A fascinating collection of photographs of bomb shelters around the world. Various sites people have built to protect themselves from the unthinkable

An “exhilirating” novel of domestic terrorism in the gritty streets of 1980s New York from the National Book Award–finalist and author of Straight Cut (The New Yorker). As a staff photographer at Bellevue hospital in Manhattan, Clarence Dmitri Larkin is exposed to the fraying underbelly of New York City. Drawn in by the stories of the sick, the lost, and the insane, Larkin’s own dark impulses lead him through the streets of Brooklyn’s shadowy warehouse district. Increasingly isolated from the world around him, Larkin falls in with a disturbed cell of outcasts. Their ringleader, empowered by confused visions of grandeur and revolution, launches an outlandish scheme to plant an atomic bomb in the catacombs under Times Square. Narrated with unsettling plausibility, Bell’s debut novel demonstrates the remarkable literary skill celebrated in his later novels, such as Soldier’s Joy and The Year of Silence. With “real brilliance . . . full of fire . . . Bell provides promise: promise of his own talent and promise that young American writers are not all retreating from ‘big’ subjects” (The New York Times). “Every sentence [Bell] writes is a joy. His power is exhilarating.” —The New Yorker

Waiting for the End of the World? addresses the archaeological, architectural, historical and geological evidence for natural disasters in the Middle Ages between the 11th and 16th centuries. This volume adopts a fresh interdisciplinary approach to explore the many ways in which environmental hazards affected European populations and, in turn, how medieval communities coped and responded to short- and long-term consequences. Three sections, which focus on geotectonic hazards (Part I), severe storms and hydrological hazards (Part II) and biophysical hazards (Part III), draw together 18 papers of the latest research while additional detail is provided in a catalogue of the 20 most significant disasters to have affected Europe during the period. These include earthquakes, landslides, tsunamis, storms, floods and outbreaks of infectious diseases. Spanning Europe, from the British Isles to Italy and from the Canary Islands to Cyprus, these contributions will be of interest to earth scientists, geographers, historians, sociologists, anthropologists and climatologists, but are also relevant to students and non-specialist readers interested in medieval archaeology and history, as well as those studying human geography and disaster studies. Despite a different set of beliefs relating to the natural world and protection against environmental hazards, the evidence suggests that medieval communities frequently adopted a surprisingly ‘modern’, well-informed and practically minded outlook.

In Waiting for the End of the World: European Dimensions, 950–1200, Tsvetelin Stepanov offers a fresh, pan-European, look at a phenomenon that was typical not only for the Christians, but also for the other two monotheistic religions in Europe.

Growing up Catholic in a family where the reforms of Vatican II are seen as the work of Satan. It is 1972, and Veronica Chater's parents believe that Vatican II's liberalization has corrupted the Catholic Church, inviting the Holy Chastisement—an apocalypse prophesied by three shepherds in Fatima, Portugal. To spare his family this horror, Veronica's father quits the highway patrol, sells everything, and moves the family of eight from California to an isolated village near Fatima. But Portugal is no Catholic utopia, and the family schleps home penniless to join the nascent Catholic counterrevolution: attending the Latin Mass in truck garages and abandoned buildings, serving meals to religious soldiers, breeding a new member of the faithful every year. As Veronica comes of age on the fringes of the American Dream, she rebels against a fanaticism that forbids anything modern—clothes, movies, or music. This is the story, both sad and funny, of a family torn apart by religion and brought back together in spite of the injuries it inflicted on itself.

How can people believe that the supernatural end of the world lies just around the corner when, so far, every such prediction has been proved wrong? Some scholars argue that millenarians are psychologically disturbed; others maintain that their dreams of paradise on earth reflect a nascent political awareness. In this book Damian Thompson looks at the members of one religious group with a strong apocalyptic tradition--Kensington Temple, a large Pentecostal church in London--and attempts to understand how they reconcile doctrines of the end of the world with the demands of their everyday lives. He asks such questions as: Who is making the argument that the world is about to end, and on whose authority? How is it communicated? Which members are persuaded by it? What are the practical consequences for them? How do they rationalize their position? Based on extensive interviews as well as a survey of almost 3000 members, Thompson finds existing explanations of apocalyptic belief inadequate. Although they profess allegiance to millennial doctrine, he discovers, members actually assign a low priority to the "End Times." The history of millenarianism is littered with disappointment, Thompson notes, and the lesson has largely been learned: "predictive" millenarianism--with its risky time-specific predictions of the end--has been substantially supplanted by "explanatory" millenarianism, which uses apocalyptic narratives to explain features of the contemporary world. Most apocalyptic believers, he finds, are comfortable with these lower-cost explanatory narratives that do not require them to sell their houses and head for the hills. He does uncover a handful of "textbook" millenarians in the congregation--people who are confident that Jesus will return in their lifetimes. He concludes that their atypical beliefs were influenced by their conversion experiences, individual psychology, and degree of subcultural immersion. Although much has been written about apocalyptic belief, Thompson's empirically-based study is unprecedented. It constitutes an important step forward in our understanding of this puzzling feature of contemporary religious life.

A rom-com-obsessed romantic waiting for her perfect leading man learns that life doesn’t always go according to a script in this delightfully charming and funny novel. Annie Cassidy dreams of being the next Nora Ephron. She spends her days writing screenplays, rewatching Sleepless in Seattle, and waiting for her movie-perfect meet-cute. If she could just find her own Tom Hanks—a man who’s sweet, sensitive, and possibly owns a houseboat—her problems would disappear and her life would be perfect. But Tom Hanks is nowhere in sight. When a movie starts filming in her neighborhood and Annie gets a job on set, it seems like a sign. Then Annie meets the lead actor, Drew Danforth, a cocky prankster who couldn’t be less like Tom Hanks if he tried. Their meet-cute is more of a meet-fail, but soon Annie finds herself sharing some classic rom-com moments with Drew. Her Tom Hanks can’t be an actor who’s leaving town in a matter of days...can he?

Woodruff became president of the LDS church while hiding from federal marshal's. Convinced that non-Mormons, "gentiles, " would soon be smitten by the calamities promised in the Bible, he bided his time. However, as the parousia was delayed, he eventually negotiated with the United States.

In the summer of 1914, Archduke Franz Ferdinand was assassinated in Sarajevo, an event which led to the horror of World War I. In 1992, Sarajevo again lurched into prominence as the focal point of one of the century's bloodiest civil wars. Yet Sarajevo at one point epitomized the dreams of the Enlightenment, a city where Christians, Jews and Muslims coexisted peacefully. In the midst of Sarajevo's recent decline into chaos and destruction, Susan Sontag decided to produce Act one of "Waiting for Godot", which, despite ever-advancing danger, played to packed houses. Why did this city of hope lie crushed at the end of the 20th century? Why did Sontag stage an artistic production in the midst of such overwhelming tragedy? Why "Waiting for Godot"? And, most important of all, why the silent appreciative tears of audience members who risked their lives to attend a play in the middle of a war? These are the questions which guide David Toole's theological reflections, as he seeks to come to terms with what it means to live a life of dignity in a world of undeniable suffering.