This study brings together the whole story of Revelation (as well as Daniel, Isaiah, and the Gospels, among other prophecies) and shows how together they form a coherent narrative-not just of the end of the world, but of God's immense plan to allow Satan to build a global empire of evil on earth over the centuries. Find out why popular interpretations surrounding the Antichrist, the Tribulation, the Rapture, Zionism, the Millennial Kingdom, the Beast, the Mark, and the Whore of Babylon are all deeply mistaken and in need of re-examination. No tradition is safe when we look closely at the holy text! One of the main goals of this book is to show that Revelation is a single, linear story, with no repetition, redundancy, or interchangeable parts. Every seal, trumpet, and vial is unique and has to happen in the exact order they appear. Skeptical? Fantastic. Be prepared to see things in the Bible you've never even thought about before, including a prophecy in Jeremiah which has allowed Satan to believe he will have a final victory over God when Jesus Christ comes back to Jerusalem! Oh, and did I mention that most of Revelation happens after the Church is wiped out by Satan? Learn the mystery of the 144,000 elect and prepare yourself for a whole new appreciation of the final book of the Bible.

With his stunning debut novel, She's Come Undone, Wally Lamb won the adulation of critics and readers with his mesmerizing tale of one woman's painful yet triumphant journey of self-discovery. Now, this brilliantly talented writer returns with I Know This Much Is True, a heartbreaking and poignant multigenerational saga of the reproductive bonds of destruction and the powerful force of forgiveness. A masterpiece that breathtakingly tells a story of alienation and connection, power and abuse, devastation and renewal--this novel is a contemporary retelling of an ancient Hindu myth. A proud king must confront his demons to achieve salvation. Change yourself, the myth instructs, and you will inhabit a renovated world. When you're the same brother of a schizophrenic identical twin, the tricky thing about saving yourself is the blood it leaves on your bands--the little inconvenience of the look-alike corpse at your feet. And if you're into both survival of the fittest and being your brother's keeper--if you've promised your dying mother--then say so long to sleep and hello to the middle of the night. Grab a book or a beer. Get used to Letterman's gap-toothed smile of the absurd, or the view of the bedroom ceiling, or the influence of random selection. Take it from a godless insomniac. Take it from the uncrazy twin--the guy who beat the biochemical rap. Dominick Birdsey's entire life has been compromised and constricted by anger and fear, by the paranoid schizophrenic twin brother he both deeply loves and resents, and by the past they shared with their adoptive father, Ray, a spit-and-polish ex-Navy man (the five-foot-six-inch sleeping giant who snoozed upstairs weekdays in the spare room and built submarines at night), and their long-suffering mother, Concettina, a timid woman with a harelip that made her shy and self-conscious: She holds a loose fist to her face to cover her defective mouth--her perpetual apology to the world for a birth defect over which she'd had no control. Born in the waning moments of 1949 and the opening minutes of 1950, the twins are physical mirror images who grow into separate yet connected entities: the seemingly strong and protective yet fearful Dominick, his mother's watchful "monkey"; and the seemingly weak and sweet yet noble Thomas, his mother's gentle "bunny." From childhood, Dominick fights for both separation and wholeness--and ultimately self-protection--in a house of fear dominated by Ray, a bully who abuses his power over these stepsons whose biological father is a mystery. I was still afraid of his anger but saw how he punished weakness--pounced on it. Out of self-preservation I hid my fear, Dominick confesses. As for Thomas, he just never knew how to play defense. He just didn't get it. But Dominick's talent for survival comes at an enormous cost, including the breakup of his marriage to the warm, beautiful Dessa, whom he still loves. And it will be put to the ultimate test when Thomas, a Bible-spouting zealot, commits an unthinkable act that threatens the tenuous balance of both his and Dominick's lives. To save himself, Dominick must confront not only the pain of his past but the dark secrets he has locked deep within himself, and the sins of his ancestors--a quest that will lead him beyond the confines of his blue-collar New England town to the volcanic foothills of Sicily 's Mount Etna, where his ambitious and vengefully proud grandfather and a namesake Domenico Tempesta, the sostegno del famiglia, was born. Each of the stories Ma told us about Papa reinforced the message that he was the boss, that he ruled the roost, that what he said went. Searching for answers, Dominick turns to the whispers of the dead, to the pages of his grandfather's handwritten memoir, The History of Domenico Onofrio Tempesta, a Great Man from Humble Beginnings. Rendered with touches of magic realism, Domenico's fablelike tale--in which monkeys enchant and religious statues weep--becomes the old man's confession--an unwitting legacy of contrition that reveals the truth's of Domenico's life, Dominick learns that power, wrongly used, defeats the oppressor as well as the oppressed, and now, picking through the humble shards of his deconstructed life, he will search for the courage and love to forgive, to expiate his and his ancestors' transgressions, and finally to rebuild himself beyond the haunted shadow of his twin. Set against the vivid panoply of twentieth-century America and filled with richly drawn, memorable characters, this deeply moving and thoroughly satisfying novel brings to light humanity's deepest needs and fears, our aloneness, our desire for love and acceptance, our struggle to survive at all costs. Joyous, mystical, and exquisitely written, I Know This Much Is True is an extraordinary reading experience that will leave no reader untouched.

It is the year 4022; all of the ancient country of Usa has been buried under many feet of detritus from a catastrophe that occurred back in 1985. Imagine, then, the excitement that Howard Carson, an amateur archeologist at best, experienced when in crossing the perimeter of an abandoned excavation site he felt the ground give way beneath him and found himself at the bottom of a shaft, which, judging from the DO NOT DISTURB sign hanging from an archaic doorknob, was clearly the entrance to a still-sealed burial chamber. Carson's incredible discoveries, including the remains of two bodies, one of then on a ceremonial bed facing an altar that appeared to be a means of communicating with the Gods and the other lying in a porcelain sarcophagus in the Inner Chamber, permitted him to piece together the whole fabric of that extraordinary civilization.

