This volume is the sequel to Karl Schefold's Myth and Legend in Early Greek Art, and the second in his ambitious project to trace the representation of the Greek myths in Greek art from the beginnings down to the Hellenistic period.

Robert Graves, classicist, poet, and unorthodox critic, retells the Greek legends of gods and heroes for a modern audience And, in the two volumes of The Greek Myths, he demonstrates with a dazzling display of relevant knowledge that Greek Mythology is “no more mysterious in content than are modern election cartoons.” His work covers, in nearly two hundred sections, the creation myths; the legends of the births and lives of the great Olympians; the Theseus, Oedipus, and Heracles cycles; the Argonaut voyage; the tale of Troy, and much more. All the scattered elements of each myth have been assembled into a harmonious narrative, and many variants are recorded which may help to determine its ritual or historical meaning, Full references to the classical sources, and copious indexes, make the book as valuable to the scholar as to the general reader; and a full commentary on each myth explains and interprets the classical version in the light of today’s archaeological and anthropological knowledge.

The Living Death of Antiquity examines the idealization of an antiquity that exhibits, in the words of Johann Joachim Winckelmann, 'a noble simplicity and quiet grandeur'. Fitzgerald discusses the aesthetics of this strain of neoclassicism as manifested in a range of work in different media and periods, focusing on the late eighteenth and early nineteenth centuries. In the aftermath of Winckelmann's writing, John Flaxman's engraved scenes from the Iliad and the sculptors Antonio Canova and Bertel Thorvaldsen reinterpreted ancient prototypes or invented new ones. Earlier and later versions of this aesthetic in the ancient Greek Anacreontea, the French Parnassian poets and Erik Satie's Socrate, manifest its character in different media and periods. Looking with a sympathetic eye on the original aspirations of the neoclassical aesthetic and its forward-looking potential, Fitzgerald describes how it can tip over into the vacancy or kitsch through which a 'remaindered' antiquity lingers in our minds and environments. This book asks how the neoclassical value of simplicity serves to conjure up an epiphanic antiquity, and how whiteness, in both its literal and its metaphorical forms, acts as the 'logo' of neoclassical antiquity, and functions aesthetically in a variety of media. In the context of the waning of a neoclassically idealized antiquity, Fitzgerald describes the new contents produced by its asymptotic approach to meaninglessness, and how the antiquity that it imagined both is and is not with us.

Beneath the surface details of our planet lies a numbers matrix, and somebody just stole its key, putting our world in jeopardy. In 2050, geomancers and Light grid engineers at the Hierophancy in Sun Valley, Idaho, perfected an algorithm that runs all the Earth’s psychic affairs. In 2065, somebody stole it. This is the account of how they got it back. They had to get it back because in the wrong hands, this math formula could take over or end the planet. The Hierophancy is a secret group that works with the planet’s subtle energy terrain. You’ll know its outer expression as a landscape of sacred sites. Their job is to reveal the Holy Light that comes out of these many nodes and to fix it when there’s a problem. Why? They’re Hierophants—think of them as engineers of the planet’s Light grid. In April 2065, they discovered there was problem, a big one. Hierophancy staff member Frederick Atkinson narrates what they did about it. It’s a fairly wild ride involving unsuspected levels of planetary reality, routine cooperation of extraterrestrial colleagues, lots of angels, Ascended Masters, and even a guest consultation with the Chief Architect of All Reality. The result is a concentrated detective hunt across time and space to find that stolen mathematics. The quest for the stolen arithmetic takes the team to sites in Bolivia, Canada, Japan, and Iceland and back to the planet’s earliest days and other key moments in its geomantic life as they probe the engineering intricacies that comprise the Earth’s esoteric reality. An awful lot is at stake—namely, the fate of five related planets across this and other galaxies because they’re directly tied into the Earth and they need those numbers back too.