There are other ancestors, too: the writers—“most of them dead, and quite a few of them French"—who are his daily companions, supplemented by composers and theologians and scientists whose similar explorations are woven into this account with an exhilarating breadth of intellect and felicity of spirit.Deadly serious, masterfully playful, and surprisingly hilarious, Nothing to Be Frightened Of is a riveting display of how this supremely gifted writer goes about his business and a highly personal tour of the human condition and what might follow the final diagnosis.

    The sixty-four Companions presented here are representative of that unique generation, a generation without any parallel in history. They come from all walks of life and character. These are stories of real people which can be historically verified. These stories will touch the souls of believers, for they will find in them yet another proof of that conviction that fills their hearts, though it may be denied and its signs effaced by wielders of power in the Muslim lands through treachery and cowardice.

    Jeffrey Long is his groundbreaking new book Evidence of the Afterlife. In 1998 Dr. Long and his wife, Jody, began the Near Death Experience Research Foundation with the goal of creating a forum for near death “experiencers” to share their stories. Grounded in first-hand evidence culled from over 1,600 verified NDE accounts, Evidence of the Afterlife presents the strongest argument yet for the underlying truth of those who have died and returned to share their tales.

    J.K. Rowling, Hugh Jackman, Kathleen Turner, Stan Lee, James Belushi, Moon Zappa, Seth Green, Piers Morgan, Jodi Picoult, Stephen King, Phil Ramone, Michael Winner, Alan Cumming, Jerry Springer, Armistead Maupin, E from The Eels, Ferran Adrià, Rose McGowan, James Woods or Gillian Anderson.It is the perfect gift for your mum or dad, sister or brother, gran or granddad, or someone who is a teenager, even turning 16.

    Yet most of our lives is unwitnessed. We spend our days working, driving, parenting. We sometimes spend whole seasons feeling unnoticed and unappreciated.In Unseen, Sara Hagerty suggests that this is exactly what God intended. He is the only One who truly knows us. He is the only One who understands the value of the unseen in our lives. When this truth seeps into our souls, we realize that only when we hide ourselves in God can we give ourselves to others in true freedom--and know the joy of a deeper relationship with the God who sees us.Our culture applauds what we can produce, what we can show, what we can upload to social media. Only when we give all of ourselves to God--unedited, abandoned, apparently wasteful in its lack of productivity--can we live out who God created us to be. As Hagerty writes, "Maybe my seemingly unproductive, looking-up-at-Him life produces awe among the angels."Through an eloquent exploration of both personal and biblical story, Hagerty calls us to offer every unseen minute of our lives to God. God is in the secret places of our lives that no one else witnesses. But we've not been relegated to these places. We've been invited.We may be "wasting" ourselves in a hidden corner today: The cubicle on the fourth floor. The hospital bedside of an elderly parent. The laundry room. But these are the places God uses to meet us with a radical love. These are the places that produce the kind of unhinged love in us that gives everything at His feet, whether or not anyone else ever proclaims our name, whether or not anyone else ever sees.God's invitation is not just for a season or a day. It is the question of our lives: "When no one else applauds you, when it makes no sense, when you see no results--will you waste your love on Me?"

    S. Lewis's wife, the American-born poet Joy Davidman. In her introduction to this new edition, Madeleine L'Engle writes: "I am grateful to Lewis for having the courage to yell, to doubt, to kick at God in angry violence. This is a part of a healthy grief which is not often encouraged. It is helpful indeed that C. S. Lewis, who has been such a successful apologist for Christianity, should have the courage to admit doubt about what he has so superbly proclaimed. It gives us permission to admit our own doubts, our own angers and anguishes, and to know that they are part of the soul's growth."Written in longhand in notebooks that Lewis found in his home, A Grief Observed probes the "mad midnight moments" of Lewis's mourning and loss, moments in which he questioned what he had previously believed about life and death, marriage, and even God. Indecision and self-pity assailed Lewis. "We are under the harrow and can't escape," he writes. "I know that the thing I want is exactly the thing I can never get. The old life, the jokes, the drinks, the arguments, the lovemaking, the tiny, heartbreaking commonplace." Writing A Grief Observed as "a defense against total collapse, a safety valve," he came to recognize that "bereavement is a universal and integral part of our experience of love."Lewis writes his statement of faith with precision, humor, and grace. Yet neither is Lewis reluctant to confess his continuing doubts and his awareness of his own human frailty. This is precisely the quality which suggests that A Grief Observed may become "among the great devotional books of our age."

