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The landscape of this dark and powerful story is the ancient world of Assyria some 3000 years ago, a time when writing was in the world's oldest script, cuneiform, and the domination of unseen forces firmly in the hands of the state's leading Exorcist. In the capital, Nineveh, resides a deep and complex man, the power behind the King of the World. Faced with unforeseen disaster that threatens his authority, he emerges as a psychopathic killer. The author uses his familiarity with ancient writings preserved in the world's museums to recreate a vanished world in which those who step from the shadows in ruthless violence to pursue ultimate control show themselves at the same time to be disconcertingly human. The tight prose and graphic illustrations make this a gripping and unusual tale not of this world, but at the same time weirdly familiar.

What is Written in Stone? a history of poetry / spanning a lifetime / of reflection. / a collection of poems / interwoven into a whole. / a work in progress. / a poetic testimony / made under duress. / a Tower of Babel / with a babbling brook. / a psychological profile / of the poet. / a philosophical debate. / what the poet offers / is a contradiction. / equal parts triumph and defeat. / should we care / what a psycho-philosophical / poet has to say? / who puts his trust / in introspection? / what is poetry / today ?...

When Munin Cooper, known as the Witch of Oyster Bay, warns Olivia Limoges that death is coming, neither of them realize that it is the older woman herself who will soon be found dead. And Olivia’s instincts tell her that something—or someone—more sinister than a mystical force is at play… Olivia has a lot on her plate preparing for the Coastal Carolina Food Festival. When she hears the news of Munin’s untimely death, however, finding the murderer takes priority. The witch left behind a memory jug full of keepsakes that Olivia knows must point to the killer—but she’s got to figure out what they mean. With handsome Police Chief Rawlings by her side, Olivia starts to identify some of the jug’s mysterious contents—and finds its secrets are much darker than she suspected. Now Olivia must enlist the help of the Bayside Book Writers to solve the puzzle behind the piece of pottery and put an end to a vengeful killer before any more damage can be done…

Is it “Stalinist” for a formerly communist country to tear down a statue of Stalin? Should the Confederate flag be allowed to fly over the South Carolina state capitol? Is it possible for America to honor General Custer and the Sioux Nation, Jefferson Davis and Abraham Lincoln? Indeed, can a liberal, multicultural society memorialize anyone at all, or is it committed to a strict neutrality about the quality of the lives led by its citizens? In Written in Stone, legal scholar Sanford Levinson considers the tangled responses of ever-changing societies to the monuments and commemorations created by past regimes or outmoded cultural and political systems. Drawing on examples from Albania to Zimbabwe, from Moscow to Managua, and paying particular attention to examples throughout the American South, Levinson looks at social and legal arguments regarding the display, construction, modification, and destruction of public monuments. He asks what kinds of claims the past has on the present, particularly if the present is defined in dramatic opposition to its past values. In addition, he addresses the possibilities for responding to the use and abuse of public spaces and explores how a culture might memorialize its historical figures and events in ways that are beneficial to all its members. Written in Stone is a meditation on how national cultures have been or may yet be defined through the deployment of public monuments. It adds a thoughtful and crucial voice into debates surrounding historical accuracy and representation, and will be welcomed by the many readers concerned with such issues.

Darwin’s theory of evolution was for more than a century dogged by a major problem: the evidence proving the connections between the main groups of organisms was nowhere to be found. By the 1970s this absence of ‘transitional fossils’ was hotly debated; some palaeontologists wondered if these ‘missing links’ had been so quick that no trace of them was left. However, during the past three decades fossils of walking whales from Pakistan, feathered dinosaurs from China, fish with feet from the Arctic Circle, ape-like humans from Africa, and many more bizarre creatures that fill in crucial gaps in our understanding of evolution have all been unearthed. The first account of the hunt for evolution’s ‘missing links’, Written in Stone shows how these discoveries have revolutionised palaeontology, and explores what its findings might mean for our place on earth.

Kyle Ward's celebrated History in the Making struck a chord among readers of popular history. ''Interesting and useful,'' according to Booklist, the book ''convincingly illustrates how texts change as social and political attitudes evolve.'' With excerpts from history textbooks that span two hundred years, History in the Making looks at the different ways textbooks from different eras present the same historical events. Not Written in Stone offers an abridged and annotated version of History in the Making specifically designed for classroom use. In each section, Ward provides an overview, questions for discussions and analysis, and then a fascinating chronological sampling of textbook excerpts which reveal the fascinating differences between different textbooks over time. An exciting new teaching tool, Not Written In Stone is destined to become a touchstone of classroom teaching about the American past.

The early works of Paul Auster convey the loneliness of the individual fully committed to the work of writing, as if he were confined within the book that dominates his life. All through Auster’s poetry, essays and fiction, the work of writing is an actual physical effort, an effective construction, as if the words aligned in the poem-text were stones to place in a row when building a wall or some other structure in stone. This book studies the symbolism of the genetic substance of the world (re)built through the work of writing, inside the walls of the room, closed in space and time, though open to an unlimited mental expansion. Paul Auster’s work is an aesthetic-literary self-reflection about the mission of writing. The writer-character is like an inexperienced God, whose hands may originate either cosmos or chaos, life or death, hence Auster’s recurring meditation on the work and the power of writing, at the same time an autobiography and a self-criticism. The stones, the wall, and the room – the words, the page, and the book – are the ontological structure of the imaginary cosmos generated in Paul Auster’s mind, like a real world born of the magma of words lost in another, interior world.

