The Icons came from the sky. They belong to an inhuman enemy. They ended our civilization, and they can kill us. Most of us. Dol, Ro, Tima, and Lucas are the four Icon Children, the only humans immune to the Icon's power to stop a human heart. Now that Los Angeles has been saved, things are more complicated - and not just because Dol has to choose between Lucas and Ro, the two great loves of her life. As she flees to a resistance outpost hidden beneath a mountain, Dol makes contact with a fifth Icon Child, if only through her visions. When Dol and the others escape to Southeast Asia in search of this missing child, Dol's dreams, feelings and fears collide in an epic showdown that will change more than just four lives -- and stop one heart forever. In this riveting sequel to Icons, filled with nonstop action and compelling romance, bestselling author Margaret Stohl explores what it means to be human and how our greatest weakness can be humanity's strongest chance at survival.

Feeding off the frenzy of fleeting fame and image overload, Hostetler takes anecessary look at the false gods in modern society. This timely book can helpreaders realize and overcome their own idolatries.

Christians ought to be leading the way in creativity, but we rarely do. God is the Creator of all things, and He created us in His image. Creativity is woven into the very fabric of our humanity. Therefore, Christians should value and champion creativity as a vital part of our image-bearing role. Instead Christians often don’t know what to do with creatives and creatives don’t know what to do with Christianity. On one side you have Christians who neglect or discount art, imagination, and beauty altogether. On the other, you have artists who make idols out of each of these good things. Ryan Lister, a theology professor, and Thomas Terry, a spoken word artist and founder of Humble Beast, team up to help restore the connection between creativity and theology. Images & Idols is a theological and artistic exploration of creativity in the Christian life. It will help creatives build a strong theological foundation for their art, while challenging the church to embrace a theology of beauty and creativity.

An Economist Best Book of the Year In this timely and lively look at the act of toppling monuments, the popular historian and author of Blood and Sand explores the vital question of how a society remembers—and confronts—the past. In 2020, history came tumbling down. From the US and the UK to Belgium, New Zealand, and Bangladesh, Black Lives Matter protesters defaced, and in some cases, hauled down statues of Confederate icons, slaveholders, and imperialists. General Robert E. Lee, head of the Confederate Army, was covered in graffiti in Richmond, Virginia. Edward Colston, a member of Parliament and slave trader, was knocked off his plinth in Bristol, England, and hurled into the harbor. Statues of Christopher Columbus were toppled in Minnesota, burned and thrown into a lake in Virginia, and beheaded in Massachusetts. Belgian King Leopold II was set on fire in Antwerp and doused in red paint in Ghent. Winston Churchill’s monument in London was daubed with the word “racist.” As these iconic effigies fell, the backlash was swift and intense. But as the past three hundred years have shown, history is not erased when statues are removed. If anything, Alex von Tunzelmann reminds us, it is made. Exploring the rise and fall of twelve famous, yet now controversial statues, she takes us on a fascinating global historical tour around North America, Western and Eastern Europe, Latin America and Asia, filled with larger than life characters and dramatic stories. Von Tunzelmann reveals that statues are not historical records but political statements and distinguishes between statuary—the representation of “virtuous” individuals, usually “Great Men”—and other forms of sculpture, public art, and memorialization. Nobody wants to get rid of all memorials. But Fallen Idols asks: have statues had their day?

'Superbly told' The Times 'Richly imagined' Sunday Times 'An engrossing, seamlessly written deliberation on the enduring power of art' Mail on Sunday Assyria, in the reign of Ashurbanipal. For Aurya and Sharo, every day is a struggle for survival. One evening, everything changes. Soon, they are on the barge of King Ashurbanipal, bound for the city of Nineveh. Their fates become inextricably bound to that of the king – and the injured lion captured by his men. Twenty-six centuries later, British-Iraqi archaeologist Katya joins a dig in Mosul to protect the ancient ruins of Nineveh from looters. But the real world crashes in to their studious idyll when ISIL storm Mosul – and take Katya, Salim and local girl Lola hostage. 'Dual timeline novels often fail: one strand is more interesting than the other, or the links between the two are contrived. Not here. Both stories are superbly told and share the same preoccupation – the coexistence of cruelty and creative beauty' The Times, Historical Novel of the Month

A collection of revised essays which appeared previously in various journals. Presents the thesis that "Jewhatred" is a philosophic question, founded in idolatry. Modern academic scholarship is historicist rather than philosophic, and "is therefore unprepared to consider the possibility that the hatred of Judaism may be a form of idol worship". Contends that American liberalism is grounded in the ideas of Ralph Waldo Emerson on freedom and that Emerson was an antisemite who understood that Judaism was an obstacle to unbridled freedom. also discusses Hitler's ideas in terms of his aspirations toward absolute freedom (which leads ultimately to self-annihilation), and Nazism as the ultimate form of idolatry, and their antisemitism stemming from Judaism's opposition to these goals.

Challenging gnositicizing interpretations of the letter, Terry Griffith explores how the polemic against idols was variously used in Jewish and Christian circles to define self-identity and the limits of community. He shows that the rhetoric of 1 John is not polemical, but pastoral, directed at confirming Johannine Christians in their fundamental confession of faith and preventing further defections of Jewish Christians back to Judaism. Griffith argues that the christological focus in 1 John concerns the identification of Jesus as the Messiah, and that the ending of the letter both contributes to the author's overall pastoral strategy and sheds light on the issues of sin and christology that are raised in this letter.

The music industry has been waging some very significant battles in recent years, reacting to numerous inter-related crises provoked by globalization, digitalization and the ever more extensive commercialization of public culture. These struggles are viewed by many as central to the survival of the central mediators in the consumption of popular music. These battles are not just against piracy and the sharing of digital song files on the internet. The music industry is also struggling to find ways to compete or integrate with many other forms of entertainment, including films, television programmes, mobile phones, DVDs and video games in an extremely crowded communications environment. The battles currently being fought by the music industry are about nothing less than its continued ability to create and maintain specific kinds of profitable relationships with consumers. This book presents two inter-related cases of crisis and opportunity: the music industry's epic struggle over piracy and the 'Idol' phenomenon. Both are explicit attempts to control and justify the particular ways in which the music industry makes money from popular music through specific kinds of relationships with consumers. The battles over piracy have been fought with a remarkable collection of campaigns consisting of advice, coercion and argument about what is or is not the best way to consume music. From these complicated and often contradictory campaigns we form an unusually clear picture of what many within the music industry imagine their industry to be. In a complementary way, 'Idol' works to demonstrate the joy and pleasure of consuming popular music the 'right' way. By creating a series of intertwined relationships with consumers around multiple sites of consumption, incorporating television, radio, live performance, traditional print media campaigns, text messaging and all manner of internet-based systems of communication and 'fan management,' the producers of 'Idol' present an ideal relationship between musicians and audiences. Instead of focusing on selling CDs, the music industry's digital Achilles' heel, 'Idol' has given the music industry an integrated platform for displaying its expanded palette of products and venues for consumption. When understood in specific relation to the battle against piracy, Fairchild's analysis of 'Idol' and the emerging promotional cultures of the music industry it exhibits shows how multiple sites of consumption, and attempts to mediate and control the circulation of popular music, are being used to combat the foundational challenges facing the music industry.