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Does the past truly disappear? Halo reaches across 300 years of humanity's conflicts and grounds them in characters who have lived--and live again--in an effort to subvert mankind's self-destruction and prevent a Satan(S)-driven nuclear attack on New York City in the current time line that begins on the Winter Solstice, December 21, 2021.
Bethany, an angel sent to Earth, and her mortal boyfriend, Xavier, have been to Hell and back. But now their love will be put to its highest test yet, as they defy Heavenly law and marry. They don't tell Beth's archangel siblings, Gabriel and Ivy, but the angels know soon enough, and punishment comes in a terrifying form: the Sevens, who are rogue angels bent on keeping Beth and Xavier apart, destroying Gabriel and Ivy, and darkening angelic power in the heavens. The only way Bethany and Xavier can elude the Sevens is to hide in the open, and blend in with other mortals their own age. Gabriel and Ivy set them up at college, where they can't reveal their relationship, and where there is still danger around each corner. Will Bethany be called back to Heaven - for ever - and face leaving the love of her life?
“Dictionary, n: A malevolent literary device for cramping the growth of a language and making it hard and inelastic. This dictionary, however, is a most useful work.” Bierce’s groundbreaking Devil’s Dictionary had a complex publication history. Started in the mid-1800s as an irregular column in Californian newspapers under various titles, he gradually refined the new-at-the-time idea of an irreverent set of glossary-like definitions. The final name, as we see it titled in this work, did not appear until an 1881 column published in the periodical The San Francisco Illustrated Wasp. There were no publications of the complete glossary in the 1800s. Not until 1906 did a portion of Bierce’s collection get published by Doubleday, under the name The Cynic’s Word Book—the publisher not wanting to use the word “Devil” in the title, to the great disappointment of the author. The 1906 word book only went from A to L, however, and the remainder was never released under the compromised title. In 1911 the Devil’s Dictionary as we know it was published in complete form as part of Bierce’s collected works (volume 7 of 12), including the remainder of the definitions from M to Z. It has been republished a number of times, including more recent efforts where older definitions from his columns that never made it into the original book were included. Due to the complex nature of copyright, some of those found definitions have unclear public domain status and were not included. This edition of the book includes, however, a set of definitions attributed to his one-and-only “Demon’s Dictionary” column, including Bierce’s classic definition of A: “the first letter in every properly constructed alphabet.” Bierce enjoyed “quoting” his pseudonyms in his work. Most of the poetry, dramatic scenes and stories in this book attributed to others were self-authored and do not exist outside of this work. This includes the prolific Father Gassalasca Jape, whom he thanks in the preface—“jape” of course having the definition: “a practical joke.” This book is a product of its time and must be approached as such. Many of the definitions hold up well today, but some might be considered less palatable by modern readers. Regardless, the book’s humorous style is a valuable snapshot of American culture from past centuries. This book is part of the Standard Ebooks project, which produces free public domain ebooks.
The rise of her is the fall of you. The kingdom of this girl is your ring of fire, your raging desire. This girl, this beautiful and gorgeous girl has the power to stop our hearts with one look into her eyes. Those deep dark eyes, within those eyes I can see my beginning and end. I can see her seeing me. This girl, this girl has stopped my heart, frozen in her storm. Her eyes are relentless, relentlessly pulling you into her storm. The storm raging in her is seen trough her eyes. The wind twirling around us all is her moving toward you. The rain falling on us all is your heart melting for her.
"[This is] a book about art (and writing about art), about emptiness, breathing, ordinary language, mysticism, the body, the sexes, childhood, parenting, impersonality, God, theory, exchange, change, tact, forms of inattention, belief, scepticism ..." Adam Phillips, from the new introduction.
Meet Lucy. She’s pretty. She’s spunky. She’s also got an odd pair of wings, a devil’s tail, and an angel’s halo. She can kick ass from here to kingdom come. Oh, she’s also Satan’s daughter with the angel Raziel.Lucy has never felt like she belonged in Heaven or Hell—no matter how many times her parents have tried to keep her in one place. The devils of Hell don’t like her too much, and the angels of Heaven hate her music. All she ever wanted was a place to call home and play heavy-metal guitar in peace.So what’s a half-devil, half-angel girl to do? Go to Earth, find a puny (and incredibly handsome) human to host her in his home, and maybe save the world when her departure inevitably starts a war between Heaven and Hell.Hey, what’s eternity without a little world-ending fun every now and then, right?
The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.
The Devil's Mistress by J.W. Brodie-Innes is about young Isabelle Goudie married to boring old John Gilbert. Isabelle attempts to find love, excitement, and meaning in her life. Excerpt: "IF the story which follows were to be regarded as a work of imagination, it might justly be characterized as too wildly fanciful to deserve even serious consideration. But it is not this: it is an attempt to portray exactly one of the most curious phases of belief or superstition that ever passed over this country, the witchcraft, namely, of the latter part of the seventeenth century."
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
A gripping biography by the author of Brave New World In 1634 Urbain Grandier, a handsome and dissolute priest of the parish of Loudun was tried, tortured and burnt at the stake. He had been found guilty of conspiring with the devil to seduce an entire convent of nuns. Grandier maintained his innocence to the end but four years after his death the nuns were still being subjected to exorcisms to free them from their demonic bondage. Huxley's vivid account of this bizarre tale of religious and sexual obsession transforms our understanding of the medieval world.