In these dark, witty short stories, Katy Wimhurst creates off-kilter worlds which illuminate our own. Here, knitting might cancel Armageddon. A winged being yearns to be an archaeologist. Readers are sucked into a post-apocalyptic London where the different rains are named after former politicians. An enchanted garden grows in a rented flat. Magical realism meets dystopia, with a refreshing twist. Advance Praise: 'An iridescent, compelling collection. Darkly magical in all the right ways.' - Irenosen Okojie, author of Nudibranch and Speak Gigantular 'Tales of the unexpected... a refreshing and humorous collection illuminating the author's vast imagination and gift for merging people, place and politics in well crafted stories. Wimhurst's cultural allusions and social commentary might make you laugh or glance sideways, but there are always sparks of human hope amongst the dystopian debris. One ticket here please, open return.' - Emma Kittle-Pey, author of Gold Adornments and Fat Maggie. 'These are fresh and exciting pieces, and I loved the sense of these unsettling off-kilter worlds, reminiscent of M John Harrison's You Should Come With Me Now (Comma Press). I think readers will enjoy the author's skilful balance of wit and playfulness with dark and frightening things; magical realism with a melancholy and often chilling twist.' - Anna Vaught, author of Saving Lucia and Famished. 'Katy Wimhurst finds hope in dystopias; colour in the bleakest of worlds. Her art is in combining charming whimsy with weighty social issues and, in the balance, delighting and surprising her reader. Her rich imagination and fresh, clean writing is, at all times, a pleasure.' - Petra McQueen, founder of The Writers' Company 'Katy Wimhurst's stories are enchanting. They appear beguilingly simple yet contain layers of meaning and mystery. Although often comical, each story has a hidden steel core - an environmental message that we need to cherish our planet and be compassionate to one another. She specialises in dystopias - in societies overwhelmed by the threats we fear - but even here the endings sound a positive note. We remain enchanted.' - Dorothy Schwarz, author of Behind a Glass Wall and Simple Stories about Women. Extract: Ticket to Nowhere "Destination?" asked the woman in the railway ticket office. She had pink blotchy skin and dark bags under her eyes. "Nowhere," I said. "Single or return?" "Can I get an open return for the next train?" "Not during peak hours." I sighed. "Okay, single then." I had no idea how long I would be in Nowhere, but had taken a few days off work, anyway. "That'll be £35." "For a one-way ticket to Nowhere? That's a complete rip-off!" "Take it or leave it," the woman said flatly. "Nowhere's the cheapest destination on offer. I can do Elsewhere for £44 or Somewhere for £52. We have a special offer to Everywhere for £99, which includes free vouchers for a Nirvana milk-shake and Armageddon hamburger." "I need a ticket to Nowhere." I opened my purse and handed over the money. "When does the next train leave?" "In five minutes from platform three." I took the ticket, picked up my suitcase, and followed the signs to platform three. Pacing resolutely, I was conscious of the click-click of my high heeled boots on the floor. It was dark outside apart from the dim lamps that lit the platform at intervals. A lonely half-moon was hovering high above, and I turned up the collar of my woollen overcoat.

An die Seite des Corpus der Griechischen Christlichen Schriftsteller (GCS) stellte Adolf von Harnack die Monographienreihe der Texte und Untersuchungen zur Geschichte der altchristlichen Literatur (TU), die er bereits 1882 begründet hatte und die nunmehr als »Archiv für die ... Ausgabe der älteren christlichen Schriftsteller« diente. In ihr werden vor allem die alten Übersetzungen der im Corpus erscheinenden Schriften teils im Original, teils in deutscher oder einer anderen modernen Sprache gedruckt. Daneben steht die Reihe auch für Voruntersuchungen zu den Editionen und für begleitende Abhandlungen offen.

This book, “Revelation Rainbow” is the end of a forty-year quest by the author to find answers to the questions generated by Biblically un-informed scholarship that shrouds rather than unveils the great truths of this Holy Spirit directed work of our Lord. Hundreds of students of Revelation have been left in a bewildered state because certain scholars approach the book with a human mindset, instead of a Spirit led mindset. Instead of looking at Revelation as The Divine apocalypse, they try to humanize and literalize the book as a study of human secular history leaving the student with a complicated scheme of things that do not make sense. Having met these students, Mr. Doughty was greatly distressed to see them turn from God’s Word (especially Revelation) altogether. Subjects like the Antichrist, Millennium, Mark of the Best, Rapture, Tribulation and “Left Behind” are just some of the end-time twists causing confusion.

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We've always imagined the world coming to an end in spectacular, explosive fashion. But what if - instead - humanity is just destined to slowly crumble? For Jasper and his nomadic tribe, their former life as middle-class Americans seems like a distant memory. Their world took a turn for the worse - and then never got better. Resources are running out, jobs keep getting scarcer, and the fabric of society is slowly disintegrating . . . . But in the midst of this all, Jasper's just a guy trying to make ends meet, find a nice girl who won't screw him around, and keep his group safe on the violent streets. Soft Apocalypse follows the tribe's struggle to find a place for themselves and their children in the dangerous new place their world has become.

