An introductory book that engages the arguments and apologetics of King James Onlyists. The author was a King James Onlyists for ten years and his book is written from out of his experience. He presents 6 KJV only arguments, and then explains the problems with them.

Find out what happens when Farloft meets the Dragon Slayer. Dragon Deception is book #3 of the continuing saga of Farloft the Dragon and his friends. In a misguided attempt to thwart a takeover of the Kingdom by the King of Baldar, Farloft and James are accused of treason. They are forced to flee their home. The two dragons, and Adrian, are pursued by three malevolent dragon hunters, but are the hunters all they seem, or is there magic involved?

Dialogue between characters is an important feature of South Asian religious literature: entire narratives are often presented as a dialogue between two or more individuals, or the narrative or discourse is presented as a series of embedded conversations from different times and places. Including some of the most established scholars of South Asian religious texts, this book examines the use of dialogue in early South Asian texts with an interdisciplinary approach that crosses traditional boundaries between religious traditions. The contributors shed new light on the cultural ideas and practices within religious traditions, as well as presenting an understanding of a range of dynamics - from hostile and competitive to engaged and collaborative. This book is the first to explore the literary dimensions of dialogue in South Asian religious sources, helping to reframe the study of other literary traditions around the world.

In Iron Age Ireland, Maeve, the fierce, willful youngest daughter of King Eochu of Connacht, is caught in a web of lies after rebelling to avoid fosterage with another highborn family and an arranged marriage.

An unwelcome engagement, a mysterious plot that hints at treason, and a possible murder add even more excitement to sixteen-year-old Peggy Fitzroy's life as she continues to serve as both a lady-in-waiting and confidential agent to King George of England.

The Kingdom of Morrighan is steeped in tradition and the stories of a bygone world, but some traditions Lia can't abide. Like having to marry someone she's never met to secure a political alliance.

In New York Times bestselling author Sabrina Jeffries’s classic, revised novel, originally written as Deborah Martin, London Theater’s newest actress is determined to find out secrets about her past. Arriving in a cloak of mystery, London Theater’s newest actress, Annabelle Taylor, quickly became known as “The Silver Swan.” While she loved performing for her adoring audiences every night, Annabelle secretly longed to draw out the aristocratic father who abandoned her and her mother years ago. Sent to unmask her identity, Colin Jeffreys, Marquis of Hampden, had only his dashing good looks and desirable kisses to use as bait. Sparring with wit and half-truths, Colin and Annabelle soon realized what they truly wanted was a night of passion. But when Annabelle’s vengeful quest traps her in a nest of deceit and treachery, she realizes she must place her faith in Colin—a man she doesn’t trust, but can’t resist.

Among the operations known as Plan Bodyguard, the deception devised to cover the Allies’ Normandy landing, was the little known but critical Plan Zeppelin, the largest and most complex of the Bodyguard plans. Zeppelin, in conjunction with the Mediterranean Strategy, succeeded in pinning down sixty German divisions from southern France to the Balkans in time for D-Day. This was the work of “A” Force, Britain’s only military organization tasked with carrying out both strategic and tactical deception in World War II. Whitney T. Bendeck’s Diversion and Deception finds “A” Force at its finest hour, as the war shifted from North Africa to Europe. Focusing on the years 1943 to 1945, Bendeck describes how “A” Force, under the leadership of Dudley Clarke, orchestrated both strategic and tactical deception plans to create notional threats across the southern perimeter of Europe, with the chief objective of keeping the Germans pinned down across the Mediterranean. Her work offers a close and clarifying look at “A” Force’s structure and command, operations and methods, and successes and failures and, consequently, its undeniable contribution to the Allies’ victory in World War II. By shining a light on the often overlooked Mediterranean theater and its direct connection to European plans and operations, Diversion and Deception also provides a deeper understanding of Allied grand strategy in the war. Combining military and deception histories—so often viewed in isolation—this book provides context for the deceptions and adds a layer of knowledge regarding the planning of military operations. The result is a more complete and nuanced view of Allied operations than is to be found in most histories of World War II.

The art of the early republic abounds in representations of deception: the villains of Gothic novels deceive their victims with visual and acoustic tricks; the ordinary citizens of picaresque novels are hoodwinked by quacks and illiterate but shrewd adventurers; and innocent sentimental heroines fall for their seducers' eloquently voiced half-truths and lies. Yet, as Philipp Schweighauser points out in Beautiful Deceptions, deception happens not only within these novels but also through them. The fictions of Charles Brockden Brown, Hugh Henry Brackenridge, Susanna Rowson, Hannah Webster Foster, Tabitha Gilman Tenney, and Royall Tyler invent worlds that do not exist. Similarly, Charles Willson Peale's and Raphaelle Peale's trompe l'oeil paintings trick spectators into mistaking them for the real thing, and Patience Wright's wax sculptures deceive (and disturb) viewers. Beautiful Deceptions examines how these and other artists of the era at times acknowledge art's dues to other social realms—religion, morality, politics—but at other times insist on artists' right to deceive their audiences, thus gesturing toward a more modern, autonomous notion of art that was only beginning to emerge in the eighteenth century. Building on Alexander Gottlieb Baumgarten's definition of aesthetics as "the science of sensuous cognition" and the writings of early European aestheticians including Kant, Schiller, Hume, and Burke, Schweighauser supplements the dominant political readings of deception in early American studies with an aesthetic perspective. Schweighauser argues that deception in and through early American art constitutes a comment on eighteenth-century debates concerning the nature and function of art as much as it responds to shifts in social and political organization.

Told from confidential documents - some of which remain closed for the foreseeable future - here is the precisely detailed story of the British government's campaign of strategic deception of the German High Command. A volume in the British government's Official History of Intelligence in the Second World War, the book has been written by a master historian renowned for his narrative and analytical skills. Sir Michael Howard explains how the British were able to deceive the Germans about the strategic intentions of the Allies and make them greatly overestimate Allied resources. Here is the most authoritative account available of such classic deception operations as Operation Mincemeat, which preceded the invasion of Sicily; the nonexistent U.S. Army group that pinned down an entire German Army in the Pas de Calais until Montgomery's forces had achieved a secure foothold in Normandy; and the amazing trick played on the German intelligence authorities by the great double agent Garbo.