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John Donne was born on the 22nd January 1572 in London, into a Roman Catholic family when Catholicism was illegal in England, and there was turbulence and unrest with both state and church throughout much of Europe. During the 1590s, Donne wrote a wide range of verses, including both erotic and sacred poems, creating two major volumes of work. His strong vivacious and sensual style fusing intellect and passion, as well as inventive use of subtle argument and syntax, provided a new radical perspective that reached beyond his contemporaries.

Devotions Upon Emergent Occasions is a prose work published in 1624. It consists of a series of meditations, prayers, and reflections that Donne wrote while he was recovering from a serious illness. It is divided into 23 sections, each representing a different meditation on various aspects of life, death, and spirituality. Donne explores themes such as the fragility and uncertainty of life, the interconnectedness of humanity, and the presence of God in times of suffering.

In this charming volume, authors including leading industry professionals and lifelong gamers from all walks of life tell us in their own words what board games mean to them. From stories of friends and loved ones met through games to how others came to make careers and livelihoods out of them, from the story of how an academic strike in Nigeria led to the founding of the first board games convention in Sub-Saharan Africa to how board games helped one autistic child discover his dream job, the essays in this volume lift the lid on how games have changed lives in the most remarkable ways.

A Valediction: Forbidding Mourning is a love poem by John Donne, first published in 1633. The premise of the poem focuses on two lovers who are about to part for an extended period. Donne wrote the poem for his wife prior to leaving for a trip to Europe. The poem is wonderful ear-food for the hopeless romantic.

Cerebral Palsy, a developmental disease impacting motor coordination, affects three out of 1,000 births. While medical intervention such as physical or speech therapy, ambulatory aides like wheelchairs or braces, help a child achieve a productive life, John Brown was determined that he would leave his mark on the world.

Christopher Hassall narrates a selection of Donne's finest work, including "The Good Morrow", "The Funeral", "The Sun Rising", and "Twickenham Gardens".

When John Donne stood in the pulpit of St. Paul's, the lyricism of a great poet fused with the devotion of a holy man. There were no prepared sermons, for he spoke only from notes, and what he said was later transcribed from memory. But the sermons were overwhelming; for behind him was a lifetime devoted, as poet, philosopher and devine, to God.

Sophisticated wit and intense emotion, religious fervor and erotic sensuality, delight in life’s pleasures and fascination with death, are all to be found in the paradoxical poetry of John Donne. One of the foremost metaphysical poets, Donne’s ingenious metaphors and inspired use of language has earned him affection and reverence in near equal measure to Shakespeare.

The status of John Donne (1572-1631) as one of the greatest poets in the English language is firmly established. He strongly influenced writers of the 17th century, and modern poets such as T.S. Eliot have praised and imitated Donne's work. His poetry is characterized by dramatic, witty, and bold language; by strikingly original imagery; and rhythms based on everyday speech.

Richard Burton here reads in a manner that truly does justice to the virtuosity to the love poems of England’s most outstanding Metaphysical poet, bending both meaning and sound to the service of the Metaphysical conceit.

John Donne (1573-1631) is considered by many to be the finest poet of the Elizabeth Age after Shakespeare. Ironically, poetry was not Donne's dominant preoccupation. In his own day, he was better known as a scholar, and, in later life, a clergyman. His verse was composed sporadically and in an offhand fashion and appears not to have been subjected to revision. In spite of occasional solecisms, his poetic verbiage is vigorous and compelling and marked by a striking use of imagery.