**A USA Today Recommended Series!** She'll risk it all to be with the man she loves… Don't miss PARTING WORLDS, a fantasy romance from bestselling author Kaitlyn Davis that reimagines the classic fairy tale of The Little Mermaid. "I know humans like to start these sorts of stories with 'once upon a time,' but I'm worried that's setting the stage for false hopes. Because we don't all live, and we aren't all happy. Not every curse can be broken, after all." Humans are dangerous. That's the lesson faeries are taught as soon as their flower petals unfurl, welcoming them into the world. It's the first thing Aerewyn remembers the priestesses telling her as a young girl. Humans are dangerous—don't show them your magic and never cross into their lands. Why then, when she stumbles upon a human boy in the woods, does she find him so intriguing? His blue eyes don't shine with malice. His smile doesn't menace. His laughter is as warm as the sun against her cheeks. And when she later discovers he's been knocked unconscious in a storm, injured and alone in the forest, the only thing he seems in danger of is dying. So she saves his life—a single act that will change the fate of both their worlds… *This is the fourth book in Once Upon a Curse, a series of interconnected stand-alone novels all set in the same fantasy universe.

**A USA Today Recommended Series!** She'll risk it all to be with the man she loves... Don't miss PARTING WORLDS, a fantasy romance from bestselling author Kaitlyn Davis that reimagines the classic fairy tale of The Little Mermaid. "I know humans like to start these sorts of stories with 'once upon a time,' but I'm worried that's setting the stage for false hopes. Because we don't all live, and we aren't all happy. Not every curse can be broken, after all." Humans are dangerous. That's the lesson faeries are taught as soon as their flower petals unfurl, welcoming them into the world. It's the first thing Aerewyn remembers the priestesses telling her as a young girl. Humans are dangerous--don't show them your magic and never cross into their lands. Why then, when she stumbles upon a human boy in the woods, does she find him so intriguing? His blue eyes don't shine with malice. His smile doesn't menace. His laughter is as warm as the sun against her cheeks. And when she later discovers he's been knocked unconscious in a storm, injured and alone in the forest, the only thing he seems in danger of is dying. So she saves his life--a single act that will change the fate of both their worlds... *This is the fourth book in Once Upon a Curse, a series of interconnected stand-alone novels all set in the same fantasy universe.

There are forms of knowing that seem either to come from a parting or to require one. Paradigmatically in Genesis, Adam parts from God in order to join in knowledge with his partner, the flesh of his flesh, and the result is a bereft but not unpromising knowledge, looking like a labor of love. Saint Augustine famously--some would say infamously--reads the Genesis paradigm of knowing as a story of original sin, where parting is both damnable and disfiguring and reuniting a matter of incomprehensible grace. Roughly half the essays in this collection engage directly with Augustine's theological animus and follow his thinking into self-division, perversity of will, grief, conversion, and the aspiration for transcendence. The remaining ones, more concerned with grace than with sin, bring an animus more distantly Augustinian to the preemption of forgiveness and the persistence of hell, morality and its limits, sexual piety, strange beauty, and a philosophy that takes in confession. The common pull of all the essays is towards the imperfection in self-knowledge--a place of disfigurement perhaps, but also a nod to transformation.

In this volume, we are offered a new perspective on Roman literature, based on the conviction that our present appreciation for it should be informed and influenced by how it was originally perceived. From the beginning of the Roman Empire to the end of the classical era, this book focuses on the "receivers" of Roman literature-the readers, spectators, and audiences who first witnessed the works. Six contributors map out the lively and provocative surveys, covering the kinds of literature that have shaped Western culture--epic, lyric, tragedy, comedy, history, philosophy, elegy, satire, biography, and panegyric.