Sarah Arthur takes a creative look at Bilbo's tale and chronicles ways we can apply what he discovers to our own lives and our journey of faith. Therein lies the true genius of Arthur's work, Walking with Bilbo. Arthur provides a thought-provoking guide that coincides with each chapter in The Hobbit. She discovers interesting points in Bilbo's adventures, explores how Bilbo and other characters might have felt in those situations, and then highlights how we might feel when faced with similar circumstances.

In one instance, Arthur highlights how the famous wizard Gandalf chooses Bilbo at the beginning of the book. Bilbo is chosen because he has great personal qualities within just waiting to be developed. Although Bilbo does not yet recognize them, Gandalf does and sees their importance in the coming adventure. Arthur applies this theme to our life with a series of questions for the reader concerning their own gifts, direction in life, etc.

Arthur's questions get deeper as her guide and Bilbo's journey progresses. In this way the experience is more meaningful as we examine our own thoughts. What I really enjoyed about this book was Arthur's careful assertion that the life applications she is gleaning from The Hobbit might have been unintentional by its creator. With this clear honesty, Arthur is also quick to note that we can still apply what Tolkien's characters are experiencing and learn from them. To some, Tolkien's colorful group of characters may seem like strange teachers, but with Arthur's gentle guidance, I was amazed at how much I learned about myself.

Arthur provides an insightful guide to an outstanding piece of literature. She even includes a reference to Middle-earth - the setting of The Hobbit and The Lord of the Rings books for those who may not be familiar with all of the terms Tolkien uses. Arthur weaves Tolkien's eternal tale into issues of faith and life that we can all relate too. After reviewing this work, I wanted to go and pick up Arthur's previous guide to the Lord of the Rings series, Walking with Frodo. I am sure you will as well after finishing this treasure.

Miracle on the Monastery Mountain is to be absorbed, studied and reflected upon, for within its pages lie enlightenment, truly beautiful images, and a glimpse into an oft-misunderstood community of Christian believers: the Eastern Orthodox Christian monks.

In 1972, Lyttle set out with an inquisitive mind to explore and document the beauty and history of the monastic lands on Mount Athos in Greece. But he soon discovered more than he bargained for, and ultimately, he fulfilled his soul's need to understand where he stood in God's kingdom.

Through this, Lyttle has created a work of art and history that is of a quality not found from even the most elite publishing houses. Eight years of writing and editing, which included selecting 655 images from over 50,000 he made of his journeys to the mountain, might seem like an inordinate amount of time and effort to produce a book. However, once the first page falls open, Lyttle enthralls the mind and heart of the person holding Miracle in his or her hands.

This photographer/author may well be the Rembrandt of the photographic community, but he is also a natural storyteller and his words alone paint a picture that need no further illustration. Rich with vignettes into the personal and spiritual lives of the monastic population, Miracle allows a glimpse into a carefully preserved order of holiness; and a misunderstood religious sect.

Nowhere else can one find a volume of work that is testament to the rich history of a society whose origins can, in some cases, be traced back to the Apostles of Christ. After being recognized as an earnest seeker of the truths of the Eastern Orthodox Christian beliefs, Lyttle became an invited visitor to the mountain and this privilege allowed him to document the customs, routines, ceremonies, and brotherhood born from living in dedication to service for the Lord.

For those who wish to learn the full history of Christianity, Miracle on the Monastery Mountain is an in-depth study that can be useful as a textbook while also providing pleasure to the viewer. Oversized, enclosing 450 smooth heavy pages which hold an amazing 655 photographs, and weighing in at just under seven pounds, this book is destined to become an important chronicle in the Christian world.

Childhood stays with us long after we've passed the age of innocence, and this tale of growing up too fast is a testament to the resilience of children and the power that making the right choices can bring to lives riddled with despair, fear, and uncertainty.

