God's Terrible Voice in the City: wherein are set forth the sound of the voice, in a narration of the two dreadful judgments of plague and fire, inflicted upon the city of London. Thomas Vincent was a clergyman who had given a long and powerful sermon about the Great Plague and the Great Fire of London. He, like many others at the time, believed the fire was a punishment from God for Londoners' sins. He lists 25 sins in detail, such as religious hypocrisy, lying, swearing, laziness, drunkenness, pride, gluttony, envy and lust. Coming so soon after the dreadful plague of 1665, which killed 100,000, the fire must have seemed a divine judgment. In God's Terrible Voice in the City, Vincent includes a dramatic account of the fire, which captures the atmosphere and terror of the event as well as some fascinating details.

This book is about the literary culture that emerged during and in the aftermath of the Great Plague of London (1665). Textual transmission impacted upon and simultaneously was impacted by the events of the plague. This book examines the role of print and manuscript cultures on representations of the disease through micro-histories and case studies of writing from that time, interpreting the place of these media and the construction of authorship during the outbreak. The macabre history of plague in early modern England largely ended with the Great Plague of London, and the miscellany of plague writings that responded to the epidemic forms the subject of this book.

In a world that honors outward achievement, tells people they’ll never have enough, and encourages an impossibly busy life, peace and contentment can feel like a distant dream. But Dr. Richard Swenson, the best-selling author of Margin, shows that it really is possible. We can experience the contentment we long for—the peace, the fulfillment, the joy. But it is found in only one place: in Christ. Come along on a journey of discovery and uncover the simple truths and practices that inspire a truly contented life.

Basing his contention on two different lines of argument, Michael Bryson posits that John Milton-possibly the most famous 'Christian' poet in English literary history-was, in fact, an atheist. First, based on his association with Arian ideas (denial of the doctrine of the Trinity), his argument for the de Deo theory of creation (which puts him in line with the materialism of Spinoza and Hobbes), and his Mortalist argument that the human soul dies with the human body, Bryson argues that Milton was an atheist by the commonly used definitions of the period. And second, as the poet who takes a reader from the presence of an imperious, monarchical God in Paradise Lost, to the internal-almost Gnostic-conception of God in Paradise Regained, to the absence of any God whatsoever in Samson Agonistes, Milton moves from a theist (with God) to something much more recognizable as a modern atheist position (without God) in his poetry. Among the author's goals in The Atheist Milton is to account for tensions over the idea of God which, in Bryson's view, go all the way back to Milton's earliest poetry. In this study, he argues such tensions are central to Milton's poetry-and to any attempt to understand that poetry on its own terms.