The book of Revelation has long intrigued, puzzled and even frightened its readers. Surely it is the most misunderstood book in the Bible. And some faulty interpretations of Revelation are so entrenched in the consciousness of Christians that they are regarded as "gospel truth" and provide riveting plot lines for end-time fiction. But behind the ancient multimedia show that is Revelation lies a message both simple and profound. It is told in a language and grammar of faith that was clearly understood by its first Christian audience. Much as a music video would scarcely have been understood by first-century citizens, though it is immediately understood by youthful audiences today, so we are puzzled by and misread Revelation. Paul Spilsbury has studied Revelation in the company of its best interpreters, those who have taken the time to enter the minds of the first-century Christians for whom it was originally written. And what has he found? Within the central images of a throne, a lamb and a dragon lies the answer-- the gospel clearly proclaimed the glory of God awesomely illumined the work of Christ memorably embodied the nature of evil hauntingly disclosed Here is a guide that will help us hear Revelation speak, once again inspiring grateful worship and calling us to costly discipleship.

A discussion of some of the outstanding problems of the book of Revelation that emphasizes the story and overall point of the book. The interpretation is informed without being technical, and the entire book is written in a style that is understandable.

The final book of the Bible, Revelation prophesies the ultimate judgement of mankind in a series of allegorical visions, grisly images and numerological predictions. According to these, empires will fall, the "Beast" will be destroyed and Christ will rule a new Jerusalem. With an introduction by Will Self.

A fresh take on a familiar saying, perfect for the first rainy days of spring. Rattling windows with the roar of a late-winter storm, March shows up like a lion-- wild and messy, muddy and wet. In rhythmic, exuberant text, Newbery Honor-author Marion Dane Bauer conveys the changeable nature of spring weather, as the lion makes way for the lamb—with a huge sneeze!—as the trees and flowers spring into bloom. Full of humor and motion, Caldecott-winning illustrator Emily Arnold McCully's soft watercolors bring the blustering lion and gentle lamb to life. From hail and wet snow to vibrant green fields full of blossoms, the illustrations grow brighter, springing into new life—and hinting and the summer to come. The lively text and paintings illustrate the ways in which we personify spring weather, making this book a perfect introduction to figurative language—and lots of fun to read as well.

"The intention of my work is to dislodge assumptions about the fixity of the three-dimensional body."--Deborah Hay Her movements are uncharacteristic, her words subversive, her dances unlike anything done before--and this is the story of how it all works. A founding member of the famed Judson Dance Theater and a past performer in the Merce Cunningham Dance Company, Deborah Hay is well known for choreographing works using large groups of trained and untrained dancers whose surprising combinations test the limits of the art. Lamb at the Altar is Hay's account of a four-month seminar on movement and performance held in Austin, Texas, in 1991. There, forty-four trained and untrained dancers became the human laboratory for Hay's creation of the dance Lamb, lamb, lamb . . . , a work that she later distilled into an evening-length solo piece, Lamb at the Altar. In her book, in part a reflection on her life as a dancer and choreographer, Hay tells how this dance came to be. She includes a movement libretto (a prose dance score) and numerous photographs by Phyllis Liedeker documenting the dance's four-month emergence. In an original style that has marked her teaching and writing, Hay describes her thoughts as the dance progresses, commenting on the process and on the work itself, and ultimately creating a remarkable document on the movements--precise and mysterious, mental and physical--that go into the making of a dance. Having replaced traditional movement technique with a form she calls a performance meditation practice, Hay describes how dance is enlivened, as is each living moment, by the perception of dying and then involves a freeing of this perception from emotional, psychological, clinical, and cultural attitudes into movement. Lamb at the Altar tells the story of this process as specifically practiced in the creation of a single piece.

If food became unavailable due to a natural disaster and your only food source was human beings, would you eat someone? Would you go a step further and kill someone to eat them? These are decisions that would have to be made by normal, everyday people if faced with this type of situation. Hunting for the Lamb of God traces the footsteps of two families living across the street from each other in a suburb south of Denver, Colorado. The families join forces to navigate through a dystopian nightmare after America is hit with a super EMP (electromagnetic pulse), where food and water supplies run dry, and neighbors turn against neighbors, hunting each other for food to survive.

This book develops a theology of childhood both from a theoretical basis in biblical theology (especially the gospel of Mark) and practical experience in children and youth ministry. Mercer builds on classical theologians such as Augustine, Calvin, Barth, and Rahner as well as modern feminist theologians such as Brock and Russell. She gains insights from pastoral theologians such as Capps and Couture and from contemporary cultural criticism. Mercer challenges approaches to educational and liturgical practices with children in congregations that segregate children from the rest of the church and its key practices of service, mission, worship, care, and learning. She reframes ministries with children as processes through which the church as a "community of practice" forms children into an alternative identity that resists surrounding consumerist culture and walks in the ways of Jesus. This book offers strategies for educational practices with children in congregations as it seeks to address the question, "What might educational practices that welcome children and contribute to their flourishing look like in the context of a faith community where children's learning happens in collaboration with experienced practitioners of faith?" Outlining a feminist practical theology of childhood, it explores five basic theological claims: (1) children as gifts and parenting as a religious practice of stewardship; (2) welcoming those who welcome and care for children; (3) children as already fully human; (4) children as part of the purposes of God; and (5) acknowledging and transforming the sufferings of children.