Are you tired of people knowing who you are but no one really knowing you? As the star of the twentieth season of The Bachelor, Ben Higgins looked like he had it all together. Instead, Ben felt dissatisfied, fearful, and deeply alone. Like so many of us, he thought of himself as the kid who never got picked for the game, the person always on the outside of the joke, the friend who knew a lot of people but was never truly known. He wondered if he mattered at all. In Alone in Plain Sight, Ben vulnerably shares how he found authentic connection with himself, with others, and with God. As Ben helps us name our own yearning for meaning, he explores ways to understand ourselves more deeply so that we are free to connect with others; how shared pain can bridge even the widest gaps between two very different people; why we must deconstruct our culture's fairy-tale view of love; and how the God who longs for relationship with us is the answer to our need for connection. As Ben discovered, in a disconnected world, it is still possible to have lasting purpose and peace. You are already known. You are already loved. You are already seen. Discover how to live out how much you matter as you embrace the true meaning of your one incredible life.

In 1623 a team of stationers published what has become the most famous volume in English literary history: William Shakespeare's First Folio. Who were these publishers and how might their stories be bound up with those found within the book they created? Ben Higgins offers a radical new account of the First Folio by focusing on these four publishing businesses that made the volume. By moving between close scrutiny of the Folio publishers and a wider view of their significance within the early modern book trade, Higgins uses Shakespeare's stationers to explore the 'literariness' of the Folio; to ask how stationers have shaped textual authority; to argue for the interpretive potential of the 'minor' Shakespearean bookseller; and to examine the topography of Shakespearean publication. Drawing on a host of fresh primary evidence from a wide range of sources, including court records, manuscript letters, bookseller's bills, and the literature itself, Shakespeare's Syndicate illuminates our understanding of how this landmark volume was made and what it has meant to scholars since. Moreover, it models exciting new ways of working with stationers and of reading the event of early modern publication itself. This innovative study demonstrates that despite four hundred years of history, the volume at the centre of Shakespeare's canon continues to generate new stories.