Michael Veitch has always been a keen historian and aeroplane fanatic. From a young age he was obsessed with airforce pilots and their machines. And with his gift for chat, he has once again captured the memories of these brave, lucky men who survived the unsurvivable.
The risks of not returning from flying missions in WWII were extremely high so the stories are uniquely heroic, almost unbelievable. But these were ordinary men in extraordinary situations and, in this third collection from Michael Veitch, they record their stories for future generations.
Chronicling six years of Thomas Merton’s life in a Trappist monastery, The Sign of Jonas takes us through his day-to-day experiences at the Abbey of Our Lady of Gethsemani, where he lived in silence and prayer for much of his life.
Concluding with the account of Merton’s ordination as a priest, this diary documents his growing acceptance of his vocation—and the greater meaning he found within his private world of contemplation.
“This book is made unmistakably real and almost, at times, unbearably poignant by the fact that the exuberance of youth so often wells up through it with rapture, impatience, and even bluster.” —TheNew York Times
“A stirring book—the most readable and on the whole, most illuminating of the author’s writings.” —Catholic World
Orthodox Christianity is the face of ancient Christianity to the modern world and embraces the second largest body of Christians in the world. In this first-of-its-kind study Bible, the Bible is presented with commentary from the ancient Christian perspective that speaks to those Christians who seek a deeper experience of the roots of their faith.
Features Include:Old Testament newly translated from the Greek text of the Septuagint, including the DeuterocanonNew Testament from the New King James VersionCommentary drawn from the early Church ChristiansEasy-to-Locate liturgical readingsBook Introductions and OutlinesSubject IndexFull-color IconsFull-color Maps
Bryan Cranston began his acting career at the age of seven, when his father, a struggling actor and sometime director, cast him in a commercial for United Way. By fifth grade he was starring in the school play, spending hours at the local movie theater, and re-enacting favorite scenes with his brother in their living room. Cranston seemed destined to be an actor. But then his father left. And his family fell apart. Troubled by his father’s missteps, Cranston abandoned his acting aspirations and resolved to pursue a steadier career in law enforcement. Then, on a two-year cross-country motorcycle journey, Cranston re-discovered his talent for acting and found his mission and his calling.
In this “must-read memoir” (The Philadelphia Inquirer), Cranston traces the many roles he inhabited throughout his remarkable life, both on and off screen. For the first time he shares the story of his early years as an actor on the soap opera Loving, his recurring spots on Seinfeld, and his time as bumbling father Hal on Malcolm in the Middle, to his tour-de-force, Tony-winning performance as Lyndon Baines Johnson in Broadway’s All the Way, to his most iconic role of all: Breaking Bad’s Walter White.
“An illuminating window into the actor’s psyche” (People), Cranston has much to say about creativity, devotion, and craft, as well as innate talent and its challenges and benefits and proper maintenance. “By turns gritty, funny, and sad” (Entertainment Weekly), ultimately A Life in Parts is a story about the joy, the necessity, and the transformative power of simple hard work.
Ever since it was first performed in 1949, Death of a Salesman has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity—and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room.
"By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, The New York Times
"So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —Time