When you follow someone, it’s typically because you want to be like them or live like they do­–but who have you placed as your role models? In Who Are You Following? bestselling author and social media personality Sadie Robertson Huff dives deep into exploring who we are allowing to influence our daily thoughts and actions. With an excellent grasp of scriptural truths, using current research, surveys, and personal and biblical stories, Sadie draws on her own experience as a social media influencer and addresses topics such ashow to go from being liked to being truly lovedour true motives for famebeing seen from the outside versus being knowncomparing ourselves to othersquestioning why did I post that?!how to respond to cancel culturewondering does God still love me?This book is perfect for young Christians wondering how they can live a vibrant, bold, and uncompromising life of faith in God by following the Messiah–the ultimate influencer. Discover the love, purpose, and fulfillment that is found only in Jesus.

    If you want to be a writer, you begin by carefully observing the work of accomplished writers. Recognizing the importance that modeling plays in the learning process, high school English teacher Kelly Gallagher shares how he gets his students to stand next to and pay close attention to model writers, and how doing so elevates his students' writing abilities. Write Like This is built around a central premise: if students are to grow as writers, they need to read good writing, they need to study good writing, and, most important, they need to emulate good writers. In Write Like This, Kelly emphasizes real-world writing purposes, the kind of writing he wants his students to be doing twenty years from now. Each chapter focuses on a specific discourse: express and reflect, inform and explain, evaluate and judge, inquire and explore, analyze and interpret, and take a stand/propose a solution. In teaching these lessons, Kelly provides mentor texts (professional samples as well as models he has written in front of his students), student writing samples, and numerous assignments and strategies proven to elevate student writing. By helping teachers bring effective modeling practices into their classrooms, Write Like This enables students to become better adolescent writers. More important, the practices found in this book will help our students develop the writing skills they will need to become adult writers in the real world.

    People are living longer than ever, and medicine has made dying more complicated, more drawn out and more removed from the experience of most people. Death is partitioned off to hospital rooms, separated from our daily lives. Most of us find ourselves at a loss when death approaches. We don't know how to die well. Rob Moll recovers the deeply Christian practice of dying well. For centuries Christians have prepared for the "good death" with particular rituals and spiritual disciplines that have directed the actions of both the living and the dying. In this well-researched and pastorally sensitive book, Moll provides insight into death and dying issues with in-person reporting and interviews with hospice workers, doctors, nurses, bioethicists, family members and spiritual caregivers. He weighs in on bioethical and medical issues and gives guidance for those who care for the dying as well as for those who grieve. This book is a gentle companion for all who face death, whether one's own or that of a loved one. Christians can have confidence that because death is not the end, preparing to die helps us truly live.

    What not to say. When it is best to remain silent. Or what to do when you ve said something you wish you could now take back.Beyond just a How not to gossip study, Karen will teach what the Bible says about the many ways we are to use our words and the times when we are to remain silent. Using our speech to interact with friends, co-workers, family and strangers will be covered along with the many places we use our words such as in private, in public, online and in prayer. Even the words we say silently to ourselves. Unsolicited opinion-slinging, speaking the truth in love, not saying words just to people-please and dealing with our verbal anger are sub-topics that will also be addressed.Each session will feature a different character from the Bible, using them either as an example of someone to emulate or whose verbal actions we should avoid replicating."

    Churches and individual Christians typically have faulty assumptions about the causes of poverty, resulting in the use of strategies that do considerable harm to poor people and themselves. Don't let this happen to you, your ministry or ministries you help fund! A must read for anyone who works with the poor or in missions, When Helping Hurts provides foundational concepts, clearly articulated general principles and relevant applications. The result is an effective and holistic ministry to the poor, not a truncated gospel."Initial thoughts" at the beginning of chapters and "reflection questions and excercises" at the end of chapters assist greatly in learning and applying the material. A situation is assessed for whether relief, rehabilitation, or development is the best response to a situation. Efforts are characterized by an "asset based" approach rather than a "needs based" approach. Short term mission efforts are addressed and economic development strategies appropriate for North American and international contexts are presented, including microenterprise development.Now with a new preface, a new foreword, and a new chapter to assist in the next steps of applying the book's principles to your situation, When Helping Hurts is a new classic!

    The book is divided into two parts. Part One focuses on the seven fundamental principles of good technical writing, such as knowing one's purpose and audience, thinking visually, and writing ethically. Part Two covers the formats of reports and correspondence. Four appendices contain three sample reports and a student proposal. The Elements of Technical Writing concentrates on the essentials, providing students with precisely the information needed to produce effective technical documents and no more.

