backdrop for this poignant, gritty story about a girl who sees her parents as flawed human beings for the first time, and finds the courage to make a fresh start. Missy’s mother has gone back to school to pursue her dream of becoming an artist. Missy’s father works in advertising and takes Missy on secret midnight excursions to Harlem and the Village so she can share his love of jazz. The two write poems for each other — poems that gradually become an exchange of apologies as Missy’s father’s alcohol and drug addiction begins to take over their lives. When Missy’s mother finally decides that she and her daughter must make a fresh start, Missy has to leave her old apartment, her school, her best friend and her cats and become a latchkey kid while her mother gets a job. But she won’t give up on trying to save her family, even though this will involve a hard journey from innocence to action, and finally acceptance. Based on the events and people of her own childhood, Amanda Lewis’s gorgeous novel is driven by Missy’s irresistible, optimistic voice, buoyed by the undercurrents of poetry and music. Key Text Features poems dialogue literary references epigraph vignettes

Unusually for the Hebrew Bible, the book of Jeremiah contains a high number of references to writers, writing, and the written word. The book (which was primarily written during the exilic period) demonstrates a key moment in the ongoing integration of writing and the written word into ancient Israelite society. Yet the book does not describe writing in the abstract. Instead, it provides an account of its own textualization, thereby blurring the lines between the texts in the narrative and the texts that constitute the book. Scrolls in Jeremiah become inextricably intertwined with the scroll of Jeremiah. To authenticate the book of Jeremiah as the word of YHWH, its tradents present a theological account of the chain of transmission from the divine to the prophet and then to the scribe and the written page. Indeed, the book of Jeremiah extends the chain of transmission beyond the written word to include the book of Jeremiah itself and, finally, a receiving audience. To make the case for this chain of transmission, See and Read’s three exegetical chapters attend to writers (YHWH, prophets, and scribes), the written word, and the receiving audience. The first exegetical chapter describes the standard chain of transmission from the divine to the prophet to the scribe, demonstrating that all three agents in this chain are imagined as writers and that writing was increasingly understood as a suitable conduit for the divine word. The second exegetical chapter attends to the written word in Jeremiah, especially Jeremiah’s self-references (e.g., “in this book”, “all these words”) as a pivotal element in the extension of the chain of transmission beyond the words in the text to the words of the text. Finally, the third exegetical chapter considers the construction of the audience in the book of Jeremiah, concluding that the written word, as Jeremiah imagines it, is to be received by a worshiping audience through public reading but delivered via textual intermediaries.

New York Times bestseller and Newbery Honor Book! A gorgeously written, hopeful middle grade novel in verse about a young girl who must leave Syria to move to the United States, perfect for fans of Jason Reynolds and Aisha Saeed. Jude never thought she’d be leaving her beloved older brother and father behind, all the way across the ocean in Syria. But when things in her hometown start becoming volatile, Jude and her mother are sent to live in Cincinnati with relatives. At first, everything in America seems too fast and too loud. The American movies that Jude has always loved haven’t quite prepared her for starting school in the US—and her new label of “Middle Eastern,” an identity she’s never known before. But this life also brings unexpected surprises—there are new friends, a whole new family, and a school musical that Jude might just try out for. Maybe America, too, is a place where Jude can be seen as she really is. This lyrical, life-affirming story is about losing and finding home and, most importantly, finding yourself.

The Lost Words by composer James Burton takes its inspiration and text from the award-winning 'cultural phenomenon' and book of the same name by Robert Macfarlane and Jackie Morris: a book that was, in turn, a creative response to the removal of everyday nature words like acorn, newt and otter from a new edition of a widely used children's dictionary. Both the book and Burton's 32-minute work, which is written in 12 short movements for upper-voice choir in up to 3 voice parts (with either orchestral or piano accompaniment), celebrates each lost word with a beautiful poem or 'spell', magically brought to life in Burton's music. At its heart, the work delivers a powerful message about the need to close the gap between childhood and the natural world. Burton's piece was co-commissioned by the Hallé Concerts Society for the Hallé Children's Choir and the Boston Symphony Orchestra. The piano accompaniment version was premiered at the Tanglewood Festival in 2019 by the Boston Symphony Children's Choir, of which Burton is founder and director. The Hallé Children's Choir will premiere the orchestral version of the full work in Manchester, UK, post-pandemic. Vocal Score Co-commission by Boston Symphony and Hallé Concerts Society for their respective Children's Choirs. Two versions - with orchestral or with piano accompaniment. The vocal score is the same for both versions. James Burton is a composer but also a conductor. He is conductor of the Tanglewood Festival Chorus and choral director of the Boston Symphony. The book The Lost Words, exquisitely designed, has won multiple awards and is an international best-seller. The vocal score includes Jackie Morris's beautiful imagery in its cover design.

All couples need clear communication, especially in the face of obstacles. Rob Flood teaches practical, biblical wisdom for couples interested in growing in their marriages together toward Christ. Learn to better understand your partner and remain as God made you, all while honoring Christ with your words.

In 1985 and 1986, ninety-year-old Witsuwit'en Chief, Maxlaxlex – or Johnny David as he is better known - was the first Witsuwit'en to give Commission Evidence in the Delgamuukw land claims case in which the Witsuwit'en and Gitxsan of Northern British Columbia were battling for title to their traditional territories. 'Hang Onto These Words' presents the actual transcripts of the questions and answers between lawyers working on both sides and this knowledgeable and outspoken Native elder who spoke in his own language and whose words were then translated by an interpreter into English. The evidence was given in a makeshift courtroom set up in David's own home. Anthropologist Antonia Mills was present during these proceedings, and in this book, she introduces and contextualizes the evidence within the Delgamuukw case. In his testimony, David provides a rich description of the Witsuwit'en way of life as well as the injustices suffered at the hands of Indian agents and settlers. He ends his testimony saying, "If you hang on to these words, everything will be all right." The challenge of hearing his voice, and using it to negotiate the meaning and substance of Aboriginal rights remains unresolved and resonant.

In this book I am simply offering my best guesses at understanding life with God that make sense to me. Take what helps you and forget what doesn't. My aim is not to provoke arguments but to get you to think more deeply about your own faith journey. The chapters in this book are snapshots of my basic beliefs and you will find one belief in particular that runs throughout the book - a good God is telling a good story that will have a good ending.