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Pantheon of Vengeance by James Axler released on Aug 01, 2008 is available now for purchase.
Many times I have been asked: What is the book about? It is a story based in real facts transcribed from life itself where defenseless children at the mercy of a satanic and pederast father; children claiming for mercy when Sebastian Mairsen Levi sexually and physically abused them, as he abused the children of the county of Jaen, namely Andujar.vhe would rape them to later murder them and inter them in his farm. Renata is the oldest of five siblings born to Esmeralda del Mar, a famous singer, separated from her children due to an infamy carried out by Sebastian, her husband, who made usufruct of her fortune and was the one responsible for the disintegration of her home. When Moises Zaldivar Quinones heard Renata sang and saw she was the spitted image of her mother, he decided to have her trained for a destiny. Renata finally learned where the absent one had been kept for fifteen years. She returned to the Madrid of her childhood. She started to perform at the Moulin Rouge in Madrid, Esmeralda's former stage. Her voice and the resemblance to her mother were the helpers in carrying out her vengeance, bringing a chain of events resulting in the re appearance of her enemies. Moises Zaldivar is murdered and there is a murder attempt on her mother through a fire at her theater. Hence these were the reasons why she took justice in her own hands. She discovered friends among enemies, truth among lies, in what the world knew as: Renata's Revenge
In the aftermath of the Gods-War, Myngor the Dark One, the evil god of hatred and murder, is banished to a small island and stripped of his powers. Also banished is Torkahl, the god of fire. After 2,500 years, Myngor´s powers are restored. Immediately, he sends his minions out to wreak havoc on the temples of his enemies, the Pantheon of the Gods on High. Joined by his old ally, Torkahl, the carnage begins. Four survivors of this bloody rampage set out to stop the bloodshed before it goes too far. Though joined by others in their great quest, these four hold the key to defeating the evil that threatens to engulf the whole world in its fiery shadow. Join Brystan, knight of Kynirith, the god of life; Danya, sorceress of the wizard god Salynin; Alymee, druid of Myenna; and the thief, Tybal, as they fight an epic battle of good versus evil. .
When her father is murdered for a journal revealing the location of a hidden gold mine, eighteen-year-old Kate Thompson disguises herself as a boy and takes to the gritty plains looking for answers -- and justice. What she finds are untrustworthy strangers, endless dust and heat, and a surprising band of allies, among them a young Apache girl and a pair of stubborn brothers who refuse to quit riding in her shadow. But as Kate gets closer to the secrets about her family, a startling truth becomes clear: some men will stop at nothing to get their hands on gold, and Kate's quest for revenge may prove fatal.
Rachel Irmina Rache's world ended with a gunshot wound. However, she was brought back from beyond the grave, by Death herself. Now she has been given a new mission and a new purpose. She must act as the spirit of vengeance, bringing death to those who kill with impunity and would avoid any form of punishment for their crimes. She also finds lost pets and goes to football games with her father...
Taj Odin Xavier returns home to find his father dead and his king ready to surrender the key to the city-state hes always called home. His friends are all dead. But remnants from his travels and things found and earned along the way push the renegade army threatening Eternis to decimation. After saving the city from capture, Taj turns his aggression towards the city that let his father down; the same man that spent a lifetime serving it. He cast down the churches of all faiths, save those of Draconic origin. He allows the Draconic Order to remain prevalent in the city due to it being the dragons that come down to help him. After, he focuses his newfound aggression towards the Republic of New Magic, more specifically Marko Kane, the killer of King Gerears eldest son. Taj tries to utilize what heart he has left to rekindle the romance between him and Destiny but an act he deems as betrayal is too much for him. With Destiny forcing him to stay out of it, he orders a newfound ally to execute the culprit. With matters settled in Eternis, he and his new allies set sail for the Republic of New Magic; Runethedians first outpost against the unending ships and armies of the New Threat, sometimes called the Northern Threat. At first, he plans only to stay long enough to avenge his kings eldest son. But then the war begins to consume him and the things the Father Vampire left inside him begin to writhe in his chest once again. This proves to Taj hes not fully gone. But those powers prove useful in the fight against the New Threat. In the end, he ultimately decides to sail to the heart of the beast in hopes of either securing a truce or ending its life. With every passing day, Taj Odin Xavier loses more of his humanity. Will any of it remain once the war against the New Threat is over? That is, assuming he lives of course.
