Genius. With hints of madness and mystery, moral license and visionary force, the word suggests an almost otherworldly power: the power to create, to divine the secrets of the universe, even to destroy. Yet the notion of genius has been diluted in recent times. Today, rock stars, football coaches, and entrepreneurs are labeled 'geniuses,' and the word is applied so widely that it has obscured the sense of special election and superhuman authority that long accompanied it. As acclaimed historian Darrin M. McMahon explains, the concept of genius has roots in antiquity, when men of prodigious insight were thought to possess -- or to be possessed by -- demons and gods. Adapted in the centuries that followed and applied to a variety of religious figures, including prophets, apostles, sorcerers, and saints, abiding notions of transcendent human power were invoked at the time of the Renaissance to explain the miraculous creativity of men like Leonardo and Michelangelo. Yet it was only in the eighteenth century that the genius was truly born, idolized as a new model of the highest human type. Assuming prominence in figures as varied as Newton and Napoleon, the modern genius emerged in tension with a growing belief in human equality. Contesting the notion that all are created equal, geniuses served to dramatize the exception of extraordinary individuals not governed by ordinary laws. The phenomenon of genius drew scientific scrutiny and extensive public commentary into the 20th century, but it also drew religious and political longings that could be abused. In the genius cult of the Nazis and the outpouring of reverence for the redemptive figure of Einstein, genius achieved both its apotheosis and its Armageddon. The first comprehensive history of this elusive concept, Divine Fury follows the fortunes of genius and geniuses through the ages down to the present day, showing how -- despite its many permutations and recent democratization -- genius remains a potent force in our lives, reflecting modern needs, hopes, and fears.

The Crime Writers' Association Historical Dagger Winning Author A religious serial killer is haunting Florence and only Cesare Aldo can stop them. A Divine Fury is an atmospheric historical thriller by D. V. Bishop, set in Renaissance Italy. 'Full of dash and atmosphere' - The Times 'Fast becoming a serious rival to C. J. Sansom and S. J. Parris' – Historical Novel Society Florence. Autumn, 1539. Cesare Aldo was once an officer for the city’s most feared criminal court. Following a period of exile, he is back – but demoted to night patrol, when only the drunk and the dangerous roam the streets. Chasing a suspect in the rain, Aldo discovers a horrifying scene beneath Michelangelo’s statue of David. Lifeless eyes gaze from the face of a man whose body has been posed as if crucified. It’s clear the killer had religious motives. When more bodies appear, Aldo believes an unholy murderer is stalking the citizens of Florence. Watching. Hunting. Waiting for the perfect moment to strike again . . . A Divine Fury is the fourth Cesare Aldo mystery, preceded by City of Vengeance, The Darkest Sin and Ritual of Fire.

Ellie is horrified to discover the pharmaceutical company she works for is doing illegal experiments. Company scientists have spliced human and animal DNA, creating exotic new species. One such “experiment” captures her heart and she’ll do anything to save him—even if he hates her for it. Fury has never known compassion or love. He’s spent his life in a cell, chained and abused by humans. The one woman he allowed himself to trust betrayed him. Now he’s free and set on vengeance. He vows to end her life but when she’s finally in his grasp, harming her is the last thing he wants to do to the sexy little human. Fury can’t resist Ellie—the touch of her hands, her mouth on his skin, her body wrapped around his. He’s obsessed with the scent of his woman. And Ellie wants Fury—always has. She craves his big, powerful body and wants to heal his desolate heart. But loving Fury is one thing…taming him is another.

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Two innovative spiritual teachers show how to use desire and passion—eros—as a gateway to realizing our fullest potential What do desire and passion have to do with our spiritual journey? According to A. H. Almaas and Karen Johnson, they are an essential part of it. Conventional wisdom cautions that desire and passion are opposed to the spiritual path—that engaging in desire will take you more into the world, into egoic life. And for most people, that is exactly what happens. We naturally tend to experience wanting in a self-centered way. The Power of Divine Eros challenges the view that the divine and the erotic are separate. When we open to the energy, aliveness, spontaneity, and zest of erotic love, we will find it inseparable from the realm of the holy and sacred. When this is understood, desire and passion become a gateway to wholeness and to realizing our full potential. Through guided exercises, the authors reveal how our relationships become opportunities on the spiritual journey to express ourselves authentically, to relate with openness, and to discover dynamic inner realms with another person. Through embodying the energy of eros, each of us can learn to be fully real and alive in all of our interactions.

From ISIS attacks to the conflict between Israel and Palestine, Sacred Fury explores the connections between faith and violence in world religions. Author Charles Selengut looks at religion as both a force for peace and for violence, and he asks key questions such as how “religious” is this violence and what drives the faithful to attack in the names of their beliefs? Revised throughout, the third edition features new material on violence in Buddhism and Hinduism, the rise of ISIS, “lone wolf terrorists,” and more. This up-to-date edition draws on a variety of disciplines to comprehend forms of religious violence both historically and in the present day. The third edition of Sacred Fury is an essential resource for understanding the connections between faith and violence.

To many readers the book of Ezekiel is a hopeless riddle. We still find many features of the man and his message difficult and sometimes even shocking, if not offensive. The bizarre opening vision catches us off guard and tempts us to stop reading. However, if we persist, and if we meditate long and hard on individual utterances and sign actions, we will discover that despite the strangeness of the man and his utterances, this is the most clearly organized of the major prophetic books. Individual prophecies are clearly marked by headings and often by conclusions. If we persist, we will also discover that from a rhetorical perspective, this priestly prophet knew his audience; he recognized in Judah's rebellion against YHWH the underlying cause of the divine fury that resulted in the exile of his people and the fall of Jerusalem to the Babylonians in 586 BCE. But he also recognized that YHWH's judgment could not be the last word. Because his covenant was eternal and irrevocable he looked forward to a day of spiritual renewal and national restoration. This is the first of two volumes of essays on Ezekiel and his book. The seven general essays and two studies of particular texts in this collection explore the times, the message, and the methods of the prophetic priest.