A far from willing conscript into a war instigated by a foreign empire, Graven, not much more than a boy, is forced to take up the sword - or die. He finds his life spiraling into a web of violence and betrayal. In a world of uncertain alliances and where life is cheap, he must stay alive and prove his worth. His simple, sheltered village upbringing has not prepared him for the carnage and horror he must now face if ever he is to see his homeland again. In a bitter struggle that will rip away the innocent youth and leave a harsh and uncompromising man, his arduous journey begins.

Examining the thought of key postmodern thinkers like Nietzsche, Derrida and Marion, Bruce Ellis Benson offers profound insight into the nature of conceptual idolatry and our need for the biblical revelation of God in Jesus Christ.

Comic books have increasingly become a vehicle for serious social commentary and, specifically, for innovative religious thought. Practitioners of both traditional religions and new religious movements have begun to employ comics as a missionary tool, while humanists and religious progressives use comics' unique fusion of text and image to criticize traditional theologies and to offer alternatives. Addressing the increasing fervor with which the public has come to view comics as an art form and Americans' fraught but passionate relationship with religion, Graven Images explores with real insight the roles of religion in comic books and graphic novels. In essays by scholars and comics creators, Graven Images observes the frequency with which religious material—in devout, educational, satirical, or critical contexts—occurs in both independent and mainstream comics. Contributors identify the unique advantages of the comics medium for religious messages; analyze how comics communicate such messages; place the religious messages contained in comic books in appropriate cultural, social, and historical frameworks; and articulate the significance of the innovative theologies being developed in comics.

The classic study of gravestone art

Henrietta, the heroine of this story lives in a state of diligent effort, fantasy ambition and ultimate sacrifice of her private life in order to become a known movie star. That is the delusion, to transfer one's immense talent, which she has, into the hands of another person, in her case those beside whom she would attract useful attention, is basis for the belief that they can augment her recognition on the road of stardom. who your seen with that matters," is her working philosophy.

No one is more surprised than Philip Nason when an uprising occurs within the walls of a New York rehabilitation hospital. Moments after Phil, director of recreation, hears that a group of mostly paraplegic patients have staged a rebellion, he learns that the hospitals director is furious and thinks the patients were inspired by Phils current-events reading program. Now with his job in jeopardy, Phil is torn between his desire to empower his patients and pleasing hospital bureaucrats. After the rebel patients beg Phil to create an activity program to help them win the respect of hospital staff and improve their lives, he eventually complies. When Phil acts on a hunch and pops the end of a paint brush into young quadriplegic Clayton Thomass mouth, Clayton begins creating beautiful paintings inspired by the Bible. Phil, spurred by his artistic goals, begins developing a program to showcase the patients artwork. Now all he has to do is convince the hospitals reluctant administrators that unleashing their patients creativity is a good thing. In this inspiring story, hundreds of chronically ill patients realize the power of art while rising up against the stifling restrictions of institutional bureaucracywith help from their determined recreational director.

These introspective poems do not always honor mankind (God-Men) or womankind (Goddess-Women), but recognize men and women as only being human with a propensity to commit a varied assortment of human and inhuman acts.