Sullivan Stapleton, Rodrigo Santoro and Eva Green star in this action film based on Frank Miller's graphic novel 'Xerxes' and set before, during and after the events of '300' (2006). In 480 BC, Athenian General Themistocles (Stapleton) leads the Greek Army in a war against the invasion of King Xerxes I (Santoro), naval commander Artemisia (Green) and their Persian forces. Themistocles allies with the Spartans but they are still outnumbered by Xerxes' men. Who will be victorious? The film was co-written by Zack Snyder and Kurt Johnstad and also stars Lena Headey, Jack O'Connell and Hans Matheson.

India Eisley and Samuel L. Jackson star in this thriller directed by Ralph Ziman. When young Sawa (Eisley) discovers that her parents have fallen victim to a brutal double murder she enlists the help of her policeman father's former partner Karl Aker (Jackson) to help her find the killer and bring him to justice. As Sawa finds herself digging deeper into the underground world of human trafficking she discovers home truths that she wishes had stayed secret.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Forgive Yourself First takes you on a journey to a better place. You will gather a number of practical skills to help you to see and to deal with life situations differently. These new tools will enable you to choose a better path forward than you might have chosen in the past.

We examine what self-forgiveness really means. You will look at your own unique life story, the one that brought you to this book, and examine established behavioural patterns, emotions, and the role your ego has played in your life.

You might come face to face with the real you for the first time. You will learn strategies that will help move you to the next stop on the trip. You will learn how to identify and face your feelings and emotions, and to identify some of the most common defences people use against these fearful demons.

You will learn to better recognise your established patterns of behaviour and begin to understand their consequences. How have specific events from your past influenced your present challenges? How do your current beliefs cause your reactions to life situations?

People can evolve spiritually by examining what they like and dislike in the actions of other people, and understanding why.

You will learn how to maintain peace in any situation. Humour and relaxation techniques are introduced, along with prayer and meditation.

Finally, the book guides you through a review of the tools you have collected on the journey and placed in your personal toolbox for future reference and then helps you to formulate a plan for going forward in peace.

As a middle-aged woman living in youth-obsessed America, Callan ("French Women Don't Sleep Alone") went to France to find answers for aging gracefully and to find joy in her imperfect body. Her mission was not to find the Fountain of Youth, but to find the Fountain of Happiness.

Splitting the Darkness is a collection of poems written primarily while the author was living in Boston for eighteen months. An appropriate subtitle might be "Prayer by another name" as the theme of prayer runs throughout the book, which is unashamedly written from a Christian perspective. The poems reflect the people and places that have inspired or challenged the author but also reflect the continuous awareness of things spiritual and of the relationships that have been the poet's foundation. Other subthemes might be described as awareness and appreciation, which are, of course, "prayers by another name."

This collection is the first to historicise the term ephemera and its meanings for early modern England and considers its relationship to time, matter, and place. It asks: how do we conceive of ephemera in a period before it was routinely employed (from the eighteenth century) to describe ostensibly disposable print? In the sixteenth and seventeenth centuries-when objects and texts were rapidly proliferating-the term began to acquire its modern association with transitoriness. But contributors to this volume show how ephemera was also integrally related to wider social and cultural ecosystems. Chapters explore those ecosystems and think about the papers and artefacts that shaped homes, streets, and cities or towns and their attendant preservation, loss, or transformation. The studies here therefore look beyond static records to think about moments of process and transmutation and accordingly get closer to early modern experiences, identities, and practices.