Dropped into the Rocky Mountains, the Omega team has minimal supplies and only two days to make it back to civilization, but what they find in the wilderness turns the training op into a real one. Will they all make it back alive?
What you believe about God sets the foundation of the person you will become. In God Has a Name, pastor and New York Times bestselling author John Mark Comer invites you to rethink many of the prevalent myths and misconceptions about God and weigh them against what God actually tells us about himself. After all, what you believe about God will ultimately shape the type of person you become. We all live at the mercy of our ideas, and nowhere is this more true than our ideas about God. The problem is many of our ideas about God are wrong. Not all wrong, but wrong enough to form our souls in detrimental and disheartening ways. God Has a Name is a simple yet profound guide to understanding God in a new light--focusing on what God says about himself in the Bible. This one shift has the potential to radically alter how you relate to God, not as a doctrine, but as a relational being who responds to you in an elastic, back-and-forth way. John Mark Comer takes you line by line through Exodus 34:6-8--Yahweh's self-revelation on Mount Sinai, one of the most quoted passages in the Bible. Along the way, Comer addresses some of the most profound questions he came across as he studied these noted lines in Exodus, including: Why do we feel this gap between us and God? Could it be that a lot of what we think about God is wrong? Not all wrong, but wrong enough to mess up how we relate to him? What if our "God" is really a projection of our own identity, ideas, and desires? What if the real God is different, but far better than we could ever imagine? No matter where you are in your spiritual journey, God Has a Name invites you to step into a fresh and biblically rooted vision of who God is that has the potential to alter your life with God and shape who you become.
Marine First Sergeant Logan "Cowboy" Reese was rescued hours before he would've met the same fate as his five murdered teammates in Afghanistan. Returning to the US and civilian life hadn't been part of his plans at this stage of his career, but dealing with PTSD forced his hand. However, an unexpected job offer with Trident Security, a private firm in Tampa, has him finding a purpose in life again, but will his flashbacks destroy a promising future altogether? Officer Dakota Swift has worked hard to prove she belongs on Tampa PD with the big boys and has been trying to get assigned to the Special Operations Division. A local, serial killer, targeting submissives in the BDSM lifestyle, gives her the opportunity to get her feet wet in undercover work. She's assigned to the joint task force between TPD, the FBI, and Trident Security, but can she survive her attraction to her new partner, Logan? The operatives of Trident Security have a keen interest of catching the "Kink Killer" as the heads of the company also own a BDSM club, The Covenant. Until his identity is discovered, no woman in the lifestyle community is safe. With the body count rising, will the killer be caught before someone from The Covenant becomes the next victim?
William C. Olsen, Walter E. A. van Beek, and the contributors to this volume seek to understand how Africans have confronted evil around them. Grouped around notions of evil as a cognitive or experiential problem, evil as malevolent process, and evil as an inversion of justice, these essays investigate what can be accepted and what must be condemned in order to evaluate being and morality in African cultural and social contexts. These studies of evil entanglements take local and national histories and identities into account, including state politics and civil war, religious practices, Islam, gender, and modernity.
In John R. Dann's thrilling and romantic prehistoric saga, Song of the Axe, the tribe's chieftain was called Grae, after a famous ancestor. Now Dann returns to tell the saga of the wanderings of one prehistoric tribal family over several generations, always led by that famous, original Grae, and by his children. The powerful daughters of River Woman saved young Grae from a flooded river after a volcano erupted and destroyed their tribal home. Then they made him chief, but that's almost the last thing they agree on before the tribe splinters. Grae leads the main group out of Africa ever northward, into central and eastern Europe, always searching for safety and a better life. Challenged by truly monstrous evil tribes, but guided by spirits, they survive. It takes three generations, and three chieftains named Grae, before the tribe comes to rest. Their story is an adventure on the grandest scale, full of dangers, romance, and beguiling mystery in an exotic setting. A rich and complex story told with simplicity, authenticity, and vigor, Song of the Earth is a worthy companion to Song of the Axe.
Is there anything new to say about Thomas Jefferson and slavery? The answer is a resounding yes. Master of the Mountain, Henry Wiencek's eloquent, persuasive book—based on new information coming from archaeological work at Monticello and on hitherto overlooked or disregarded evidence in Jefferson's papers—opens up a huge, poorly understood dimension of Jefferson's world. We must, Wiencek suggests, follow the money. So far, historians have offered only easy irony or paradox to explain this extraordinary Founding Father who was an emancipationist in his youth and then recoiled from his own inspiring rhetoric and equivocated about slavery; who enjoyed his renown as a revolutionary leader yet kept some of his own children as slaves. But Wiencek's Jefferson is a man of business and public affairs who makes a success of his debt-ridden plantation thanks to what he calls the "silent profits" gained from his slaves—and thanks to a skewed moral universe that he and thousands of others readily inhabited. We see Jefferson taking out a slave-equity line of credit with a Dutch bank to finance the building of Monticello and deftly creating smoke screens when visitors are dismayed by his apparent endorsement of a system they thought he'd vowed to overturn. It is not a pretty story. Slave boys are whipped to make them work in the nail factory at Monticello that pays Jefferson's grocery bills. Parents are divided from children—in his ledgers they are recast as money—while he composes theories that obscure the dynamics of what some of his friends call "a vile commerce." Many people of Jefferson's time saw a catastrophe coming and tried to stop it, but not Jefferson. The pursuit of happiness had been badly distorted, and an oligarchy was getting very rich. Is this the quintessential American story?
The stereotypical hillbilly figure in popular culture provokes a range of responses, from bemused affection for Ma and Pa Kettle to outright fear of the mountain men in Deliverance. In Hillbillyland, J. W. Williamson investigates why hillbilly images are so pervasive in our culture and what purposes they serve. He has mined more than 800 movies, from early nickelodeon one-reelers to contemporary films such as Thelma and Louise and Raising Arizona, for representations of hillbillies in their recurring roles as symbolic 'cultural others.' Williamson's hillbillies live not only in the hills of the South but anywhere on the rough edge of society. And they are not just men; women can be hillbillies, too. According to Williamson, mainstream America responds to hillbillies because they embody our fears and hopes and a romantic vision of the past. They are clowns, children, free spirits, or wild people through whom we live vicariously while being reassured about our own standing in society.