Looks at the life and work of the provocative Catholic social reformer from the personal point of view of someone who knew her well, her granddaughter.

"In the summer of 1862, in the Bayou Manchac country near Baton Rouge, Louisiana, there was a modest little schoolhouse called the "Dove's Nest." To that school came two young girls to complete a course of study begun in Baton Rouge before the Federals captured that city. "The country was visited quite often by bands of Confederates, "Jayhawkers," and Federals; the slaves on the vast sugar plantations were in a demoralized condition from being so near the enemy's lines; yet the girls braved all these dangers, and rode on horseback three miles through forest and field to attend school. They had no fear, for both could shoot a pistol, and always carried a loaded one, and a small Spanish dirk for self-protection. All the valuable horses on the plantation having been given to the Confederate army, only two were left for family use, an old one, not of much service, and a young beautiful bay, the individual property of one of the girls." -an excerpt

Zahnd issues a challenge to Christians to discover new vitality through re-envisioning, reimagining, and reforming the church according to the pattern of the cruciform. Using stories from the lives of St. Francis of Assisi and from his own life, he teaches believers to stay on the journey to discover the kingdom of God in a fuller, richer way.

This work presents a memoir by Amanda Alcenia Strickland Washington that shares her personal experiences growing up in rural Alabama during the Civil Rights Movement and her involvement in the struggle for racial equality. This memoir provides an insightful and unique perspective on the challenges and triumphs of the era and how these events shaped the author's life. The book is a testament to the courage and determination of those who fought for social justice during one of the most tumultuous periods in American history.

Beauty today is a paradox. The cult of beauty is ubiquitous but it has lost its transcendence and become little more than an aspect of consumerism, the aesthetic dimension of capitalism. The sublime and unsettling aspects of beauty have given way to corporeal pleasures and 'likes', resulting in a kind of 'pornography' of beauty. In this book, cultural theorist Byung-Chul Han reinvigorates aesthetic theory for our digital age. He interrogates our preoccupation with all things slick and smooth, from Jeff Koon's sculptures and the iPhone to Brazilian waxing. Reaching far deeper than our superficial reactions to viral videos and memes, Han reclaims beauty, showing how it manifests itself as truth, temptation and even disaster. This wide-ranging and profound exploration of beauty, encompassing ethical and political considerations as well as aesthetic, will appeal to all those interested in cultural and aesthetic theory, philosophy and digital media.

Sleeping Beauty is cursed to fall asleep, but is rescued by the frog prince who lives in the palace garden.

The Beauty That Saves, a collection of essays by many of the most prominent American and European scholars on Weil, begins with a foreword by well-known writer Vladimir Volkoff who discusses, in a very moving manner, "What Simone Weil Means to Me". An introductory essay by Eric O. Springsted highlights the general character of Weil's thought and introduces the specific problematic of this collection. The first section addresses the subject of Weil on language. A key to understanding Weil's aesthetic is grasping how she understood language and its various usages. From within that understanding is contained a point d'appui of her philosophical thought as a whole. Her universe of meaning, its hierarchies, its subjection to necessity, its mystical intimacies, is not something she simply wrote about, it is contained in the way she wrote. With Weil's language established, the second section deals with Weil's explicit reflections on aesthetics, including essays on her sacramental imagery, morality and literature, music, and her classical reading of tragedy. As these essays point out, her aesthetic demands a moral and religious reading of the universe. The third section presents a number of specific Weilan readings of art, where what has been discussed in previous essays receives concrete application and illustration through essays on Weil and Wallace Stevens, music, and Georges Bernanos.