From concept stage through production in Egypt to release of the film: Katherine Orrison carefully recreates the behind-the-scenes story of Cecil B. DeMille's beloved epic.

This book is for you, whether you are a business professional, church leader, teacher, parent, college student, or anyone attempting to find a standard for ethical behavior in a world where morals are confronted and situation ethics prevail.

Like the Great Pyramid, mysteries surround the other pyramids as well as other features found at the Giza plateau in Egypt. For example: Why does the second pyramid have two entrances, both off center, while the single entrance to the third pyramid is centered? What was the purpose of the two lower chambers in the second pyramid? Moreover, why was the sarcophagus in this pyramid made to be wider than the passages that lead to the upper chamber? In a related matter, why were the bones of a bull placed in the sarcophagus? And why was the sarcophagus sunk into the floor up to its lid? At the third pyramid, why were parts of a body dating to the Christian period wrapped in a coarse yellow woolen cloth and buried beneath three feet of rubbish in the upper chamber? Why in the third pyramid was the lower vaulted chamber designed so that it would absorb both sound and light? Out on the plateau, what was the purpose of the so-called trial passages? On the south side of the Great Pyramid, why was an ancient boat dismantled and buried in a pit east of that pyramids north-south axis? And what was stored in the other pit west of the axis? Do the four so-called air shafts in the Great Pyramid link the three major pyramids together? And how are the compartments above the Kings Chamber related to the end time? David Furlong, author of The Keys to the Temple, says the whole of the Giza complex was based on a coherent design intended to portray a spiritual theme (page 89). Volume 2 of Books Written in Stone: Enoch the Seer, the Pyramids of Giza, and the Last Days provides the evidence to support this thesis.

Inexplicably drawn to this stranger, Jack embarks on a journey to return to the only real home he has ever known, face the pain and demons he had been trying to drown with alcohol, discover the power of love and forgiveness, and find out exactly who this stranger is, culminating in a decision that will change his life forever.

A British scholar challenges the conventional view of the Stone Age as minimally civilized, pointing out the many advances of its peoples, from their maps of the constellations to their innovations in boat building.

Fascinating account of great linguistic detective story — discovery of Stone, history of the decipherment of Egyptian hieroglyphics; work of Young, Champollion, other scholars; much more. 23 photographs. Bibliography.

This volume presents recent research on the relationship between the material format of text-bearing artefacts, the texts they carry, and their genre. The essays cover a vast period, from the counting stones of the late 4th millennium BCE to the time of the Great Hittite Kingdom in the 2nd millennium BCE. The breadth of substantive focus allows new insights of relevance to scholars in both Ancient Middle Eastern studies and the humanities.

The Stone-Campbell Movement: A Global History tells the story of Christians from around the globe and across time who have sought to witness faithfully to the gospel of reconciliation. Transcending theological differences by drawing from all the major streams of the movement, this foundational book documents the movement's humble beginnings on the American frontier and growth into international churches of the twenty-first century.

In Thomas Hardy Reappraised, editor Keith Wilson pays tribute to Millgate's many contributions to Hardy studies by bringing together new work by fifteen of the world's most eminent Hardy scholars.

This collection of essays is not interested in the unresolved questions about the origin, original use, and authentic meaning of the prehistoric monuments of the British Isles. It is not concerned with their prehistory. Rather it deals with the history of barrows, standing stones, and stone circles: with the ways in which they have been viewed, the meanings that have been attributed to them, and the significant impact that they have had over the centuries on British life and culture – from motivating artists, authors, musicians and film-makers to inspiring ‘New Age’ religions. It is thus as interested in stones commonly believed to be megaliths – like the foundation stones of the chapel in the Dartmoor village of South Zeal – as in ‘real’ remains. In her recent study of Stonehenge, the historian Rosemary Hill asserted: ‘Stonehenge does not belong to archaeology, or not to archaeology alone’. Likewise, this book is not written primarily for archaeologists – or not for the interest of archaeologists alone. It will also be of interest to social and cultural historians, to those interested in fine art, literature or film, and to anyone fascinated by the construction of national, local, or counter-cultural identities. It should also intrigue anybody who lives near one of the thousands of prehistoric remains that add beauty and mystery to Britain’s countryside. The book surveys over eight hundred years of rediscovery, study, superstition, inspiration, fear, restoration, and destruction, investigating how different generations saw their own anxieties, beliefs and concerns reflected in the mysterious lives of the prehistoric builders. By discussing the many different ways in which prehistoric remains have been treated in different periods, the book interrogates any notion of objective approaches to archaeology. Instead, it asserts that what we think of as ‘the past’ is in fact multiple and man-made. Thus, if we are to effectively interpret and fully understand the prehistoric remains of the past, a variety of disciplines and a range of approaches – both traditional and unconventional – will need to work together. For this reason, this book has been produced as a jointly-authored text – a collaboration between archaeologists, folklorists, historians, journalists, and literary critics.

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