This volume is based on the presentations and discussions of a national symposium on "Couples in Conflict" that focused on family issues. A common thread throughout is that constructive conflict and negotiation are beneficial for relationships. Together, the chapters provide a foundation for thinking about creative ways in which our society can work to prevent or minimize destructive couple conflict and to enhance couples' abilities to constructively handle their differences. Divided into four parts, this book: *addresses the societal and bioevolutionary underpinnings of couple conflict; *presents the interpersonal roots of couple conflict and the consequences for individuals and couples; *discusses what effects couple conflict have on children and how individual differences in children moderate these effects; and *outlines the issue of policies and programs that address couple conflict. This book concludes with an essay that pulls these four themes together and points to new directions for research and program efforts.

Very few poets except the authors of the Hebrew Scriptures and the New Testament have tried to write in any extended way about God. Even Dante confines his vision of Christ and the Trinity to a few passages at the end of Paradiso and most religious lyric poets concentrate more on their own attitudes and reactions to God, their prayer, longing, repentance, suffering or joy, than on the nature of God. Among English poems, three narratives, Piers Plowman, Paradise Lost and Paradise Regained are exceptional in their extensive, explicit poetry about god and their direct concern with the mysteries of Biblical faith. This work looks at Piers Plowman, confronting not only the alterity of culture resulting from a lapse of almost 700 years, but also the more profound alterity of the subject matter.

The exhibition Invocable Reality explores possible perspectives on reality from art practices through a selection of works by eleven artists from different backgrounds and generations. The works in Invocable Reality approach reality in a subtle way. They start from the 'here and now' of the reality that the artists intend to 'investigate and conquer': incorporating fragments in the exhibition space (Roman Ondak), turning the gallery into a real space (Antonio Ortega), filming it (Lutz Mommartz, Jeremy Deller and Mireia Sallares), trying to direct it (John Smith), looking for connections in space and time (Enric Farres-Duran), influencing it (Nuria Guell), showing the devastating effects of a mediated reality (Phil Collins), demonstrating the impossibility of its representation (Rafel G. Bianchi) or showing how we have turned death into something unreal (Jill Magid). The catalogue reproduces a series of photographs of the exhibition installation, whose selection of works is discussed in the text by Montse Badia, curator of the exhibition, as well as the essay 'On "The Real"' by the French philosopher Clement Rosset.

Marie Clements's latest play sears a dramatic swath through the reactionary identity politics of race, gender and class, using the penetrating yellow-white light, the false sun of uranium and radium, derived from a coal black rock known as pitchblende, as a metaphor for the invisible, malignant evils everywhere poisoning our relationship to the earth and to each other.
"Burning Vision" unmasks both the great lies of the imperialist power-elite (telling the miners they are digging for a substance to "cure cancer" while secretly using it to build the atomic bombs that devastated Hiroshima and Nagasaki); and the seemingly small rationalizations and accommodations people of all cultures construct to make their personal circumstances yield the greatest benefit to themselves for the least amount of effort or change on their part. It is also a scathing attack on the "public apology" as yet another mask, as a manipulative device, which always seeks to conceal the maintenance and furtherance of the self-interest of its wearer.
Clements's powerful visual sets and soundscapes contain curtains of flames which at times assume the bodies of a chorus passing its remote judgment, devoid of both pity and fear, on the action: a merciless indictment of the cross-cultural, buried worm of avarice and self-interest hidden within the terrorism of the push to "go with the times," to accept the iconography of a reality defined, contextualized and illuminated by others.
Marie Clements writes, or, perhaps more accurately, composes, with an urbane, incisive and sophisticated intellect deeply rooted in the particulars of her place, time and history.
Cast of five women and 12 men.