For 20 years, Sharyn Wolf helped revitalise marriages as a relationship expert and psychotherapist. But whilst she was being interviewed on Oprah, she was going home to a disastrous 15-year marriage in which she and her husband only had sex twice and the communication between them had utterly failed. Against a backdrop of her own practice and patients and the wacky trajectory of her career, Sharyn turns an analytical eye on herself and her husband and deftly depicts a marriage on its last legs.
“Engaging . . . thoughtful topics and funny moments, cleverness and charm . . . a must-read for Janeites . . . and . . . readers who like smart, and provocative fiction.” —Booklist, starred review A charming, romantic debut novel in which Jane Austen, heralded author, ends up time-traveling almost two hundred years in the future. There she finds the love she's written about and the destiny she's dreamed of . . . but is it worth her legacy? Bath, England, 1803. At twenty-eight, Jane Austen prefers walking and reading to balls and assemblies; she dreams of someday publishing her carefully crafted stories. Already on the shelf and in grave danger of becoming a spinster, Jane goes searching for a radical solution—and as a result, seemingly by accident, time-travels. She lands in . . . Bath, England, present day. The film set of Northanger Abbey. Sofia Wentworth is a Hollywood actress starring in a new period film. When Sofia meets Jane, she marvels at the young actress who can’t seem to “break character,” even off set. And Jane—acquainting herself with the horseless steel carriages and seriously shocking fashion of the twenty-first century—meets Sofia, a woman unlike anyone she’s ever met before. Then she meets Fred, Sofia’s brother, who has the audacity to be handsome, clever, and kind-hearted. What happens when Jane, against her better judgement, falls in love with Fred? And when Sofia learns the truth about her new friend Jane? And worst of all, if Jane stays with Fred, will she ever achieve her dream, the one she's now seen come true? “Artfully written and engaging, Jane in Love is a lively effusion of wit and humor.” —Graeme Simsion, The New York Times–bestselling author of The Rosie Project
Exploring the meanings and powers of love from ancient Greece to the present day, Richard Gilman-Opalsky argues that what is called “love” by the best thinkers who have approached the subject is in fact the beating heart of communism—understood as a way of living, not as a form of government. Along the way, he reveals with clarity that the capitalist way of assigning value to things is incapable of appreciating what humans value most. Capitalism cannot value the experiences and relationships that make our lives worth living and can only destroy love by turning it into a commodity. The Communism of Love follows the struggles of love in different contexts of race, class, gender, and sexuality, and shows how the aspiration for love is as close as we may get to a universal communist aspiration.
How can a loving God send people to hell? Isn’t it arrogant to believe Jesus is the only way to God? What is up with holy war in the Old Testament? Many of us fear God has some skeletons in the closet. Hell, judgment, and holy war are hot topics for the Christian faith that have a way of igniting fierce debate far and wide. These hard questions leave many wondering whether God is really good and can truly be trusted. The Skeletons in God's Closet confronts our popular caricatures of these difficult topics with the beauty and power of the real thing. Josh Butler reveals that these subjects are consistent with, rather than contradictory to, the goodness of God. He explores Scripture to reveal the plotlines that make sense of these tough topics in light of God’s goodness. From fresh angles, Josh deals powerfully with such difficult passages as: The Lake of Fire Lazarus and the Rich Man The Slaughter of Canaanites in the Old Testament Ultimately, The Skeletons in God's Close uses our toughest questions to provoke paradigm shifts in how we understand our faith as a whole. It pulls the “skeletons out of God’s closet” to reveal they were never really skeletons at all.
