The Gospel means good news, but what makes it news? If the message has been around for 2,000 years, what could possibly be newsworthy about it? And what makes it good? Surely not the stories we hear of damnation, violence, and an angry God. Tom Wright believes many Christians have lost sight of what the ‘good news’ of the gospel really is. In Simply Good News, he shows how a first-century audience would have received the gospel message, what the ‘good news’ means for us today and how it can transform our lives.

Dr. Jeffrey Guptill has received research grants and contracts: from: US NIH, NINDS (K23NS085049, HHSN27100001), NIAID (HHSN272201300017I), Myasthenia Gravis Foundation of America, the Grifols Foundation, the Alzheimer’s Association, Ra Pharmaceuticals. He has also received personal compensation in the past year from Alexion, Kashiv, Argen-X, and Momenta, Inc for consulting services and from Grifols for educational activities.

"As traditional for-profit news media in the United States declines in economic viability and sheer numbers of outlets and staff, what does and what should the constitutional guarantee of freedom of the press mean? The book examines the current news ecosystem in the U.S. and chronicles historical developments in government involvement in shaping the industry. It argues that initiatives by the government and by private-sector actors are not only permitted but called for as transformations in technology, economics, and communications jeopardize the production and distribution of and trust in news and the very existence of local news reporting. It presents ten proposals for change to help preserve the free press essential to our democratic society"--

Now back in print, “the ultimate book-lover’s gift book” (Los Angeles Times) In 1561–62 the master calligrapher Georg Bocskay (died 1575), imperial secretary to the Holy Roman Emperor Ferdinand I, created Mira calligraphiae monumenta (Model Book of Calligraphy) as a demonstration of his own preeminence among scribes. Some thirty years later, Ferdinand’s grandson, the Emperor Rudolf II, commissioned Europe’s last great manuscript illuminator, Joris Hoefnagel (1542–1600), to embellish the work. The resulting book is at once a treasury of extraordinary beauty and a landmark in the cultural debate between word and image. Bocskay assembled a vast selection of contemporary and historical scripts for a work that summarized all that had been learned about writing to date—a testament to the universal power of the written word. Hoefnagel, desiring to prove the superiority of his art over Bocskay’s words, employed every resource of illusionism, color, and form to devise all manner of brilliant grotesques, from flowers, fruit, insects, and animals to monsters and masks. Unavailable for nearly a decade, this gorgeous volume features over 180 color illustrations, as well as scholarly commentary and biographies of both artists to inspire scholars, bibliophiles, graphic designers, typographers, and calligraphers.