Billy Goat Hill isn't just a story about childhood and coming-of-age, however. It's a narrative about emotional and physical survival. It's about the power and positive imprint a stranger can leave on a young life and the rewards that a stubbornness to overcome can bring.

And it's not a story for children to read.

The Parker family is trying to recover from the death of an infant brother, and a mother's grief tends to distance her from her two living sons. Lucinda, as Wade refers to his mother, is a lost soul, and 8-year old Wade assigns himself the responsibility to care for his foundering family.

Earl, Wade's father, is mostly missing as a carefree alcoholic who can't seem to connect with his role as a father. Wade wonders how life might be different if Duke Snider, the famous player for the Dodgers, were his father, instead. Wade weighs most of his major life decisions as a child against what Duke might think, say or do, and it's a running theme throughout the book.

But Wade Parker's most urgent dilemma at 8-years-old is completing a dare to ride a cardboard sled down the infamous Billy Goat Hill on the outskirts of Los Angeles. It's during his early morning escapade, which involves sneaking out of the house with his six-year-old brother, Luke, that the Parker brothers first meet a man and woman who will forever influence their young lives.

Convinced they will be killed for witnessing what looks like a motorcycle gang confrontation, the young Parkers instead become fascinated with a dynamic couple they first know as Scar and Miss Cherry, both of whom are police officers and who are in on a prank to initiate a rookie officer.

From that moment, the Parker boys form a lifelong bond with Miss Cherry and Scar, aka Sergeant. These two characters help the boys understand or, at least, move on from the events in the story that can shatter the psyche of both young and old. It takes several years and different encounters before Wade and Luke are able to resolve the revolving door of relationships that ravage their lives.

Also running throughout the story line is a thread of Christianity, which is picked up off and on through the dilemmas and the people who come into Wade's life. Like a needle weaving in and out of fabric, it nicely ties the story together like a tapestry woven from life's scars.

This is not intended as a feel-good read, but it is a very satisfying book that leaves you with a good feeling anyway. Morris writes with a lyrical voice and uses vivid, innovating descriptions that beg to be read aloud. Morris was born and raised in Southern California, a background that brings richness to the setting for Billy Goat Hill.

Told in first person from Wade's point of view, Billy Goat Hill spans the defining years of childhood and early adulthood, throws in some life events in the middle and ends with Wade at 40 years old and coming into his fullness as a man who experiences the freedom of forgiveness.

Joel Backman was once the most powerful power broker in Washington, a wheelin', dealin', lovin'-the-spotlight lawyer whose name struck fear in his opponents.

Six years prior to the opening of The Broker, Backman suddenly packed up his secrets and willingly took the fall for his law firm after some people in the know died - three of them young, bright, foreign students, who on a fluke, managed to hijack a sophisticated satellite system. The satellites are capable of more than the original builders thought possible, and the software the students designed enhances the system beyond the imaginable. When the students come to Backman in hopes of making some big money, the students and another player end up dead and Backman hides the hijacking software.

Now the United States is curious as the CIA wants to know who has the technology to outdo the best technology built by the US. And the only way to find out? Set Backman free, and see who kills him.

Backman is a frightened man with no friends, a different person than he was six years prior when he gratefully accepted confinement in a solitary cell in a federal prison. Thinking he'd never see the light of day, for at least another decade, the pardoned prisoner tries to absorb his new state of affairs. This include a new identity and language in Italy. Backman's new existence comes complete with an agent who enjoys fine dining and guides Backman into his new life while spying on Backman's every move.

It's not long before Joel Backman realizes he's a walking target, and the gears in his brilliant mind starts to turn and he turns the tables a bit. Unfortunately, he's still not out of the woods or the range of his spies.

The mark of a good book is one in which the hero takes a life-changing journey, overcoming outside odds while battling the inner man. Grisham makes this happen as I found that I was rooting for the slimy lawyer who had discovered life is more precious than being at the top of the power pile in politics.

