A Study Guide and a Teacher’s Manual Gospel Principles was written both as a personal study guide and as a teacher’s manual. As you study it, seeking the Spirit of the Lord, you can grow in your understanding and testimony of God the Father, Jesus Christand His Atonement, and the Restoration of the gospel. You can find answers to life’s questions, gain an assurance of your purpose and self-worth, and face personal and family challenges with faith.

James K. Beilby and Paul R. Eddy edit a collection of essays on four views of atonement: the healing view, the Christus victor view, the kaleidoscopic view and the penal substitutionary view. This is a book that will help Christians understand the issues, grasp the differences and proceed toward a clearer articulation of their understanding of the atonement.

A shimmering jewel of a book about writing from two-time Booker Prize finalist Deborah Levy, to publish alongside her new work of nonfiction, The Cost of Living. Blending personal history, gender politics, philosophy, and literary theory into a luminescent treatise on writing, love, and loss, Things I Don't Want to Know is Deborah Levy's witty response to George Orwell's influential essay "Why I Write." Orwell identified four reasons he was driven to hammer at his typewriter--political purpose, historical impulse, sheer egoism, and aesthetic enthusiasm--and Levy's newest work riffs on these same commitments from a female writer's perspective. As she struggles to balance womanhood, motherhood, and her writing career, Levy identifies some of the real-life experiences that have shaped her novels, including her family's emigration from South Africa in the era of apartheid; her teenage years in the UK where she played at being a writer in the company of builders and bus drivers in cheap diners; and her theater-writing days touring Poland in the midst of Eastern Europe's economic crisis, where she observed how a soldier tenderly kissed the women in his life goodbye. Spanning continents (Africa and Europe) and decades (we meet the writer at seven, fifteen, and fifty), Things I Don't Want to Know brings the reader into a writer's heart.

Alfred Busi lives alone in his villa overlooking the waves. Famed in his tiny Mediterranean town for his music, he is mourning the recent death of his wife and quietly living out his days. Then one night, Busi is viciously attacked by an intruder in his own courtyard—bitten and scratched. He insists his assailant was neither man nor animal. Soon, Busi’s account of what happened is being embellished to fan the flames of old rumor—of an ancient race of people living in the surrounding forest. It is also used to spark new controversy, inspiring claims that something must finally be done about the town’s poor, whose numbers have been growing. In trademark crystalline prose, Jim Crace portrays a man taking stock of his life and looking into an uncertain future, while bearing witness to a community in the throes of great change.

The doctrine of the atonement is the distinctive doctrine of Christianity. Over the course of many centuries of reflection, highly diverse interpretations of the doctrine have been proposed. In the context of this history of interpretation, Eleonore Stump considers the doctrine afresh with philosophical care. Whatever exactly the atonement is, it is supposed to include a solution to the problems of the human condition, especially its guilt and shame. Stump canvasses the major interpretations of the doctrine that attempt to explain this solution and argues that all of them have serious shortcomings. In their place, she argues for an interpretation that is both novel and yet traditional and that has significant advantages over other interpretations, including Anselm's well-known account of the doctrine. In the process, she also discusses love, union, guilt, shame, forgiveness, retribution, punishment, shared attention, mind-reading, empathy, and various other issues in moral psychology and ethics.

Over the centuries the church developed a number of metaphors, such as penal substitution or the ransom theory, to speak about Christ's death on the cross and the theological concept of the atonement. Yet too often, says Scot McKnight, Christians have held to the supremacy of one metaphor over against the others, to their detriment. He argues instead that to plumb the rich theological depths of the atonement, we must consider all the metaphors of atonement and ask whether they each serve a larger purpose. A Community Called Atonement is a constructive theology that not only values the church's atonement metaphors but also asserts that the atonement fundamentally shapes the life of the Christian and of the church. That is, Christ identifies with humans to call us into a community that reflects God's love (the church)--but that community then has the responsibility to offer God's love to others through missional practices of justice and fellowship, living out its life together as the story of God's reconciliation. Scot McKnight thus offers an accessible, thought-provoking theology of atonement that engages the concerns of those in the emerging church conversation and will be of interest to all those in the church and academy who are listening in.

Filmed on location in the U.K., the story of Atonement spans several decades. In 1935, 13-year-old fledgling writer Briony Tallis (Saoirse Ronan) and her family live a life of wealth and privilege in their enormous mansion. On the warmest day of the year, the country estate takes on an unsettling hothouse atmosphere, stoking Briony's vivid imagination. Robbie Turner (James McAvoy), the educated son of the family's housekeeper, carries a torch for Briony's headstrong older sister Cecilia (Keira Knightley). Cecilia, he hopes, has comparable feelings; all it will take is one spark for this relationship to combust. When it does, Briony—who has a crush on Robbie— is compelled to interfere, going so far as accusing Robbie of a crime he did not commit. Cecilia and Robbie declare their love for each other, but he is arrested—and with Briony bearing false witness, the course of three lives is changed forever. Briony continues to seek forgiveness for her childhood misdeed. Through a terrible and courageous act of imagination, she finds the path to her uncertain atonement, and to an understanding of the power of enduring love. In addition to the complete script, this Newmarket Shooting Script® book includes an exclusive introduction by screenwriter ChristopherHampton, a color photo section, and the complete cast and crew credits.

Gustaf Aulen's classic work, 'Christus Victor', has long been a standard text on the atonement. Aulen applies history of ideas' methodology to historical theology in tracing the development of three views of the atonement. Aulen asserts that in traditional histories of the doctrine of the atonement only two views have usually been presented, the objective/Anselmian and the subjective/Aberlardian views. According to Aulen, however, there is another type of atonement doctrine in which Christ overcomes the hostile powers that hold humanity in subjection, at the same time that God in Christ reconciles the world to Himself. This view he calls the "classic" idea of the atonement. Because of its predominance in the New Testament, in patristic writings, and in the theology of Luther, Aulen holds that the classic type may be called the distinctively Christian idea of the atonement.

For centuries, many metaphors have attempted to explain this astounding work of God, but none has risen above the others. The atonement, like salvation, encompasses far more than any one image can contain.