Emma And The Weeping Spirit

Ten-year-old Emma has battled dark creatures and protected her home from errant magic, but an unexpected letter brings her scariest trial yet―attending a wedding in Calebrin. Da’s younger sister has invited them for her ceremony, but Emma dreads the huge city, its strange people, uncomfortable fancy clothes, and worst of all: shoes. Her anxiety builds when Nan refuses to go, filling her head with worries about what could be wrong with her father’s side of the family. On Emma’s first night in Calebrin, spectral crying wakes her. She creeps out of bed to discover a forlorn spirit wandering the halls, who seems to be trying to warn Emma of danger. Alas, Da’s prim and proper mother has a low opinion of druids, and an even lower opinion of Mama. His younger brother takes particular delight in tormenting Emma, and her efforts to assist the spirit only annoy him more. She suspects something far darker than an arrogant uncle lurks in the giant manor house where her father grew up. No longer afraid, Emma tries to help the ghost—before she becomes one herself.

Because Mommy teaches Emma that God is present in everyone in the world, Emma learns not to be afraid and even asks God to help Peter.

Emma tries to balance her newfound abilities as a druid with only being ten years old. Chores and having to go inside before dark leaves only a few hours a day to save the forest―or at least her home town. Strange magic plagues the people of Widowswood Village. None of the adults take it seriously, as the effects are short-lived and whimsical. Emma suspects something darker is going on, having listened to Nan’s tales of night pixies who aren’t as nice as the Silverbells. Convinced someone or something wishes ill upon her home, she decides to do what the adults won’t. Amid the chaos, the daughter of a wealthy gem merchant goes missing. Emma’s father and the entire Widowswood Watch spend all their time searching for the abducted girl. Worse, a bully blames Emma for the girl’s disappearance, but after dealing with a banderwigh and the silk thieves, he doesn’t scare her at all—until he turns violent. Emma knows everything is connected, and isn’t about to let a mean-spirited older boy stop her from protecting her home.

Charles Darwin published The Origin of Species, his revolutionary tract on evolution and the fundamental ideas involved, in 1859. Nearly 150 years later, the theory of evolution continues to create tension between the scientific and religious communities. Challenges about teaching the theory of evolution in schools occur annually all over the country. This same debate raged within Darwin himself, and played an important part in his marriage: his wife, Emma, was quite religious, and her faith gave Charles a lot to think about as he worked on a theory that continues to spark intense debates. Deborah Heiligman's new biography of Charles Darwin is a thought-provoking account of the man behind evolutionary theory: how his personal life affected his work and vice versa. The end result is an engaging exploration of history, science, and religion for young readers. Charles and Emma is a 2009 National Book Award Finalist for Young People's Literature.

Live every day like a victorious warrior! This unique devotional unleashes explosive, supernatural power in bite-sized prophetic words. Lion Bites is a daily call to arms! Carrying the full weight of Scripture and Gods rhema word, these prophetic declarations pack a punch, helping you live each day as a victorious warrior through Jesus! Compiled by the team of prophetic warriors from the Global Prophetic Alliance, this powerful devotional includes contributions from Emma Stark, David Stark, Sarah Jane Biggart, Sam Robertson, John Hansford, and Micah Hayden. Spend every day in this life-changing devotional book, and hear the Lion of Judah roaring victory over your life!

English girl's father takes her to India where she lives with her half-sister on a tea plantation.

