The truth behind ancient myths and the return of the celestial conditions for a Golden Age of peace and abundance • Reveals the events preserved in myth that launched humanity into 12,000 years of struggle, selfishness, and false beliefs • Explores how we can initiate a new Golden Age through ancient Egyptian teachings on the creative power of our imaginations • Explains how our world system of economics, which benefits a few at the expense of the many, arose as a reaction to global catastrophe in prehistory Since the beginning of recorded history humanity has been in a continuous struggle over land and resources. It continues today despite the abundance we have created through scientific innovation and technology. Why such a struggle for resources exists has never been explained. Neither has the human drive to own, accumulate, and hoard. Edward Malkowski reveals that the answer lies in recognizing the reality behind humanity’s earliest myths. He shows that the opportunity is at hand to transcend these inherited selfish traits and return to a Golden Age of peace and abundance. Malkowski explores the hidden meaning behind stories such as the Epic of Gilgamesh, Plato’s Atlantis, and myths of a new sky and a new sun, of great floods and the death of the gods, and of the preceding Golden Age. He connects these myths to a real extinction event that occurred 12,000 years ago. He explains how the survivors--our ancestors--were catapulted from utopia into a world of scarcity, scarring the collective mind of humanity and initiating the struggle for resources in an attempt to regain our lost paradise. He shows how our world system of economics, focused on ownership and based on the false belief of separateness--benefitting a few at the expense of the many--arose as a reaction to this catastrophe. Drawing on the pre-catastrophe teachings preserved by the ancient Egyptians, Malkowski reveals that we are returning to a celestial configuration parallel to that of the past Golden Age. Through our collective DNA memory and the creative power of our imaginations, we can end our 12,000-year quest to regain paradise lost and launch a new Golden Age of unity, abundance, and equality for all humanity.

For all their pride in seeing this world clearly, the thinkers and artists of the English Renaissance were also fascinated by magic and the occult. The three greatest playwrights of the period devoted major plays (The Tempest, Doctor Faustus, The Alchemist) to magic, Francis Bacon often referred to it, and it was ever-present in the visual arts. In Renaissance Magic and the Return of the Golden Age John S. Mebane reevaluates the significance of occult philosophy in Renaissance thought and literature, constructing the most detailed historical context for his subject yet attempted.

A medieval saga with political intrigue reminiscent of Game of Thrones, The Golden Age is an epic graphic novel duology from Roxanne Moreil and Cyril Pedrosa about utopia and revolution. In the kingdom of Lantrevers, suffering is a way of life—unless you’re a member of the ruling class. Princess Tilda plans to change all that. As the rightful heir of late King Ronan, Tilda wants to deliver her people from famine and strife. But on the eve of her coronation, her younger brother, backed by a cabal of power-hungry lords, usurps her throne and casts her into exile. Now Tilda is on the run. With the help of her last remaining allies, Tankred and Bertil, she travels in secret through the hinterland of her kingdom. Wherever she goes, the common folk whisper of a legendary bygone era when all men lived freely. There are those who want to return to this golden age—at any cost. In the midst of revolution, how can Tilda reclaim her throne?

"This book investigates the various ways that ancient Greek and Roman authors envisioned the end of the world and the role they gave to global catastrophes, both past and future, in shaping human history"--

In classical mythology Astraea, the goddess of justice, chastity, and truth, was the last of the immortals to leave Earth with the decline of the ages. Her return was to signal the dawn of a new Golden Age. This myth not only survived the Christian Middle Ages but also became a commonplace in the Renaissance when courtly poets praised their patrons and princes by claiming that Astraea guided them. The literary cult of Astraea persisted in the sixteenth century as writers saw in Elizabeth I of England the imperial Astraea who would lead mankind to peace through universal rule. This and other late flowerings of the Astraea myth should not be taken as the final phases of her history. Frederick A. de Armas documents in this book what may well be the last great rebirth of Astraea, one that is probably of greater political, religious, and literary significance than others previously described by historians and literary critics. The Return of Astraea focuses on the seventeenth-century Spanish playwright Pedro Calderón de la Barca, and analyzes the deity's presence in thirteen of his plays, including his masterpiece, La Vida es Sueho. Her popularity in this period is partially attributed to political motives, reflecting the aspirations and fears of the Spanish monarch Philip IV. In this broad study, grounded on such diverse fields as astrology, iconography, history, mythology, and philosophy, de Armas explains that Astraea adopts many guises in Calderón's dramas. Ranging from the Kabbalah to Platonic thought and from satires on Olivares to cosmogonic myths, he analyzes and reinterprets Calderón's theater from a wide range of perspectives centered on the playwright's utilization of the myth of Astraea. The book thus represents a new view of Calderón's dramaturgy and also documents the popularity and significance of this astral-imperial myth during the Spanish Golden Age.