Wary of romance following her mother's second divorce and resisting her friends' attempts to fix her up with the hottest guy in school, Piper's life is complicated when she receives a series of valentines from a secret admirer.

Everyone knows how "Little Red Riding Hood" goes. But Grandpa keeps getting the story all wrong, with hilarious results! "Once upon a time, there was a little girl called Little Yellow Riding Hood--" "Not yellow! It's Red Riding Hood!" So begins the story of a grandpa playfully recounting the well-known fairytale--or his version, at least--to his granddaughter. Try as she might to get him back on track, Grandpa keeps on adding things to the mix, both outlandish and mundane! The end result is an unpredictable tale that comes alive as it's being told, born out of imaginative play and familial affection. This spirited picture book will surprise and delight from start to finish, while reminding readers that storytelling is not only a creative act of improvisation and interaction, but also a powerful pathway for connection and love. Telling Stories Wrong was written by Gianni Rodari, widely regarded as the father of modern Italian children's literature. It exemplifies his great respect for the intelligence of children and the kind of work he did as an educator, developing numerous games and exercises for children to engage and think beyond the status quo, imagining what happens after the end of a familiar story, or what possibilities open up when a new ingredient is introduced. This book is illustrated with great affection by the illustrious artist Beatrice Alemagna (Child of Glass), who counts Gianni Rodari as one of her "spiritual fathers."

My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?

Stockholm syndrome or Love? When you want someone completely wrong for you... Luke Whitford has always dreamed of meeting Mr. Right. A hopeless romantic at heart, he dreams of falling in love with a nice man, getting married, and having a bunch of adorable babies. The problem is, Luke has the propensity for being attracted to men who are anything but nice. Roman Demidov, a homophobic, cynical billionaire who has a grudge against Luke's father, is certainly not Mr. Right. Cold, manipulative, and ruthless, he's not a nice man and he doesn't pretend to be. Luke is fully aware that Roman is all wrong for him. His attraction to the guy is just some sort of Stockholm syndrome; it must be. If life were a fairy tale, Roman would be the main villain, not the hero. But even villains can fall in love. Or can they?

I wonder what it would be like to do high school things. To go out on the weekends. To kiss a guy. To have a normal life. A real one. Everyone thinks their parents are embarrassing, but Hannah knows she's got them all beat. Her dad made a fortune showcasing photos of pretty girls and his party lifestyle all over the Internet, and her mom was once one of her dad's girlfriends and is now the star of her own website. After getting the wrong kind of attention for way too long, Hannah has mastered the art of staying under the radar...and that's just how she likes it. Of course, that doesn't help her get noticed by her crush. Hannah's sure that gorgeous, sensitive Josh is her soul mate. But trying to get him to notice her; wondering why she suddenly can't stop thinking about another guy, Finn; and dealing with her parents make Hannah feel like she's going crazy. Yet she's determined to make things work out the way she wants -- only what she wants may not be what she needs.... Once again, Elizabeth Scott has created a world so painfully funny and a cast of characters so heartbreakingly real that you'll love being a part of it from unexpected start to triumphant finish.

A high school romance that flips the switch on the will they or won't they trope when two best friends are forced to confront truths about their friendship, identities, and relationships during their senior year at boarding school. Everyone at the prestigious Bexley School believes that Sage Morgan and Charlie Carmichael are meant to be. Even though Charlie seems to have a new girlfriend every month, and Sage has never had a real relationship, their friends and family all know it's just a matter of time until they realize that they are actually in love. When Luke Morrissey shows up on the Bexley campus his presence immediately shakes things up. Charlie and Luke are drawn to each other the moment they meet, giving Sage the opportunity to spend time with Charlie's twin brother, Nick. But Charlie is afraid of what others will think if he accepts that he has much more than a friendship with Luke. And Sage fears that if she lets things with Nick get too serious too quickly, they won't be able to last as a couple outside of high school and miss their chance at forever. The duo will need to rely on each other and their lifelong friendship to figure things out with the boys they love. Perfect for those looking for: Teen romance books Two love stories in one LGBTQ books A fresh rom-com that twists the tropes Coming-of-age stories Books set at a boarding school

Why we learn the wrong things from narrative history, and how our love for stories is hard-wired. To understand something, you need to know its history. Right? Wrong, says Alex Rosenberg in How History Gets Things Wrong. Feeling especially well-informed after reading a book of popular history on the best-seller list? Don't. Narrative history is always, always wrong. It's not just incomplete or inaccurate but deeply wrong, as wrong as Ptolemaic astronomy. We no longer believe that the earth is the center of the universe. Why do we still believe in historical narrative? Our attachment to history as a vehicle for understanding has a long Darwinian pedigree and a genetic basis. Our love of stories is hard-wired. Neuroscience reveals that human evolution shaped a tool useful for survival into a defective theory of human nature. Stories historians tell, Rosenberg continues, are not only wrong but harmful. Israel and Palestine, for example, have dueling narratives of dispossession that prevent one side from compromising with the other. Henry Kissinger applied lessons drawn from the Congress of Vienna to American foreign policy with disastrous results. Human evolution improved primate mind reading—the ability to anticipate the behavior of others, whether predators, prey, or cooperators—to get us to the top of the African food chain. Now, however, this hard-wired capacity makes us think we can understand history—what the Kaiser was thinking in 1914, why Hitler declared war on the United States—by uncovering the narratives of what happened and why. In fact, Rosenberg argues, we will only understand history if we don't make it into a story.