    Six months before that, I used a Voor’s Head Device for the first time." This line opens the 150-page book that accompanies Giles Corey, an intensely personal, intimate portrait of depression that took me almost 4 years to make. We've called this "acoustic music from the industrial revolution," and that's as good as anything. Dominated by the acoustic guitar, the music is a gloomy mixture of Americana influences, snippets of EVP recordings, ghostly choirs and deep, heavy organ. It ranges from very dark to triumphant, hushed quiet to crashingly loud. The album follows a story arc of emotions that are detailed in the accompanying book, as much a part of this record as the music. The text switches between personal tales of struggles with depression, suicide, and a feeling of being lost, and the story of cult-leader and afterlife theorist Robert Voor. Voor's writings on death and the afterlife feature prominently across HAVE A NICE LIFE's "Deathconsciousness," Nahvalr's self-titled debut, and Giles Corey, making him the unifying factor behind most of the music I've written in the last 10 years. This record is as personal and raw as anything I've ever done. Thank you for your interest.

    A beach body by summer. A trip to Disneyland around the corner. A promotion on the horizon. Everyone wants to believe that they are headed toward good, better, best. But what happens when the life you hoped for is put on hold indefinitely?Kate Bowler believed that life was a series of unlimited choices, until she discovered, at age 35, that her body was wracked with cancer. In No Cure for Being Human, she searches for a way forward as she mines the wisdom (and absurdity) of today's "best life now" advice industry, which insists on exhausting positivity and on trying to convince us that we can out-eat, out-learn, and out-perform our humanness. We are, she finds, as fragile as the day we were born.With dry wit and unflinching honesty, Kate Bowler grapples with her diagnosis, her ambition, and her faith as she tries to come to terms with her limitations in a culture that says anything is possible. She finds that we need one another if we're going to tell the truth: Life is beautiful and terrible, full of hope and despair and everything in between--and there's no cure for being human.

    The extraordinary life story of psychic and clairvoyant, Mia Dolan, the new Betty Shine.

    Donald Calloway, MIC, say that the world, especially Catholics, need to read this story of redemption? Why would he claim that Transfigured is one of the most powerful conversion stories ever written? Because Patricia Sandoval’s life story is an unusually gripping, hard-to-put-down ride along a journey that leads to an extraordinary triumph of God’s mercy—the mercy that waits patiently for all of us. Patricia came from a broken home, good and bad boyfriends, three abortions, a job at Planned Parenthood (where she was told never to reveal what she saw), followed by methamphetamine addiction and homelessness. The way that Jesus came to her in the streets will leave you breathless, as will the heights to which God has since carried her. If you know of someone who believes they cannot be forgiven, or return to Church, this is the book to give them. (Watch the video of reader comments below.) Read Transfigured. Be Transfigured. Patricia now travels the world as a pro life speaker, sharing her story with millions in packed stadiums and on radio and television shows, such as EWTN’s Bookmark, Life on the Rock, Women of Grace, At Home with Jim and Joy; and in Spanish, on EWTN’s Cara a Cara, Nuestro Fe en Vivo, Ellas lo Dicen—and now on her own show with Fr. Víctor Salomón: De Dos en Dos. Transfigured, endorsed by Fr. Donald Calloway, MIC, Archbishop Salvatore Cordileone, and Bishop Michael C. Barber, has been translated into Spanish (Transfigurada) and French (Transfigurée). Patricia Sandoval's story is available, as well, on a critically acclaimed, life-changing DVD, as seen on EWTN. See PatriciaSandoval dot com.