The final book of the New Testament, the Apocalypse, has been controversial since its initial appearance during the first century A.D. For centuries after, theologians, exegetes, scholars, and preachers have grappled with the imagery and symbolism behind this fascinating and terrifying book. Their thoughts and ideas regarding the apocalypse—and its trials and tribulations—were received within both elite and popular culture in the medieval and early modern eras. Therefore, one may rightly call the Apocalypse, and its accompanying hopes and fears, a foundational pillar of Western Civilization. The interest in the Apocalypse, and apocalyptic movements, continues apace in modern scholarship and society alike. This present volume, A Companion to the Premodern Apocalypse, collates essays from specialists in the study of premodern apocalyptic subjects. It is designed to orient undergraduate and graduate students, as well as more established scholars, to the state of the field of premodern apocalyptic studies as well as to point them in future directions for their scholarship and/or pedagogy. Contributors are: Roland Betancourt, Robert Boenig, Richard K. Emmerson, Ernst Hintz, László Hubbes, Hiram Kümper, Natalie Latteri, Thomas Long, Katherine Olson, Kevin Poole, Matthias Riedl, Michael A. Ryan

This is the third book of a series called Revelations of s spiritual wanderer. It deals with peace, prosperity, harmony in a post 9/11 era. It uses the relationship between Emerson and Thoreau as a basis for renewing the transcendental love at the foundation of North American society. Today's Unitarian Universalism is used as an example of interfaith dialogue.

The idea of America has always encouraged apocalyptic visions. The 'American Dream' has not only imagined the prospect of material prosperity; it has also imagined the end of the world. 'Final forecasts' constitute one of America's oldest literary genres, extending from the eschatological theology of the New England Puritans to the revolutionary discourse of the early republic, the emancipatory rhetoric of the Civil War, the anxious fantasies of the atomic age, and the doomsday digital media of today. For those studying the history of America, renditions of the apocalypse are simply unavoidable. This book brings together two dozen essays by prominent scholars that explore the meanings of apocalypse across different periods, regions, genres, registers, modes, and traditions of American literature and culture. It locates the logic and rhetoric of apocalypse at the very core of American literary history.

Interpreting the Rules of Revelation presents the inductive (literal) Bible study approach to the New Testament prophet John's Book of Revelation. Based on the foundation of biblical hermeneutics, Norris purposes to give readers the literal skills to develop their own views on this fascinating subject. The prophetic message of the Hebrew prophets, the pre-, mid-, and post-Rapture positions; and the Second Coming of Christ are all presented with Pat Marvenko-Smith's illustrative Revelation Productions art as the Bible reads, not in-between the lines.

"Portraits of 'good battling evil' in the geography of Hell come in many forms in the Hispanic World. Apocalyptic nightmares, fearful images of life, chaos and death are inclusive and interdepEndent, yet simultaneously project an exceptional quality. Where images remain unfulfilled in narrow allegiances to a proscribed End, this investigation explores how narrative logic may challenge unified notions of finalities. Redeploying transglobal character and narrative potential, it distinguishes itself by training the lens on New Beginnings. Its analysis embeds resilient formulas for combating the End through resistance in Latin America and Spain revealed in gilded illustration, decolonizing drama, messianic chronicles and poetry, baroque letters, racially-motivated novels, sexuality-threatening films, and intimidating immigrant photos complete with destruction wreaked by climate change. Through chaos the resilient Apocalypse simultaneously performs as an internal defense (a vehicle for mourning) and a counter-discourse to power (a mechanism for resistance). Its strategy listens to and keeps the enemy 'in sight and in mind,' a formula for grappling with and engaging difference that analyzes the traces left on each other's cultural fabric in an open-Ended, communal struggle. This study argues for decolonizing the politics of the End and reformulating an incomplete, mythical, uncanny quality into a poetics of resistance garnering communal solutions and obligations. Here the Apocalypse is unremittingly sought after to redefine social justice, salvation and reality over time and past collateral damage, ironically providing future hope against itself, the crushing fear of the End. It crystalizes what had yet to be comprehensively explored: how rival traditions internalize competing apocalyptic worldviews to arrive at sustainable plans of action, time-tested, reputable cultural models to control dissension from within and without, and social goals supported by traces the other imprints on their cultural ethos. Bracketing the finality of the End and arguing the process from conflict archaeology toward New Beginnings, salvation, solace or hope, resolves an incomplete myth by negotiating the afterward. Revealing how plural, competing viewpoints of the End go a long way to legitimize each other, this theory of unfulfilled promise forever changes the way we engage the other and value the self"