There is a persistent myth about the British: that we are a nation of stoics, with stiff upper lips, repressed emotions, and inactive lachrymal glands. Weeping Britannia - the first history of crying in Britain - comprehensively debunks this myth. Far from being a persistent element in the 'national character', the notion of the British stiff upper lip was in fact the product of a relatively brief and militaristic period of our past, from about 1870 to 1945. In earlier times we were a nation of proficient, sometimes virtuosic moral weepers. To illustrate this perhaps surprising fact, Thomas Dixon charts six centuries of weeping Britons, and theories about them, from the medieval mystic Margery Kempe in the early fifteenth century, to Paul Gascoigne's famous tears in the semi-finals of the 1990 World Cup. In between, the book includes the tears of some of the most influential figures in British history, from Oliver Cromwell to Margaret Thatcher (not forgetting George III, Queen Victoria, Charles Darwin, and Winston Churchill along the way). But the history of weeping in Britain is not simply one of famous tear-stained individuals. These tearful micro-histories all contribute to a bigger picture of changing emotional ideas and styles over the centuries, touching on many other fascinating areas of our history. For instance, the book also investigates the histories of painting, literature, theatre, music and the cinema to discover how and why people have been moved to tears by the arts, from the sentimental paintings and novels of the eighteenth century and the romantic music of the nineteenth, to Hollywood weepies, expressionist art, and pop music in the twentieth century. Weeping Britannia is simultaneously a museum of tears and a philosophical handbook, using history to shed new light on the changing nature of Britishness over time, as well as the ever-shifting ways in which we express and understand our emotional lives. The story that emerges is one in which a previously rich religious and cultural history of producing and interpreting tears was almost completely erased by the rise of a stoical and repressed British empire in the late nineteenth century. Those forgotten philosophies of tears and feeling can now be rediscovered. In the process, readers might perhaps come to view their own tears in a different light, as something more than mere emotional incontinence.

There is a persistent myth about the British: that they are a nation of stoics, with stiff upper lips, repressed emotions, and inactive lachrymal glands. Weeping Britannia--the first history of crying in Britain--comprehensively debunks this myth. Far from being a persistent element in the national character, the notion of the British stiff upper lip was in fact the product of a relatively brief and militaristic period of the nation's past, from about 1870 to 1945. In earlier times we were a nation of proficient, sometimes virtuosic moral weepers. To illustrate this perhaps surprising fact, Thomas Dixon charts six centuries of weeping Britons, and theories about them, from the medieval mystic Margery Kempe in the early fifteenth century, to Paul Gascoigne's famous tears in the semi-finals of the 1990 World Cup. In between, the book includes the tears of some of the most influential figures in British history, from Oliver Cromwell to Margaret Thatcher (not forgetting George III, Queen Victoria, Charles Darwin, and Winston Churchill along the way). But the history of weeping in Britain is not simply one of famous tear-stained individuals. These tearful micro-histories all contribute to a bigger picture of changing emotional ideas and styles over the centuries, touching on many other fascinating areas of our history. For instance, the book also investigates the histories of painting, literature, theatre, music and the cinema to discover how and why people have been moved to tears by the arts, from the sentimental paintings and novels of the eighteenth century and the romantic music of the nineteenth, to Hollywood weepies, expressionist art, and pop music in the twentieth century. Weeping Britannia is simultaneously a museum of tears and a philosophical handbook, using history to shed new light on the changing nature of Britishness over time, as well as the ever-shifting ways in which Britons express and understand their emotional lives. The story that emerges is one in which a previously rich religious and cultural history of producing and interpreting tears was almost completely erased by the rise of a stoical and repressed British empire in the late nineteenth century. Those forgotten philosophies of tears and feeling can now be rediscovered. In the process, readers might perhaps come to view their own tears in a different light, as something more than mere emotional incontinence.

In the late 1800s a supremely qualified woman educator and administrator made an unforgettable imprint on well-known missionaries, educators, and preachers. Emma Dryer worked with Pacific Garden Mission's George and Sarah Clarke, Methodist deaconess Lucy Rider Meyer, Wheaton College President Charles Blanchard, Anna Spafford--whose husband wrote the beloved hymn It is Well with My Soul--and many others. However, her greatest achievement came from her divinely guided association with evangelist Dwight L. Moody. Moody Bible Institute in Chicago, with its compelling and far-reaching ministries, would undoubtedly not exist today if not for the driving missionary fervor of Emma Dryer. Her story is finally being told in light of this association. A close examination of her ministry relationship with Mr. Moody reveals the interconnected aspects of their lives from a viewpoint never before written. This includes examining their leadership styles and effectiveness in modern day terms as well as contrasting their learning styles, strengths, and weaknesses as both evangelist and educator. This book represents the first biography of Emma Dryer's life with undying evidence of the answered prayers of a noble and virtuous woman who dedicated her life to serve and honor Christ until his eminent return.