Few phrases in Scripture have occasioned as much discussion as has the “I am who I am” of Exodus 3:14. What does this phrase mean? How does it relate to the divine name, YHWH? Is it an answer to Moses’ question (v. 13), or an evasion of an answer? The trend in late-nineteenth- and twentieth-century scholarly interpretations of this verse was to superimpose later Christian interpretations, which built on Greek and Latin translations, on the Hebrew text. According to such views, the text presents an etymology of the divine name that suggests God’s active presence with Israel or what God will accomplish for Israel; the text does not address the nature or being of God. However, this trend presents challenges to theological interpretation, which seeks to consider critically the value pre-modern Christian readings have for faithful appropriations of Scripture today. In “Too Much to Grasp”: Exodus 3:13?15 and the Reality of God, Andrea Saner argues for an alternative way forward for twenty-first century readings of the passage, using Augustine of Hippo as representative of the misunderstood interpretive tradition. Read within the literary contexts of the received form of the book of Exodus and the Pentateuch as a whole, the literal sense of Exodus 3:13–15 addresses both who God is as well as God’s action. The “I am who I am” of v. 14a expresses indefiniteness; while God reveals himself as YHWH and offers this name for the Israelites to call upon him, God is not exhausted by this revelation but rather remains beyond human comprehension and control.

On a fortuitous encounter, Mu Cheng became someone Mr Lu would look for even at the ends of the earth. When they saw each other again, she was standing next to his nephew, smiling as she called out: "Greetings, Uncle Lu." Who would have thought that the man would bring her home without a word and ask for a certificate. "We're not close? How could he be considered familiar with it? Two babies, sir, to improve our relationship, eh? " Mu Chen: "Mister Lu, what happened to the High Chilling Restraint Element?"

The Grasp That Reaches beyond the Grave investigates the treatment of the ancestor figure in Toni Cade Bambara's The Salt Eaters, Paule Marshall's Praisesong for the Widow, Phyllis Alesia Perry's Stigmata and A Sunday in June, Toni Morrison's Beloved, Tananarive Due's The Between, and Julie Dash's film, Daughters of the Dust in order to understand how they draw on African cosmology and the interrelationship of ancestors, elders, and children to promote healing within the African American community. Venetria K. Patton suggests that the experience of slavery with its concomitant view of black women as "natally dead" has impacted African American women writers' emphasis on elders and ancestors as they seek means to counteract notions of black women as somehow disconnected from the progeny of their wombs. This misperception is in part addressed via a rich kinship system, which includes the living and the dead. Patton notes an uncanny connection between depictions of elder, ancestor, and child figures in these texts and Kongo cosmology. These references suggest that these works are examples of Africanisms or African retentions, which continue to impact African American culture.

In the magnificent feast of Clarice Lispector’s books, her crônicas—short, intensely vivid newspaper pieces—are the delicious canapés The things I’ve learned from taxi drivers would be enough to fill a book. They know a lot: they really do get around. I may know a lot about Antonioni that they don’t know. Or maybe they do even when they don’t. There are various ways of knowing by not-knowing. I know: it happens to me too. The crônica, a literary genre peculiar to Brazilian newspapers, allows writers (or even soccer stars) to address a wide readership on any theme they like. Chatty, mystical, intimate, flirtatious, and revelatory, Clarice Lispector’s pieces for the Saturday edition of Rio’s leading paper, the Jornal do Brasil, from 1967 to 1973, take the forms of memories, essays, aphorisms, and serialized stories. Endlessly delightful, her insights make one sit up and think, whether about children or social ills or pets or society women or the business of writing or love. This new, large, and beautifully translated volume, Too Much of Life: The Complete Crônicas presents a new aspect of the great writer—at once off the cuff and spot on.

A surprisingly simple way for students to master any subject--based on one of the world's most popular online courses and the bestselling book A Mind for Numbers A Mind for Numbers and its wildly popular online companion course "Learning How to Learn" have empowered more than two million learners of all ages from around the world to master subjects that they once struggled with. Fans often wish they'd discovered these learning strategies earlier and ask how they can help their kids master these skills as well. Now in this new book for kids and teens, the authors reveal how to make the most of time spent studying. We all have the tools to learn what might not seem to come naturally to us at first--the secret is to understand how the brain works so we can unlock its power. This book explains: • Why sometimes letting your mind wander is an important part of the learning process • How to avoid "rut think" in order to think outside the box • Why having a poor memory can be a good thing • The value of metaphors in developing understanding • A simple, yet powerful, way to stop procrastinating Filled with illustrations, application questions, and exercises, this book makes learning easy and fun.