Every conclusion arrived at as a result of study of the fragments of information available in respect to money and its creators in the world of the Ancient Civilizations, indicates the existence of a far reaching conspiracy in respect to monetary issuance influencing the progression of man's history in the earliest times of which written record exists. It is also outstandingly clear that it was parent to that acknowledged and most obvious conspiracy such as exists today. Hence was able to develop that conspiracy against mankind most exemplified by a continuous propaganda of hate against all authority: in pre-antiquity and antiquity against the many city gods, and in relatively modern times against the kings that rose out of the ruins of that which had been Rome. As those controlling totally the economic life of a state through monetary creation and emission, must have felt that kings and gods were more of a nuisance than anything else, the instigators of this conspiracy in whatever place and era, obviously were those who first did the business of bankers; the controllers of values, and consequently the economic life of the states wherever the precious metal standard was used.

First published by Odyssey Press in 1957, this classic edition provides Milton's poetry and major prose works, richly annotated, in a sturdy and affordable clothbound volume.

Astrology, ancient temples, modern banking: here are the alchemical physics behind it all.

Provides image and full-text online access to back issues. Consult the online table of contents for specific holdings.

Stanley Fish is one of America’s most stimulating literary theorists. In this book, he undertakes a profound reexamination of some of criticism’s most basic assumptions. He penetrates to the core of the modern debate about interpretation, explodes numerous misleading formulations, and offers a stunning proposal for a new way of thinking about the way we read. Fish begins by examining the relation between a reader and a text, arguing against the formalist belief that the text alone is the basic, knowable, neutral, and unchanging component of literary experience. But in arguing for the right of the reader to interpret and in effect create the literary work, he skillfully avoids the old trap of subjectivity. To claim that each reader essentially participates in the making of a poem or novel is not, he shows, an invitation to unchecked subjectivity and to the endless proliferation of competing interpretations. For each reader approaches a literary work not as an isolated individual but as part of a community of readers. “Indeed,” he writes, “it is interpretive communities, rather than either the text or reader, that produce meanings.” The book is developmental, not static. Fish at all times reveals the evolutionary aspect of his work—the manner in which he has assumed new positions, altered them, and then moved on. Previously published essays are introduced by headnotes which relate them to the central notion of interpretive communities as it emerges in the final chapters. In the course of refining his theory, Fish includes rather than excludes the thinking of other critics and shows how often they agree with him, even when he and they may appear to be most dramatically at odds. Engaging, lucid, provocative, this book will immediately find its place among the seminal works of modern literary criticism.

Reprint of the original, first published in 1875.