    Bittersweet is the idea that in all things there is both something broken and something beautiful, that there is a moment of lightness on even the darkest of nights, a shadow of hope in every heartbreak, and that rejoicing is no less rich even when it contains a splinter of sadness. It’s the practice of believing that we really do need both the bitter and the sweet, and that a life of nothing but sweetness rots both your teeth and your soul. Bitter is what makes us strong, what forces us to push through, what helps us earn the lines on our faces and the calluses on our hands. Sweet is nice enough, but bittersweet is beautiful, nuanced, full of depth and complexity. Bittersweet is courageous, gutsy, audacious, earthy. This is what I’ve come to believe about change: it’s good, in the way that childbirth is good, and heartbreak is good, and failure is good. By that I mean that it’s incredibly painful, exponentially more so if you fight it, and also that it has the potential to open you up, to open life up, to deliver you right into the palm of God’s hand, which is where you wanted to be all long, except that you were too busy pushing and pulling your life into exactly what you thought it should be. I’ve learned the hard way that change is one of God’s greatest gifts, and most useful tools. Change can push us, pull us, rebuke and remake us. It can show us who we’ve become, in the worst ways, and also in the best ways. I’ve learned that it’s not something to run away from, as though we could, and that in many cases, change is a function of God’s graciousness, not life’s cruelty.” Niequist, a keen observer of life with a lyrical voice, writes with the characteristic warmth and honesty of a dear friend: always engaging, sometimes challenging, but always with a kind heart. You will find Bittersweet savory reading, indeed. “This is the work I’m doing now, and the work I invite you into: when life is sweet, say thank you, and celebrate. And when life is bitter, say thank you, and grow.”

    Kabbalah, in fact, offers arguably the oldest and wisest application of astronomy and astrology known to humankind. Kabbalistic Astrology is a tool for understanding one's individual nature at its deepest level and putting that knowledge to immediate use in the real world. A natural addition to Berg’s many writings on spirituality, the book explains why destiny is not the same as predestination and shows that we have many possible futures and can become masters of our fate. Written in Berg’s trademark clear, intelligible style, the book teaches how to discover challenges faced in previous incarnations and how to overcome them, as well as the secrets to finding the love, success, and spiritual fulfillment.

    Although she wins fame and fortune, Mei-li seeks a truer spirituality, and embarks on a pilgrimage that takes her to the death-soaked Europe of the First World War, to a utopian commune in the Santa Cruz Mountains in the 1920s, to the Depression-era migrant work camps and cannery strikes, and finally to the Napa State Hospital, where she finds wisdom and peace among the outcasts of the asylum.Mei-li’s modern-day epic is grounded in the history of Northern California in the first half of the twentieth century and peopled by comrades of many classes and cultures and by lovers both male and female. Yet her central odyssey remains one of inner discovery.In Confessions of Madame Psyche, Dorothy Bryant has created a character who is so honest in her search for truth, growth, and spiritual understanding that this quest becomes inherent to her survival.

    In Holy the Firm she writes about a moth consumed in a candle flame, about a seven-year-old girl burned in an airplane accident, about a baptism on a cold beach. But behind the moving curtain of what she calls "the hard things -- rock mountain and salt sea," she sees, sometimes far off and sometimes as close by as a veil or air, the power play of holy fire.This is a profound book about the natural world -- both its beauty and its cruelty -- the Pulitzer Prize-winning Dillard knows so well.

    He had decided that after our parents died he just didn't want any more fighting between what was left of us. He was twenty-four, Beth was twenty-three, I was twenty-one, Toph was eight, and all of us were so tried already, from that winter. So when something would come up, any little thing, some bill to pay or decision to make, he would just sigh, his eyes tired, his mouth in a sorry kind of smile. But Beth and I...Jesus, we were fighting with everyone, anyone, each other, with strangers at bars, anywhere -- we were angry people wanting to exact revenge. We came to California and we wanted everything, would take what was ours, anything within reach. And I decided that little Toph and I, he with his backward hat and long hair, living together in our little house in Berkeley, would be world-destroyers. We inherited each other and, we felt, a responsibility to reinvent everything, to scoff and re-create and drive fast while singing loudly and pounding the windows. It was a hopeless sort of exhilaration, a kind of arrogance born of fatalism, I guess, of the feeling that if you could lose a couple of parents in a month, then basically anything could happen, at any time -- all bullets bear your name, all cars are there to crush you, any balcony could give way; more disaster seemed only logical. And then, as in Dorothy's dream, all these people I grew up with were there, too, some of them orphans also, most but not all of us believing that what we had been given was extraordinary, that it was time to tear or break down, ruin, remake, take and devour. This was San Francisco, you know, and everyone had some dumb idea -- I mean, wicca? -- and no one there would tell you yours was doomed. Thus the public nudity, and this ridiculous magazine, and the Real World tryout, all this need, most of it disguised by sneering, but all driven by a hyper-awareness of this window, I guess, a few years when your muscles are taut, coiled up and vibrating. But what to do with the energy? I mean, when we drive, Toph and I, and we drive past people, standing on top of all these hills, part of me wants to stop the car and turn up the radio and have us all dance in formation, and part of me wants to run them all over."