Following the epic cliffhanger in volume one, The Golden Age Book 2 concludes this exciting, medieval graphic novel duology. Tilda began her journey wanting to free her people from the iron fist of the ruling class—but she has lost her way. Obsessed with reclaiming her stolen throne, she forces her army to continue waging a futile war without pay or food. She has become what she hated: a heartless ruler. And the threat of rebellion begins to boil. To save Tilda from herself, Tankred forges a secret alliance with Hellier, the leader of the populous revolution. With their help, Tilda could win the war. But she’d have to give her power back to her people. Will Tilda realize the error of her ways and help her people be truly free? Or will the kingdom burn?

William Stimpson was at the forefront of the American natural history community in the latter half of the nineteenth century. Stimpson displayed an early affinity for the sea and natural history, and after completing an apprenticeship with famed naturalist Louis Agassiz, he became one of the first professionally trained naturalists in the United States. In 1852, twenty-year-old Stimpson was appointed naturalist of the United States North Pacific Exploring Expedition, where he collected and classified hundreds of marine animals. Upon his return, he joined renowned naturalist Spencer F. Baird at the Smithsonian Institution to create its department of invertebrate zoology. He also founded and led the irreverent and fun-loving Megatherium Club, which included many notable naturalists. In 1865, Stimpson focused on turning the Chicago Academy of Sciences into one of the largest and most important museums in the country. Tragically, the museum was destroyed in the Great Chicago Fire of 1871, and Stimpson died of tuberculosis soon after, before he could restore his scientific legacy. This first-ever biography of William Stimpson situates his work in the context of his time. As one of few to collaborate with both Agassiz and Baird, Stimpson's life provides insight into the men who shaped a generation of naturalists—the last before intense specialization caused naturalists to give way to biologists. Historians of science and general readers interested in biographies, science, and history will enjoy this compelling biography.

DIVThe first cultural history of post-1940s Mexico to relate issues of representation and meaning to questions of power; it includes essays on popular music, unions, TV, tourism, cinema, wrestling, and illustrated magazines./div

As she plans a party for her son and daughter, Rehana Haque's life will be transformed forever in a story of one family caught in the middle of the 1971 Bangladesh war of independence, as they face changes and decisions that will have a profound impact on their lives forever.

The Golden Age is Grand Space Opera, a large-scale SF adventure novel in the tradition of A. E. Van vogt and Roger Zelazny, with perhaps a bit of Cordwainer Smith enriching the style. It is an astounding story of super science, a thrilling wonder story that recaptures the excitements of SF's golden age writers. The Golden Age takes place 10,000 years in the future in our solar system, an interplanetary utopian society filled with immortal humans. Within the frame of a traditional tale-the one rebel who is unhappy in utopia-Wright spins an elaborate plot web filled with suspense and passion. Phaethon, of Radamanthus House, is attending a glorious party at his family mansion to celebrate the thousand-year anniversary of the High Transcendence. There he meets first an old man who accuses him of being an impostor and then a being from Neptune who claims to be an old friend. The Neptunian tells him that essential parts of his memory were removed and stored by the very government that Phaethon believes to be wholly honorable. It shakes his faith. He is an exile from himself. And so Phaethon embarks upon a quest across the transformed solar system--Jupiter is now a second sun, Mars and Venus terraformed, humanity immortal--among humans, intelligent machines, and bizarre life forms that are partly both, to recover his memory, and to learn what crime he planned that warranted such preemptive punishment. His quest is to regain his true identity. The Golden Age is one of the major, ambitious SF novels of the year and the international launch of an important new writer in the genre. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.