In Kai Ashante Wilson's The Lamentation of Their Women, the Prince of Darkness selects a young woman from the Bronx as his chief lieutenant. Content warning for mature themes and graphic violence. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Set in the highlands of the Mexican state of Chiapas, The Book of Lamentations tells of a fictionalized Mayan uprising that resembles many of the rebellions that have taken place since the indigenous people of the area were first conquered by European invaders five hundred years ago. With the panoramic sweep of a Diego Rivera mural, the novel weaves together dozens of plot lines, perspectives, and characters. Blending a wealth of historical information and local detail with a profound understanding of the complex relationship between victim and tormentor, Castellanos captures the ambiguities that underlie all struggles for power. A masterpiece of contemporary Latin American fiction from Mexico’s greatest twentieth-century woman writer, The Book of Lamentations was translated with an afterword by Ester Allen and introduction by Alma Guillermoprieto.

Lament is how you live between the poles of a hard life and trusting God’s goodness. Lament is how we bring our sorrow to God—but it is a neglected dimension of the Christian life for many Christians today. We need to recover the practice of honest spiritual struggle that gives us permission to vocalize our pain and wrestle with our sorrow. Lament avoids trite answers and quick solutions, progressively moving us toward deeper worship and trust. Exploring how the Bible—through the psalms of lament and the book of Lamentations—gives voice to our pain, this book invites us to grieve, struggle, and tap into the rich reservoir of grace and mercy God offers in the darkest moments of our lives.

An ominous vision and the discovery of a gruesome corpse lead Sarah Engelmann into a terrifying encounter with the supernatural in 1913 Salem, Massachusetts. With help from Alex, an attractive Greek immigrant, Sarah sets out to track the evil to its source, never guessing that she will take on a conspiracy involving not only a 900-year vampire, but also a demon-loving Puritan warlock, disgruntled Egyptian gods, and an immortal sorcerer, all on a quest to recover the holy trumpet of the Archangel Gabriel. Relying on the wisdom of an elderly vampire hunter, Sarah's rabbi father, and her own disturbing visions, Sarah must fight a millennia-old battle between unspeakable forces, where the ultimate prize might be herself.

The laments of captive women found in extant Athenian tragedy constitute a fundamentally subversive aspect of Greek drama. In performances supported by and intended for the male citizens of Athens, the songs of the captive women at the Dionysia gave a voice to classes who otherwise would have been marginalized and silenced in Athenian society: women, foreigners, and the enslaved. The Captive Woman's Lament in Greek Tragedy addresses the possible meanings ancient audiences might have attached to these songs. Casey Dué challenges long-held assumptions about the opposition between Greeks and barbarians in Greek thought by suggesting that, in viewing the plight of the captive women, Athenian audiences extended pity to those least like themselves. Dué asserts that tragic playwrights often used the lament to create an empathetic link that blurred the line between Greek and barbarian. After a brief overview of the role of lamentation in both modern and classical traditions, Dué focuses on the dramatic portrayal of women captured in the Trojan War, tracing their portrayal through time from the Homeric epics to Euripides' Athenian stage. The author shows how these laments evolved in their significance with the growth of the Athenian Empire. She concludes that while the Athenian polis may have created a merciless empire outside the theater, inside the theater they found themselves confronted by the essential similarities between themselves and those they sought to conquer.