One of the complaints I have with Grisham's books is that they seem to be getting shorter, bringing forth a groan of disappointment when the last page is turned. A few more pages with a scene of the satellites in action and providing some leveraging material for Backman to keep himself alive would add just the right touch. Perhaps the movie will do that.

Grisham always delivers in the entertainment department, but I wouldn't place The Broker in his top five, but after 18 novels, of course, all of them can't be in the top rankings. But with Grisham, you know exactly what you're getting and this book does not disappoint.

Fantasy writers have an incredible opportunity before them, yet also an equally incredible danger to avoid. The opportunity stems from the fact that fantasy writers can create their own worlds or reshape the ones we already know to the great enjoyment of a reader. Great writers have been known to create entire languages and also build or destroy vast civilizations in the midst of their tale. But here also lies the great danger.

Fantasy writers also have the duty to gently introduce their readers into their new world. The author must skillfully relate the wonders of their new world to the mundane of our own so the audience can at least have a point of reference to rely upon when following the author into new lands. It is at this point that the author fails, at least in the beginning of this work.

Hirt is an accomplished writer - authoring 29 works of fiction, many short stories, and a non-fiction work as well. Some may recognize Hirt's writings under his pen names Doug Hawkins and Jason Elder. Hirt obviously has the experience to back up his craft, and this experience at storytelling is greatly evident throughout Flight to Eden. Just not in the first 100 pages.

The book starts off by introducing its readers to a very interesting character, Rhone, with an equally interesting vocation, web-harvesting. The reader is given various glimpses into the lore of this world and curiosity begins to form. However, all curiosity quickly fades when the author shifts to telling us about some other characters, Lamech and Mishah. Although they become integral to the story later, they seem incredibly unimportant at this point of insertion in the story. The reader is left wondering why they should care about them.

Also to the detriment of the story, the action at this point drags, shifting from confusing political scenes, odd family disputes, and simple mundane matters. Despite all of this, the most frustrating part of the beginning of this work is that Hirt falls into the forbidden fantasy writer trap. He insists on throwing in made-up words and concepts without giving the reader enough description to figure out what he is talking about.

Hirt continues this when he introduces characters using different names and does not explain they are the same person. I found myself in great frustration rereading many passages trying to discover who the author was talking about just to realize he was describing the same character. For example, he utilizes the term "Lodath" at some points in the tale and then "Sol-Ra-Luce" at other points. I am embarrassed to say it took me several chapters to realize that this was actually the same person! (Lodath is just a title like "Captain" and Sol-Ra-Luce is a name like "Smith").

Once you get past this rough start, the book takes a turn for the better. We learn the importance of all of the previous characters. Actions scenes come like a roller coaster ride - fast, furious, and at unexpected places. We are introduced to an intriguing new enemy called the "Earth-Born," giant warriors who are half-human and half-spirit beings. And we are set on edge as what begins as an ordinary family pilgrimage soon becomes a race for life itself.

Hirt should also be applauded for his great creativity. In step with the Left Behind series, he takes some portions of the Bible and expands it into a great story. Similarly, Hirt takes a few pages from the beginning of the Bible and translates it into an incredible world. This should be intriguing to anyone familiar with the Biblical accounts or not, because they simply serve as great storytelling.

All and all, Hirt delivers an intriguing first book to what he promises will be a series entitled the "Cradleland Chronicles." A reader who is not easily discouraged and who is willing to put in the time to make it past the first part of this novel will be greatly rewarded by this work. At close to 500 pages, the vast majority of this book is well done, has an intriguing plot, and a great ending.

Paul LaBont is an up-and-coming artist living in the posh Southern California coastal hills, trying to emerge from the shadow of his father's success. His father, Vincent, is a renowned classical painter who lives with his wife, Marcella, but largely distances himself from everyone, consumed by his art.

One evening, while a robber steals an antique chair from their home, unforeseen events cause their mansion to go up in flames. Returning from a successful show, Vincent is barely able to save Marcella from the blaze before he is struck by an incredible urge to run back into the house to find the very chair that has been stolen. Part of the house collapses on him, and while he survives, he is burned so seriously that it is believed he will never paint again. His ability and inspiration have been stolen from him, and he completely falls apart.

