A post-apocalyptic future of never-ending winters and permanent darkness. Nadia Comani has never seen the sunrise or a real blade of grass. A matter of fact, she’s never been outside Calcane City’s walls and domes where the world is dark and cold and covered with ice and snow. But despite that, Nadia has everything she could ever want: power, privilege, a loving family and most importantly warmth. But when her family refuses to compromise their values to serve the city’s corrupt elite, everything changes. Nadia is cast down from her pedestal of power onto the trash heap of the lower classes. No longer guaranteed a life of ease, Nadia faces a future of servitude. Branded as powerless and deviant, will Nadia muster the strength to save herself and what remains of her family? Get the entire first season (six episodes): "After The Darkness: Omnibus"
Even in a world of never-ending winters and permanent darkness, fourteen-year-old Nadia Comani has everything she could ever want: power, privilege, a loving family and most importantly warmth. But her family's refusal to compromise their values changes everything. Nadia is cast down from her pedestal of power onto the trash heap of the lower classes. No longer guaranteed a life of ease, Nadia faces a future of servitude. Branded as powerless and deviant, will Nadia muster the strength to save herself and what remains of her family? This is the omnibus of episodes 1 - 6.
This conclusion of the explosive "Centauri" trilogy reveals the fates of the Centauri Republic and of Emperor Londo Mollari, one of the most popular of the characters from the "Babylon 5" television series. Based on an outline by TV series creator J. Michael Straczynski.
NEW YORK TIMES BESTSELLER • “A meditation on sense-making when there’s no sense to be made, on letting go when we can’t hold on, and on being unafraid even when we’re terrified.”—Lucy Kalanithi “Belongs on the shelf alongside other terrific books about this difficult subject, like Paul Kalanithi’s When Breath Becomes Air and Atul Gawande’s Being Mortal.”—Bill Gates NAMED ONE OF THE BEST BOOKS OF THE YEAR BY REAL SIMPLE Kate Bowler is a professor at Duke Divinity School with a modest Christian upbringing, but she specializes in the study of the prosperity gospel, a creed that sees fortune as a blessing from God and misfortune as a mark of God’s disapproval. At thirty-five, everything in her life seems to point toward “blessing.” She is thriving in her job, married to her high school sweetheart, and loves life with her newborn son. Then she is diagnosed with stage IV colon cancer. The prospect of her own mortality forces Kate to realize that she has been tacitly subscribing to the prosperity gospel, living with the conviction that she can control the shape of her life with “a surge of determination.” Even as this type of Christianity celebrates the American can-do spirit, it implies that if you “can’t do” and succumb to illness or misfortune, you are a failure. Kate is very sick, and no amount of positive thinking will shrink her tumors. What does it mean to die, she wonders, in a society that insists everything happens for a reason? Kate is stripped of this certainty only to discover that without it, life is hard but beautiful in a way it never has been before. Frank and funny, dark and wise, Kate Bowler pulls the reader deeply into her life in an account she populates affectionately with a colorful, often hilarious retinue of friends, mega-church preachers, relatives, and doctors. Everything Happens for a Reason tells her story, offering up her irreverent, hard-won observations on dying and the ways it has taught her to live. Praise for Everything Happens for a Reason “I fell hard and fast for Kate Bowler. Her writing is naked, elegant, and gripping—she’s like a Christian Joan Didion. I left Kate’s story feeling more present, more grateful, and a hell of a lot less alone. And what else is art for?”—Glennon Doyle, #1 New York Times bestselling author of Love Warrior and president of Together Rising
First came the time-storm, which erased half the population. Then came the Dinosaur Apocalypse … How did it all begin? Well, that depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded. Welcome to the Lost Country. From “The Primeval World”: I stood abruptly and raised the back of my hand—but was restrained by Linda, who had inserted herself between us. “That’s enough! Please—Chris. Enough. She’s not going to tell us.” She backed me away from the girl. “But I have an idea … if you want to hear it.” I yanked away from her and began pacing, furious at the stranger but really angry with myself—for losing my cool in front of my crush, whom I’d liked since the moment we’d met (at the Coke machine in the Community Room, about a month before the Flashback). And for sending them—Penny and Fred—to the food mart in the first place, ostensibly to save time but really just so I could be with Linda. “I—I’m sorry. Jesus. It’s just that—” She came to me and put a finger to my lips. “Shhh. Forget it. All right?” I tried to look away but she forced me to look at her. “All right? Listen. We know which direction they went. So … why don’t we just—take Valerie here—and go looking for them?” She turned to face the young woman. “She’ll point us in the right direction—won’t you, Little Miss Sunshine?” She glared at her menacingly. “If she ever wants to see home again.” And she was right, of course; I knew it and the girl knew it. And so I reconfigured her bonds so she could travel and we doused ourselves in rex urine— including Valerie (for who knew how far we’d have to go or how long we’d be exposed to potential predators), and we headed out; walking up South Union Avenue toward the capitol even as Compies watched from the undergrowth and I thought I saw a face: simian yet strangely human, animal, and yet somehow not—peeking at us briefly from between two fronds. Staring at us, passively, almost meditatively, like a great ape behind glass; or a manatee through green, hazy water.
In his book, Dr. Zebron Ncube argues that in spite of socio-political chaos and pessimistic and secular thinking that dominate human society, the Book of Revelation tells us that God is still in control. This is the prism through which the Book of Revelation should be read. In Episodes in Visions each episode has its own full Bible text, key thought, major objective, overview, and discussion with practical implications. The preacher will find this book to be a tremendous resource for a preaching series. Individuals and study groups will benefit from the easy-to-use outlines of the book. The book is written from a preachers perspective to give hope to a cringing spirit because the foundations of human society are crumbling. God is in control. Dr. Zebron Ncube explains the mysteries of symbols and numbers to connect the contemporary mind with John and his first-century audience. No other book has so much relevance to the contemporary church and world as does the Book of Revelation that Dr. Ncube writes about.
This commentary interprets the first part of the book of Exodus, through 15:21. It features two approaches. On the one hand, the commentary interprets the final form of the traditional Hebrew text "synchronically" by means of form criticism and modern literary methods. On the other hand, it "diachronically" reconstructs the predecessors of the final form, from its origins in an exodus composition that opposes political domination to the text's final form as a dramatic narrative about the transfer of sovereignty from the Pharaoh to the God of Israel. Concluding syntheses examine the relationship between these two interpretive approaches while adding reflections on traditional and contemporary concerns.
