These two books are for anyone who is grieving the loss of a loved one—whether the loss is impending, recent, or in the past. (The holiday season, for all its overt merriment, is often a time we struggle the most with grief.)

The contemplative exercises within are a guide through the “many waters” of grief (from Madeleine L'Engle's A Two-Part Invention), including "treasuring" and "keeping" as well as regret and sadness.

What is grief, after all, but a sign of the depth of our love? On the far shore is always gratefulness, for, as the French proverb says, “Gratitude is the heart’s memory.” Those who enjoy writing will likely also find poems, essays, and/or stories emerging as they make their way through these pages.

I created the process shared in these two books in June of 2002, shortly after my mother died, as a way to mindfully mourn this loss—and celebrate her life. I shared it with a beloved friend, the Reverend Rebecca Taylor, when she lost her father, and she encouraged me to make it available to others. Here it is, in two versions, both of which offer quotes, reflections, prompts, and space to write about your loved one, as well as beautiful photographs by Wendy H. Gill that enhance each part of the process. Either version makes a thoughtful condolence gift for a friend or family member. 

How Do I Say Goodbye? is for those of any faith, with quotes from many different sources to accompany the process. It can be purchased on Amazon here.

Praying You Goodbye is specifically for Christians, with accompanying quotes from Scripture chosen by Reverend Rebecca Taylor. It can be purchased on Amazon here.

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POETRY ROCKS!

Would you like your writing — prose and/or poetry — to be more graceful, powerful, beautiful? Do you sometimes find poetry confusing or intimidating and wish you could “crack the code”? Or do you enjoy writing and reading poems, but want a more thorough understanding of what makes a poem good? Then this poetry extravaganza is for you.
Expect a good time exploring what makes a poem a poem, gaining the knowledge you need to confidently create and revise poetry, and strengthening your writing skills in all genres.

It would be a joy and an honor to share what rocks about poetry with you.

HERE’S WHAT YOU GET:

• 23 poetry creation tools, delivered one per day (Monday through Friday) to your inbox — in honor of National Poetry month. Use them as you get them, use them when you can, use them over and over to create poems. Each tool zeroes in on one aspect of poetry and provides an innovative method to approach writing a poem. Many of them are great for creating prose, too. The tools include:
  *   a purpose, so you’re clear what you will learn
  *   background information when helpful
  *   “how-to” directions to create a poem
  *   an example that illustrates the poetry tool in action
  *   a short reflection to solidify the concepts covered
  *   “Hone Your Craft” suggestions for further exploration
  *   a short reflection to solidify the concepts covered
• A PDF document of each tool that you can print or save on your computer
• An audio recording of each tool, so you can learn by listening and/or reading
• Instruction on the role of audience, reading like a writer, and the process of revision, including a handy Revision Checkpoint Chart — this information can be applied to strengthen your prose as well as poetry
• Additional poetry resources
• An e-book that contains the information and resources covered, as well as your 23 poetry creation tools for ongoing use

WHERE: From the comfort of your own home, via the web.
WHEN: Any time you want! And once you receive all 23 tools, they’re yours to keep, which means that you can keep using them for years to come.
COST: $45
TO REGISTER: To pay with a check via mail, email info@wordplaynow.com for instructions. To register for Poetry Rocks online, click here.

More WordPlay opportunities coming soon.
Stay posted! 

 . . . When I’d visited death row a few weeks before that call from [Judge] Robert E. Lee Key, I met with five desperate condemned men: Willie Tabb, Vernon Madison, Jesse Morrison, Harry Nicks, and Walter McMillian. It was an exhausting, emotionally taxing day, and the cases and clients had merged together in my mind on the long drive back to Atlanta. But I remembered Walter. He was at least fifteen years older than me, not particularly well educated, and he hailed from a small rural community. The memorable thing about him was how insistent he was that he’d been wrongly convicted.

“Mr. Bryan, I know it may not matter to you, but it’s important to me that you know that I’m innocent and didn’t do what they said I did, not no kinda way,” he told me in the meeting room. His voice was level but laced with emotion. I nodded to him. I had learned to accept what clients tell me until the facts suggest something else.

“Sure, of course I understand. When I review the record I’ll have a better sense of what evidence they have, and we can talk about it.”

“But . . . look, I’m sure I’m not the first person on death row to tell you that they’re innocent, but I really need you to believe me. My life has been ruined! This lie they put on me is more than I can bear, and if I don’t get help from someone who believes me—”

His lip began to quiver, and he clenched his fists to stop himself from crying. I sat quietly while he forced himself back into composure.

“I’m sorry, I know you’ll do everything you can to help me,” he said, his voice quieter. My instinct was to comfort him; his pain seemed so sincere. But there wasn’t much I could do, and after several hours on the row talking to so many people, I could muster only enough energy to reassure him that I would look at everything carefully.

I had several transcripts piled up in my small Atlanta office ready to move to Tuscaloosa once the office opened. With Judge Robert E. Lee Key’s peculiar comments still running through my head, I went through the mound of records until I found the transcripts from Walter McMillian’s trial. There were only four volumes of trial proceedings, which meant that the trial had been short. The judge’s dramatic warnings now made Mr. McMillian’s emotional claim of innocence too intriguing to put off any longer. I started reading.

Even though he had lived in Monroe County his whole life, Walter McMillian had never heard of Harper Lee or To Kill a Mockingbird. Monroe­ville, Alabama, celebrated its native daughter Lee shamelessly after her award-winning book became a national bestseller in the 1960s. She returned to Monroe County but secluded herself and was rarely seen in public. Her reclusiveness proved no barrier to the county’s continued efforts to market her literary classic—or to market itself by using the book’s celebrity. Production of the film adaptation brought Gregory Peck to town for the infamous courtroom scenes; his performance won him an Academy Award. Local leaders later turned the old courthouse into a “Mockingbird” museum. A group of locals formed “The Mockingbird Players of Monroe­ville” to pre­sent a stage version of the story. The production was so popular that national and international tours were organized to provide an authentic presentation of the fictional story to audiences everywhere.

Sentimentality about Lee’s story grew even as the harder truths of the book took no root. The story of an innocent black man bravely defended by a white lawyer in the 1930s fascinated millions of readers, despite its uncomfortable exploration of false accusations of rape involving a white woman. Lee’s endearing characters, Atticus Finch and his precocious daughter Scout, captivated readers while confronting them with some of the realities of race and justice in the South. A generation of future lawyers grew up hoping to become the courageous Atticus, who at one point arms himself to protect the defenseless black suspect from an angry mob of white men looking to lynch him.

Today, dozens of legal organizations hand out awards in the fictional lawyer’s name to celebrate the model of advocacy described in Lee’s novel. What is often overlooked is that the black man falsely accused in the story was not successfully defended by Atticus. Tom Robinson, the wrongly accused black defendant, is found guilty. Later he dies when, full of despair, he makes a desperate attempt to escape from prison. He is shot seventeen times in the back by his captors, dying ingloriously but not unlawfully. . . .