An insurance company informs the LaBont family that the chair has turned up in Savoy, and that it has been reclaimed by its rightful owner: Frederick la Cloy, the Duke of Savoy. Seeing the despair of his father and Vincent's insistence that reclaiming what is rightfully his will somehow help him to heal, Paul sets out with hopes of bringing the chair back to California.

A mysterious history surrounds this relic which was purportedly crafted by Leonardo da Vinci shortly before his death. Subsequent owners of the chair have attained great notoriety and fame as painters, but every last one of them has died tragically in a fire. Some people pass it off as myth, as a smattering of bad luck that is nothing more than a series of unfortunate coincidences. Others, however, place a grave belief in the dark power that this object supposedly possesses.

Upon arriving in Savoy and dodging death by inches, Paul takes up residence in the Duke's castle where he is nursed back to health. He meets the Duke's daughter, Isabella, and instantly takes a liking to her. She appears to reciprocate the interest, and is more than happy to show him around the grounds, take him to an opera, and otherwise lift his spirits as they find romance budding between them.

Many things are amiss, however. A seedy character named Jacob Stein is constantly at the Duke's side, leveling Vincent with grim stares and otherwise giving everybody the creeps. How is he involved in all of this? And is Isabella hiding something because of her affinity for painting? The duke is also in dire straits financially as a result of a gambling problem, and if he doesn't find a significant amount of money soon, control of the Savoy trust will be given to Prince Cassini to do with as he pleases. The duke agrees to give Paul the chair back if he will but paint something for him, but is it really that simple?

DeSimone certainly has a knack for imagery, often lingering on the chair's features or the grains of California sand or the golden hues of Isabella's hair. This ends up being both his greatest strength and weakness however, because while the details are fabulous in some parts, they are overdone in others. The story alternates between the quick pacing of a thriller and the deliberate nuances of a drama that needs to have each layer unfolded in its proper time. But when he starts repeating certain descriptors a few too many times, you may start wishing for the proper time to hurry up.

The story is thought-provoking and will keep you wondering what else is going on, but it does lose steam at different parts. For instance, a subplot involving Marcella's ability to remain faithful to her angry, closed off husband, while effective in a way, seems underdone. It feels far too rushed to be believable, but given the part she plays in later events in the novel, her presence in the story is warranted. The problem is that it just isn't done very well.

Many of the people in Leonardo's Chair also grapple with issues of faith in various ways. Prayer seems an afterthought to many of them, and though the Duke and his daughter attend church services, their conceptions of God and Jesus are quite different. A particularly eye-popping perspective Isabella gives on the motives for why Judas betrayed Jesus is definitely worth paying attention to, and Paul's encounters with da Vinci's The Last Supper masterpiece become increasingly otherworldly as the story progresses.

At its heart, this is a story of the power of pride and arrogance and what it does to those who give in to it. The tale serves as a great reminder that we are not here by accident, but that we are not all-powerful either, no matter how much of a blessing we may think we are to this world. There are times in life where we have to really stop and consider what is important to us and why that is so, and the same goes for the characters in this story.

The novel is not without its missteps, including a flurry of misspellings that even extends to Britain's biggest pop group of all time, but Leonardo's Chair is creative and engaging and will make you think nonetheless.

Pastor John Cain wants his daughter back, but no one knows where she is. In Without Warning, the first book in the series, Pastor Cain and his daughter were touring the Holy Lands when they became separated by the actions of a terrorist group. Cain's tour bus was hijacked while daughter, Jessica, made an ill-fated trip to the restroom.

Continuing where Without Warning left off, Vanished begins with every parent's worst nightmare and places Cain's character in a heart-wrenching dilemma. How can he find his daughter when he has no idea where she is? And seemingly, neither does the United States government.

