Divine Wind

Imagine standing at the center of a Roman coliseum that is 20 miles across, with walls that soar 10 miles into the sky, towering walls with cascades of ice crystals falling along its brilliantly white

On the eve of WWII, suspicion runs rampant in Hartley Penrose's small town. Even though they've done nothing wrong, the town is turning against its native Japanese residents - including Mitsy Sennosu

A classic and poignant treatment of Japan's struggle between recognition of the kamikaze's futility and the country's pride in having made the attempt to stem the tide of the American advance in 1944-

New York Times bestselling author T.D. Jakes helps readers uncover their divine purpose for more meaningful living.

你知道身處颱風眼之中是什麼感覺？那就像你站在直徑32公里、放大將近兩百倍的羅馬競技場中央，四周的冰牆向上延伸約有4座玉山那麼高，高聳的眼牆有一連串冰晶沿著耀眼的白色表面落下……。這個氣象界的龐然大物，是如此地令人驚嘆與驚心。台灣位於亞熱帶，每年經歷20到30個颱風生成，其中更有4到5個會直接影響台灣，造成嚴重的生命財產損害。颱風相關的資訊、新聞，幾成為我們的生活日常，但你瞭解颱風嗎？《颱風》一書，作者伊曼紐從科學、歷史、藝術的不同角度，勾勒出這個引人敬畏氣象事件的樣貌：颱風如何影響人類歷史的走向；這些大型暴風雨的磅礡景象，是如何震撼古往今來的藝術家、作家，像是十七世紀的某個颶風，很可能是莎士比亞寫出《暴風雨》一劇的靈感來源。除了颱風的故事，身為颱風研究的權威作者，在書中系統地解釋颱風的科學知識，從其生成、強度、移動方式、以及伴隨引起的波浪、暴潮與暴雨。不但說明熱帶大氣的物理性質；也解釋溫和的熱帶天氣怎麼會產生世上最強大的風暴系統。這是一本文圖並茂、橫跨科學與文化的絕佳科普書。

In Winds of Spirit, shamanic healer Renee Baribeau shares the rich mythology and cultural significance of wind, while also presenting a powerful system to help you recognize and utilize

Bette Midler today is a beloved legacy star, best known for her comic witch in Disney's Hocus Pocus (1993) and its 2022 sequel. She has also gained prominence for sentimental, anthemic ballads like "Wind Beneath My Wings," her initiation of green space projects in New York City, and tussling with Donald Trump on Twitter. Her profile is that of an articulate, civic-minded matriarch enjoying thoroughly mainstream stardom. But more than fifty years earlier she emerged from the steam of the subterranean Continental Baths as the Divine Miss M, the bawdy, campy, fearless alter ego she created in front of an audience of towel-clad gay men who came to the baths seeking not just sex, but a sense of community and safety from an often-harrowing outside world. "I was able to take chances on that stage that I could not have taken anywhere else," she later wrote. "Ironically, I was freed from fear by people who, at the time, were ruled by fear. And for that I will always be grateful." Overnight, Bet

The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological he

The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological he

“The divine wind of grace offers you hope and good fortune; it can cure everything. It can grant you an invisible protection, a miraculous healing; it can offer you visions through what I call ‘pure i