Margaret Gibson is an evangelist seeking to promote the Word of GOD through writing and broadcasting. Caring For the Mentally Retarded From a Spiritual Perspective is designed to help families create a positive environment to nourish the growth and development of their love one. GOD is the source who facilitates change in our lives. GOD is the creator of all things. We must seek HIM more to solve matters that we are unable to resolve.

Winner of the Connecticut Book Award for Poetry With The Glass Globe, celebrated poet Margaret Gibson completes a trilogy distinguished by its meditative focus on the author’s experience of her late husband’s Alzheimer’s disease. In this new collection, she blends elegies of personal bereavement with elegies for the earth during the ongoing global crisis wrought by climate change. Gibson’s poems personalize the vastness of climate catastrophe while simultaneously enlarging personal grief beyond the limits of self-absorption. A work of great compassion and vision, The Glass Globe is a necessary, heartbreaking book from one of our most compelling poets.

Powerful love between a grandmother and a granddaughter animates the voices in this poignant series of inner monologues set against the backdrop of global climate crisis and the COVID pandemic. Margaret Gibson’s Draw Me without Boundaries lays bare the integrity and depth of inquiry it takes to make life and death choices in a broken world. This luminous book—innovative, suspenseful, deeply moving—reflects in conjoined poetry and prose the profound issues of our time.

The lyric and meditative poems Margaret Gibson gives us in Out in the Open are works of contemplation and self-inquiry. “In the long journey to be other than I am / I have struggled and not got far,” she writes. Sometimes the journey takes the poet literally out in the open—the mountains, the desert, the fields, the wood. At other times, the journey, the search for vision and for truth, begins a moment’s notice in more familiar, domestic surroundings. I lift the glass turn it slowly in the light, its whole body full of light. Suddenly I hold everything I know, myself most of all, in question. Waiting for a grasp of permanent unity and clarity, the poet turns the act of waiting into a discipline that enables the obstructions encountered (desire, fear, ambition, death, disharmony) to become teachers. “Meeting others we meet ourselves,” one poem says, and whether the other is a love, or someone dying, a former Nazi pilot, or a blind woman in Zagorsk, there is self-meeting and, sometimes, a deep recognition of something beyond, and yet within, self. At the core of what I am, in that sacred space, light does its work, as it will without my consent or blessing—and better so. Echoes of Taoist, Buddhist, and Christian thinking haunt the mind in these poems, although the vision arrived at in the last poems is syncretic, an existential clarity in which struggle of wills is momentarily stilled. The wind breathes light into our bones—turning stars into power we can touch, impluse we can follow of tell, teaching love— for that is what we are.

With Icon and Evidence, Margaret Gibson gives us poems grounded in reverence and inquiry and sensuous delight. She extends and enriches the lyric poem, finding it capacious and durable enough to embrace short and longer meditations, epistles, persona poems, and narratives. Whether their concerns are intimate, spiritual, or social, these are poems of atonement essentially faithful to experience and its revelations, more so than to any specific creed or doctrine. The task to be faithful is both aesthetic and spiritual; to use words faithfully is how Gibson clarifies her encounters with the Absolute within the relative and mutable things of this world. The opening poem situates the poet beneath an endless sky of stars and dark emptiness: “But dear God, all I want is to be here, / my tiny anguish and my joy / a moment’s notice, an equivalent cry.” The book divides into four sections: Canticle, Complaint, Confession, and Compline. Like the Psalms, the poems praise with one voice, then turn to note human failure, error, and injustice. They contemplate the ways of desire, then enter “the mission of solitude,” turning from social practice to meditative practice, “summoned / into pain and darkness by an intrepid joy.” Traditionally, one who makes an icon does so in an attitude of contemplation, the finished icon uniting image and spirit in a presence that challenges and confronts the one who stands before it. Evidence has the force of both data and document, but it also includes “the evidence of things not seen.” In this rich and powerful collection, Gibson uses both icon and evidence to probe the human heart—its entanglements and its freedom.

A holistic portrait which reveals why Sikh high school students, despite language barriers, prejudice, and significant cultural differences, often outperform their majority peers and other United States minority groups.

The variety of experience available to medieval scholars and the vitality of medieval thought are both reflected in this collection of original essays by distinguished historians. Intellectual Life in the Middle Ages is presented to Margaret Gibson, whose own work has ranged from Boethius to Lanfranc and to the study of the Bible in the middle ages.

Broken Cup brings breathtaking eloquence to what Margaret Gibson describes as "traveling the Way of Alzheimer's" with her husband, poet David McKain. After his initial and tentative diagnosis, Gibson suspended her writing for two years; but then poetry returned, and the creative process became the lightning rod that grounded her and presented a path forward. The poems in Broken Cup bear witness to how Alzheimer's erodes memory and cognitive function, but they never forget to see what is present and to ask what may remain of the self. Moving and unflinchingly honest in the acknowledgment of pain, frustration, and grief, the poems uncover, time and time again, the grace of abiding love. Gibson gives heart as well as voice to an experience that is deeply personal, yet shared by all too many.

What is the fate of objects after a death-a daughter's hairbrush, a father's favourite chair, an aunt's earrings, a husband's clothes? Why do some things stay and some go from our lives and memories? Objects of the Dead examines a poignant and universal experience-the death of a loved one and the often uneasy process of living with, and discarding, the objects that are left behind. How and when family property is sorted through after a death is often fraught with difficulties, regrets and disagreements. Through personal stories, literature, film and memoir Margaret Gibson reveals the power of things to bind and undo relationships. This is a remarkable reflection on grieving-of both saying goodbye and living with death.

How the Codex was Found: A Narrative of Two Visits to Sinai From Mrs. Lewis's Journals, 1892 1893 is a charming description of two sisters' visits to Mount Sinai on a scholarly expedition to study a Syriac version of the Gospels in the Bible. Taken from the journals of the author's twin sister, Margaret Gibson describes in detail two trips to Sinai as well as their findings. Written to quickly and simply record and publicize their journey as an effort to correct erroneous news reports, this easy-to-follow narrative is for anyone curious about Biblical research in the 19th century or the expeditions of these extraordinary twins. MARGARET DUNLOP GIBSON (1843 1920) was twin sister to AGNES SMITH LEWIS (1843 1926); the Semitic scholars were often referred to as the Westminster sisters for their donations to the Presbyterian Church of England and especially Westminster College, Cambridge. Between the two of them, the women learned 12 languages and became pioneers in their field. While both sisters traveled throughout Europe and the Middle East, as well as to Mount Sinai to study the earliest Syriac version of the Gospels, most of their written works are attributed to Agnes. The only written work Margaret authored was How the Codex was Found, a narrative from Agnes's journals of their two trips to Mount Sinai.