As a parent, Cain's agonizing decisions struck deep in my heart and raised questions that are still unanswered. I could only wish that if my child was in the hands of a terrorist, I would be as tenacious and brave and filled with faith as the fictional Cain.

Marwan Dosha, the terrorist Cain defeated in the first novel, is determined to win. His people have Cain's daughter. However, no trace of Jessica surfaces until two unlikely characters recognize the young girl. Until that chance sighting, the search for Jessica seems futile.

But don't tell that to Jessica.

Jessica Cain is 12-years old when the novel opens, and she realizes she is the prisoner of the Palestinian Islam Jihad. Quick-witted and courageous, Jessica works on freeing herself in the middle of a strange land where she doesn't speak any of the languages, and where everyone seems to be an enemy.

But the enemy has a face, too, and Jessica learns that kindness, humanity and valor are sprinkled throughout the human race, even in the midst of the most horrible situations.

The action and fast-paced turns of events in this novel are remarkable and challenged me to finish it in one sitting--all 525 pages. The plot takes amazing twists and turns, and Tanneberg exhibits real genius at keeping the stakes high.

Vanished alternates between Jessica's and her father's viewpoints, at once providing a look into the frustration of a parent and the panicked, but resourceful, actions of his child. A definite page-turner, Vanished is full of well-drawn characters, realistic emotion, and excellent plotting and pacing.

Ultimately, Tanneberg has succeeded in portraying ordinary people who become righteous warriors of God in a thriller that not only holds it own, but also stands up well against many secular novels.

The Holy Apostles Soup Kitchen in Manhattan services over 1,300 people daily with food and sustenance. But each spring for the last ten years, that provision turns from the physical needs to the emotional and spiritual needs as they conduct a writing workshop. The workshop couples published authors and homeless people for a few hours each Wednesday afternoon, giving time and space for them to discover their words and find their voices.

It may be through prose or poetry, autobiographical or metaphorical, searching or revealing that they find their expression. The words they find help them to begin healing from ancient scars. The members of the workshop may range in ages from 16 to 80. They cover the whole spectrum of religious and ethnic diversity. The commonality they all share is the pain they have suffered and their position in life. It becomes a place for them to find themselves and express themselves to others who will understand.

From this dynamic workshop comes this powerful anthology: Food for the Soul (which shares little in common with the Chicken Soup franchise). Edited by Elizabeth Maxwell and Susan Shapiro, it's a collection of poems and stories that give insight into the hard lives of struggling people who otherwise would have no way to let their stories be heard.

But here, they shine forth with brilliance and insight. From pain and suffering to finding new hope in the world, the whole gamut of emotions is on display. I quickly became enthralled and captivated by their stories, many of which are more powerful than any fiction. I am inspired by their poems and carried away by the lives they live -- the hardness of it all and yet the desire to persevere.

John Cabello's poem "As In the Movies" captures the spirit of this endeavor.

As in the movies I am touching a dream.
Since a year ago when I first became involved
With writing. Since then every Wednesday
I am in the room, spiritually, really creating.
I also got the habit to write every day, just
One page a time. Or at least I got the habit
To try. Whatever may happen--- either beauty,
Ugliness or many times something undefined.
I see all of us, sharing verbs, words, the real
Root of God's spirit in us, longing to make work
Of high value. I have seen us as celebrities,
A positive force built up massively until we are
Valued by society and culture. Let us meet next
Autumn at least at the park, in front of the building
When our book will be produced, as if to say
We are important, our lives a mystery that counts!

Thank you Holy Apostles Soup Kitchen for giving these wonderful people an outlet for expression. Food for the Soul is an excellent collection and I heartily recommend it to any who are searching in life -- for self-awareness or words.

When young warrior Perivale defeats the witch Morgultha, he takes the Crown of Eden from her cold, dead hand. She isn't dead, but her hand is after it's severed from her body, still holding the Crown. Enraptured by the golden circlet, Perivale hides it away, vowing never to look upon it again because it holds mysterious powers. If this sounds like LotR to you, you're right. Ring, crown -- not much of a difference here other than the size of the circumference.