The great romance and fear of bloody revolution--strange blend of idealism and terror--have been superseded by blind faith in the bloodless expansion of human rights and global capitalism. Flying in the face of history, violence is dismissed as rare, immoral, and counterproductive. Arguing against this pervasive wishful thinking, the distinguished historian Arno J. Mayer revisits the two most tumultuous and influential revolutions of modern times: the French Revolution of 1789 and the Russian Revolution of 1917. Although these two upheavals arose in different environments, they followed similar courses. The thought and language of Enlightenment France were the glories of western civilization; those of tsarist Russia's intelligentsia were on its margins. Both revolutions began as revolts vowed to fight unreason, injustice, and inequality; both swept away old regimes and defied established religions in societies that were 85% peasant and illiterate; both entailed the terrifying return of repressed vengeance. Contrary to prevalent belief, Mayer argues, ideologies and personalities did not control events. Rather, the tide of violence overwhelmed the political actors who assumed power and were rudderless. Even the best plans could not stem the chaos that at once benefited and swallowed them. Mayer argues that we have ignored an essential part of all revolutions: the resistances to revolution, both domestic and foreign, which help fuel the spiral of terror. In his sweeping yet close comparison of the world's two transnational revolutions, Mayer follows their unfolding--from the French Declaration of the Rights of Man and the Bolshevik Declaration of the Rights of the Toiling and Exploited Masses; the escalation of the initial violence into the reign of terror of 1793-95 and of 1918-21; the dismemberment of the hegemonic churches and religion of both societies; the "externalization" of the terror through the Napoleonic wars; and its "internalization" in Soviet Russia in the form of Stalin's "Terror in One Country." Making critical use of theory, old and new, Mayer breaks through unexamined assumptions and prevailing debates about the attributes of these particular revolutions to raise broader and more disturbing questions about the nature of revolutionary violence attending new foundations.
Is capital punishment just? Does it deter people from murder? What is the risk that we will execute innocent people? These are the usual questions at the heart of the increasingly heated debate about capital punishment in America. In this bold and impassioned book, Austin Sarat seeks to change the terms of that debate. Capital punishment must be stopped, Sarat argues, because it undermines our democratic society. Sarat unflinchingly exposes us to the realities of state killing. He examines its foundations in ideas about revenge and retribution. He takes us inside the courtroom of a capital trial, interviews jurors and lawyers who make decisions about life and death, and assesses the arguments swirling around Timothy McVeigh and his trial for the bombing in Oklahoma City. Aided by a series of unsettling color photographs, he traces Americans' evolving quest for new methods of execution, and explores the place of capital punishment in popular culture by examining such films as Dead Man Walking, The Last Dance, and The Green Mile. Sarat argues that state executions, once used by monarchs as symbolic displays of power, gained acceptance among Americans as a sign of the people's sovereignty. Yet today when the state kills, it does so in a bureaucratic procedure hidden from view and for which no one in particular takes responsibility. He uncovers the forces that sustain America's killing culture, including overheated political rhetoric, racial prejudice, and the desire for a world without moral ambiguity. Capital punishment, Sarat shows, ultimately leaves Americans more divided, hostile, indifferent to life's complexities, and much further from solving the nation's ills. In short, it leaves us with an impoverished democracy. The book's powerful and sobering conclusions point to a new abolitionist politics, in which capital punishment should be banned not only on ethical grounds but also for what it does to Americans and what we cherish.
Rache is back, for six cases involving her avenging the murder of innocent people by killers that humans won't be able to bring to justice. First she travels to Berlin for the holidays to be with her mother, then she must stop a series of killers in New York, helped and hindered by her friends Mary and Marcy, as well as her colleagues as the Shylock Detective Agency. She has found herself a mentor figure, NYPD's detective Colin Fletcher, who trains Rache to be of some use to people in his city. However, will the agent of vengeance be ready for the final turn of events? Part of the Vengeance Cycle
The Public Domain meets the Old School Renaissance in a game for creators & storytellers. The Game of the North balances the theatricality of the table experience with the strategy of a wargame & the unbounded infinity of an art project. Specially formulated for players and referees who like to make their sessions special, their settings unique & their stories sublime the Game of the North has been conceived from top to bottom as a game for creatives, makers, artists & storytellers.