    That they individually have value, and their life has meaning that goes beyond what they see or have been told to believe. But that's just the life-changing message Debbie Lindell passionately shares and champions. Every woman, no matter her history, social status, or position in society, was beautifully and magnificently designed by her Creator to live an amazing life. In She Believes, Lindell shares with women the beautiful truth of God's love for them, empowering them to live out their own unique purpose and bring change to their homes, their workplaces, their communities, and the world. With personal stories and biblical truth, Debbie invites women to trust God's Word--and discover the incredible, abundant life that he created them to live.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    A Glossary of Literary Terms covers the terminology of literature - from literary history to theory to criticism - making it a valuable addition to any literary theory or literature course.

    From the bestselling author of The Last Arrow and The Way of the Warrior. In every realm of our existence--art, technology, mathematics--we are captivated by stories of genius. Geniuses violate the status quo, destabilize old ways of thinking, and ultimately disrupt history by making us see the world differently. We see this effect when we consider the canon of history's great geniuses, from Leonardo da Vinci to Steve Jobs. But when we look for the genius who left the most lasting impact on human life--our search for truth; our desire to know who we are; our notion that happiness is about more than seeking to serve ourselves--we inevitably encounter Jesus.Despite having lived in obscurity for most his life, Jesus of Nazareth is undeniably one of the most influential people to have ever walked the face of the earth. In The Genius of Jesus, Erwin Raphael McManus asks: what would happen if we studied and emulated Jesus, not only through the lens of his divinity, but as a genius who showed us what it means to live fully human? Drawing on scripture, history, and stories from his own ministry, McManus dives into the nuances of Jesus's words and actions, showing how they can not only inspire us, but transform how we think about humility, freedom, and the purpose that makes our lives worth living.For Christians who want to better know and understand their faith, or for readers who want to create their most powerful future, The Genius of Jesus is a thought-provoking study of the most important person who ever lived.

    Michael G. Thompson, coauthor of Raising CainEmbarrassment. None of us escape it. Especially as kids, in school. How might our fear of failure, of not living up to expectations, be holding us back? How can our fear of embarrassment affect how we learn, how we teach, and how we live? Tom Newkirk argues that this emotional underlife, this subterranean domain of emotion, failure, and embarrassment, keeps too many students and teachers silent, hesitant, and afraid. I am absolutely convinced, Tom writes, that embarrassment is not only the true enemy of learning, but of so many other actions we could take to better ourselves. In this groundbreaking exploration, Newkirk offers practices and strategies that help kids and teachers alike develop a more resilient approach to embarrassment. I contend that if we can take on a topic like embarrassment and shame, we can come to a richer, more honest, more enabling sense of who we are and what we can do, he explains. So let's do battle. Let's name and identify the enemy that can haunt our days, disturb our sleep, put barriers up to learning, and drain joy from our lives-and maybe we can also learn how to rearrange some things in our own head so that we can be more generous toward ourselves.

    The Mind of the Maker will be relished by those already in love with Dorothy L. Sayers and those who have not yet met her. A mystery writer, a witty and perceptive theologian, culture critic, and playwright, Dorothy Sayers sheds new, unexpected light on a specific set of statements made in the Christian creeds. She examines anew such ideas as the image of God, the Trinity, free will, and evil, and in these pages a wholly revitalized understanding of them emerges. The author finds the key in the parallels between the creation of God and the human creative process. She continually refers to each in a way that illuminates both.

    Tony Evans wants to encourage you to live fully where you are.Kingdom Single will encourage you to see yourself as complete in Christ and free to serve Him. It will empower you to live as Kingdom men and women in a corrupt culture.Tony Evans is a much-loved pastor and known for his sense of knowing when to encourage and when to lovingly admonish, to help people become who God calls them to be. If you are single and reading this book--or if you lead or pastor singles--your identity in Christ will be affirmed. Additionally, you will receive coaching for what to look for in a prospective spouse, and be challenged to live godly lives while pursuing Kingdom causes.

    Use technology to focus on your students!In this step-by-step guide, teacher and education blogger Catlin Tucker outlines the process for integrating online discussion with face-to-face instruction in a way that empowers teach

    A profound book of spiritual insight that helps believers live a deep life in God beneath the turmoil of our hurried business.