Too many unnecessary pages later, Perivale is king of The Seven Kingdoms. For seven years he rules the land, submitting to the will of The Master of the Universe (guess who He is) and watching his kingdom prosper. Then at the behest of some of his nefarious advisors, he wears the Crown during a celebration. That's the end of Good King Perivale, and the true beginning of this story.

Perivale isn't the hero of The Bride of Stone. Why Williams chose to spend over one hundred pages on Perivale and his descent into greed, lust, and madness is beyond me. He does become the villain for the remaining of the book (remember the Crown), but a paragraph or two about how Perivale went from good to bad would have sufficed.

Finally we get to the actual hero, a handsome, gifted sculptor named Davian. Under the tutelage of his sage mentor, he learns to create sculptures inspired by beauty provided by the Master of the Universe, instead of the ugly, modernistic shapes required by the church. Because natural beauty = evil, at least in the eyes of the legalistic Kirk. When Davian comes of age, he's betrayed by the fairer sex. He swears off all women and throws himself completely into his work, sculpting commissioned statues of Adam and Eve. Initially he refuses to even sketch Eve because of his betrayal. But when his mentor dies, he's forced to finish his works, so he sets out to create the perfect female. Physically at least. Thus, the Bride of Stone is born and Davian falls in love with his creation.

Meanwhile, back in Perivale-land, the king's daughter, Avalessa, has grown up to be a beautiful, talented damsel. Due to convoluted circumstances that would be considered huge story spoilers if revealed here, she is disfigured and forced to remain in her room and garden. Forever. She and Davian cross paths when he is commissioned to carve a huge likeness of Perivale to satisfy the ruler's bloated ego. Although he never sees her, he hears her singing and stops outside her garden to listen. Eventually they begin to talk, and these visits become a ritual for Davian, who is drawn to the mysterious woman, but not enough to scale the fence and take a look at her himself.

That could be because back at home he has Eve waiting for him. This is where the story takes a creepy turn, because Morgultha, after conjuring the Nephilim, pays our emotionally stunted hero a visit. In her quest to get back the Crown, she brings the statue of Eve to life, which sets in motion her evil plan for kingdom domination. For you LotR fans -- think Orcs and you'll know what I'm talking about.

This brings us to the biggest problem I have with this story. Eve becomes a living, breathing, walking, everything-else woman. Her personality is one of complete submission and anticipation of Davian's every need and whim. The point is to show that outward beauty is nothing without a beautiful soul, and that evil can masquerade as beauty and hypnotize us without us realizing it. But to prove this point, Williams has Eve become Davian's wife in every sense of the word except for a marriage license. It's not explicit, yet the physical implication is clear, and there's never any consequence for this type of behavior -- behavior Davian knows is wrong. When his best friend, a priest, points out that Eve has been made living by evil itself, Davian still doesn't back down. He's a passive character who continues living with Eve until outside forces make him take action -- not because it's the right thing to do. This mis-step undermines the entire story, because our "hero" exhibits no heroic attributes, such as moral fortitude.

While this whole nonsense with Eve is going on, Morgultha is setting up Perivale for a fall, which is easy since he's morphed into a replica of King Saul from the Old Testament. He even summons Avalessa to visit him with her mandolin when his tormented conscience is too much to bear. The climax of the story even points to this Davidian connection, and seems to point to an inevitable sequel.

For all its faults, The Bride of Stone has a good message about finding true beauty beyond the surface, and Davian does eventually realize he's been a shallow twerp throughout most of the story. Another theme Williams portrays nicely is the ease by which we anyone can be seduced by evil, despite good intentions.

Although there was much about the book I didn't care for, there was enough for me to like that if there's a sequel I'll read it -- as long as no more statues come to life and the hero is worth rooting for.