Like the Great Pyramid, mysteries surround the other pyramids as well as other features found at the Giza plateau in Egypt. For example: Why does the second pyramid have two entrances, both off center, while the single entrance to the third pyramid is centered? What was the purpose of the two lower chambers in the second pyramid? Moreover, why was the sarcophagus in this pyramid made to be wider than the passages that lead to the upper chamber? In a related matter, why were the bones of a bull placed in the sarcophagus? And why was the sarcophagus sunk into the floor up to its lid? At the third pyramid, why were parts of a body dating to the Christian period wrapped in a coarse yellow woolen cloth and buried beneath three feet of rubbish in the upper chamber? Why in the third pyramid was the lower vaulted chamber designed so that it would absorb both sound and light? Out on the plateau, what was the purpose of the so-called trial passages? On the south side of the Great Pyramid, why was an ancient boat dismantled and buried in a pit east of that pyramids north-south axis? And what was stored in the other pit west of the axis? Do the four so-called air shafts in the Great Pyramid link the three major pyramids together? And how are the compartments above the Kings Chamber related to the end time? David Furlong, author of The Keys to the Temple, says the whole of the Giza complex was based on a coherent design intended to portray a spiritual theme (page 89). Volume 2 of Books Written in Stone: Enoch the Seer, the Pyramids of Giza, and the Last Days provides the evidence to support this thesis.

Traces the geological time changes that shaped the land from Maine to New Jersey.

When Munin Cooper, known as the Witch of Oyster Bay, warns Olivia Limoges that death is coming, neither of them realize that it is the older woman herself who will soon be found dead. And Olivia’s instincts tell her that something—or someone—more sinister than a mystical force is at play… Olivia has a lot on her plate preparing for the Coastal Carolina Food Festival. When she hears the news of Munin’s untimely death, however, finding the murderer takes priority. The witch left behind a memory jug full of keepsakes that Olivia knows must point to the killer—but she’s got to figure out what they mean. With handsome Police Chief Rawlings by her side, Olivia starts to identify some of the jug’s mysterious contents—and finds its secrets are much darker than she suspected. Now Olivia must enlist the help of the Bayside Book Writers to solve the puzzle behind the piece of pottery and put an end to a vengeful killer before any more damage can be done…

Rosanne Parry, acclaimed author of A Wolf Called Wander and Heart of a Shepherd, shines a light on Native American tribes of the Pacific Northwest in the 1920s, a time of critical cultural upheaval. Pearl has always dreamed of hunting whales, just like her father. Of taking to the sea in their eight-man canoe, standing at the prow with a harpoon, and waiting for a whale to lift its barnacle-speckled head as it offers its life for the life of the tribe. But now that can never be. Pearl's father was lost on the last hunt, and the whales hide from the great steam-powered ships carrying harpoon cannons, which harvest not one but dozens of whales from the ocean. With the whales gone, Pearl's people, the Makah, struggle to survive as Pearl searches for ways to preserve their stories and skills.

The Great Pyramid--mysteries abound . . . For example: Why was the subterranean chamber apparently abandoned and yet it is larger than the Queen's Chamber and the King's Chamber combined? Why is there a pit in the floor of the subterranean chamber, and why does the narrow passage that snakes south off the subterranean chamber come to a sudden end after 53 feet? Why was sand from the Sinai hidden behind the wall of the horizontal passage to the Queen's Chamber, and why is there a sudden drop in that passage? Why was the Grand Gallery built so large in comparison to the ascending passage, and why are the slots in the ramps of the Grand Gallery empty? Why was the antechamber to the King's Chamber built with both limestone and granite blocks, and what purpose could the so-called Granite Leaf have served? Egyptologists, pyramidologists, and others outside these two camps have attempted to explain such anomalies. Their theories are examined and compared to a new vision that answers not just some of the questions about the Great Pyramid but all of them as revealed in Books Written in Stone: Enoch the Seer, the Pyramids of Giza, and the Last Days.

Like the Great Pyramid, mysteries surround the other pyramids as well as other features found at the Giza plateau in Egypt. For example: - Why does the second pyramid have two entrances, both off center, while the single entrance to the third pyramid is centered? - What was the purpose of the two lower chambers in the second pyramid? Moreover, why was the sarcophagus in this pyramid made to be wider than the passages that lead to the upper chamber? In a related matter, why were the bones of a bull placed in the sarcophagus? And why was the sarcophagus sunk into the floor up to its lid? - At the third pyramid, why were parts of a body dating to the Christian period wrapped in a coarse yellow woolen cloth and buried beneath three feet of rubbish in the upper chamber? - Why in the third pyramid was the lower vaulted chamber designed so that it would absorb both sound and light? - Out on the plateau, what was the purpose of the so-called trial passages? - On the south side of the Great Pyramid, why was an ancient boat dismantled and buried in a pit east of that pyramid's north-south axis? And what was stored in the other pit west of the axis? - Do the four so-called air shafts in the Great Pyramid link the three major pyramids together? And how are the compartments above the King's Chamber related to the end time? David Furlong, author of The Keys to the Temple, says "the whole of the Giza complex was based on a coherent design intended to portray a spiritual theme" (page 89). Volume 2 of Books Written in Stone: Enoch the Seer, the Pyramids of Giza, and the Last Days provides the evidence to support this thesis.

What an achievement! It is a major work. The letters taken together with the excellent introductory sections - so balanced and judicious and informative - what emerges is an amazing picture of William Sharp the man and the writer which explores just how fascinating a figure he is. Clearly a major reassessment is due and this book could make it happen.  —Andrew Hook, Emeritus Bradley Professor of English and American Literature, Glasgow University William Sharp (1855-1905) conducted one of the most audacious literary deceptions of his or any time. Sharp was a Scottish poet, novelist, biographer and editor who in 1893 began to write critically and commercially successful books under the name Fiona Macleod. This was far more than just a pseudonym: he corresponded as Macleod, enlisting his sister to provide the handwriting and address, and for more than a decade "Fiona Macleod" duped not only the general public but such literary luminaries as William Butler Yeats and, in America, E. C. Stedman. Sharp wrote "I feel another self within me now more than ever; it is as if I were possessed by a spirit who must speak out". This three-volume collection brings together Sharp’s own correspondence – a fascinating trove in its own right, by a Victorian man of letters who was on intimate terms with writers including Dante Gabriel Rossetti, Walter Pater, and George Meredith – and the Fiona Macleod letters, which bring to life Sharp’s intriguing "second self". With an introduction and detailed notes by William F. Halloran, this richly rewarding collection offers a wonderful insight into the literary landscape of the time, while also investigating a strange and underappreciated phenomenon of late-nineteenth-century English literature. It is essential for scholars of the period, and it is an illuminating read for anyone interested in authorship and identity.