While Standing In Line For Death

Eighteen new (Soma)tic exercises that strive for human connection and political action.

A book of poetic essays written in English, Kahlil Gibran's The Prophet is full of religious inspirations. With the twelve illustrations drawn by the author himself, the book took more than eleven years to be formulated and perfected and is Gibran's best-known work. It represents the height of his literary career as he came to be noted as ‘the Bard of Washington Street.’ Captivating and vivified with feeling, The Prophet has been translated into forty languages throughout the world, and is considered the most widely read book of the twentieth century. Its first edition of 1300 copies sold out within a month.

Drawing on his Roman Catholic background, personal interviews with Catholics and Evangelicals, and years of research, Chris Castaldo takes readers on a fascinating and practical exploration of the challenges and opportunities encountered by Catholics who become Evangelicals. He examines the five major reasons why Christ’s followers often leave the Catholic Church, and shows how to emulate Jesus in practical ways when engaging Catholic friends and family. And, with humor and authenticity, he shares his own faith journey in order to help readers understand and work through their own.For those who are tired of scratching their head in confusion or frustration about how their Catholic background may influence their walk with Jesus, and why on earth their Catholic family believes they’ve gone off the deep end, Holy Ground offers vast insight and practical help. More than providing historical perspective, theological reflection, and practical lessons, it shows readers how to emulate the grace and truth of Jesus Christ in relating to the Catholic people whom they love.

#1 NEW YORK TIMES BESTSELLER • ONE OF TIME MAGAZINE’S 100 BEST YA BOOKS OF ALL TIME The extraordinary, beloved novel about the ability of books to feed the soul even in the darkest of times. When Death has a story to tell, you listen. It is 1939. Nazi Germany. The country is holding its breath. Death has never been busier, and will become busier still. Liesel Meminger is a foster girl living outside of Munich, who scratches out a meager existence for herself by stealing when she encounters something she can’t resist–books. With the help of her accordion-playing foster father, she learns to read and shares her stolen books with her neighbors during bombing raids as well as with the Jewish man hidden in her basement. In superbly crafted writing that burns with intensity, award-winning author Markus Zusak, author of I Am the Messenger, has given us one of the most enduring stories of our time. “The kind of book that can be life-changing.” —The New York Times “Deserves a place on the same shelf with The Diary of a Young Girl by Anne Frank.” —USA Today DON’T MISS BRIDGE OF CLAY, MARKUS ZUSAK’S FIRST NOVEL SINCE THE BOOK THIEF.

A comforting bereavement gift book, consisting of a short sermon from Canon Henry Scott Holland.

"The (Soma)tic Exercises are innovative and crucial to our art form. . . . Conrad must be one of the most original practitioners of poetry forging new territory."—The Rumpus "There was a time some of us believed poetry and poets could save the world; CAConrad never stopped believing it."—The Huffington Post From "M.I.A. ESCALATOR": The ultrasound machine gives the parents the ability to talk to the unborn by their gender, taking the intersexed nine-month conversation away from the child. The opportunities limit us in our new world. Encourage parents to not know, encourage parents to allow anticipation on either end. Escalators are a nice ride, slowly rising and falling, writing while riding, notes for the poem, meeting new people at either end, "Excuse me, EXCUSE ME. . . ." My escalator notes became a poem. CAConrad's ECODEVIANCE contains twenty-three new (Soma)tic writing exercises and their resulting poems, in which he pushes his political and ecological efforts even further. These exercises, unorthodox steps in the writing process, work to break the reader and writer out of the quotidian and into a more politically and physically aware present. In performing these rituals, CAConrad looks through a sharper lens and confirms the necessity of poetry and politics. CAConrad is the author of several books of poetry and essays. A 2014 Lannan Fellow, a 2013 MacDowell Fellow, and a 2011 Pew Fellow, he also conducts workshops on (Soma)tic poetry and Ecopoetics.

From the internationally acclaimed, bestselling author of We Should All Be Feminists and Americanah, a profound reckoning with loss, written in the wake of her father’s death. During the brutal summer of 2020, Chimamanda Ngozi Adichie’s beloved father, a celebrated professor at the University of Nigeria and an irreplaceable figure in a close-knit family, succumbed unexpectedly to complications of kidney failure. Notes on Grief is Adichie’s tribute to him, and a moving meditation on loss. Here Adichie offers a candid snapshot of the shock, loneliness, and disillusionment that followed the news of her father’s death. Her family, unable to be together except for on video calls, struggles to go through the rites of mourning amid a global crisis of unimaginable scale. As Adichie wrestles with his passing, she recalls with vivid, poignant detail who her father was: a remarkable survivor of the Biafran war, a man of kindness and charm, and a fierce supporter of his youngest daughter. Here is a uniquely personal, profound work of remembrance and hope by one of today’s luminaries—a book to bring us together in a time when we need it most.

The Pulitzer Prize-winning tragedy of a salesman’s deferred American dream Ever since it was first performed in 1949, Death of a Salesman has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity—and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room. "By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, The New York Times "So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —Time