Offers an overview of the Gospel of Mary; and reviews the Church's long history of misunderstanding her. This work offers advice, prayers and liturgy for living Magdalene spirituality.

Discovery of long-hidden documents in the Vatican Secret Archives reveals the Resurrection to be a myth.

Eyes to See: The Redemptive Purpose of Icons offers the discovery of life-giving spiritual insights found through learning to read the language of religious icons. Written especially for those whose traditions have not included icons, this book introduces eight icons written (painted) by the author. Historical notes, explanation of symbolism, related scriptures for interpretation, and a reflection for each icon deepens understanding and appreciation for the ancient holy images of the Church. The book is eight chapters in length, each describing one of the eight full-color icon plates in the insert.

NOW IS THE TIME FOR THE DIVINE FEMININE For two thousand years, Mary Magdalene has been a veiled silhouette, a shadow of her vibrant self. An enigmatic figure, she was shrouded in mystery, a feminine caricature of either the purest of saints or the most repentant of sinners. Two thousand years have buried her, her lineage and her legacy. Through past life regression, backed by academic research and oral tradition, journey with Mary Magdalene from the age of six to sixty. Discover intimate knowledge of her as a daughter, a sister, a wife, a mother and a spiritual teacher. Her daughter Tamar, the product, initiate and bearer of her legacy, continues her sacred teachings. This is their story - the story of the feminine in spirituality.

In Holy Misogyny, bible scholar April DeConick wants real answers to the questions that are rarely whispered from the pulpits of the contemporary Christian churches. Why is God male? Why are women associated with sin? Why can't women be priests? Drawing on her extensive knowledge of the early Christian literature, she seeks to understand the conflicts over sex and gender in the early church-what they were and what was at stake. She explains how these ancient conflicts have shaped contemporary Christianity and its promotion of male exclusivity and superiority in terms of God, church leadership, and the bed. DeConick's detective work uncovers old aspects of Christianity before later doctrines and dogmas were imposed upon the churches, and the earlier teachings about the female were distorted. Holy Misogyny shows how the female was systematically erased from the Christian tradition, and why. She concludes that the distortion and erasure of the female is the result of ancient misogyny made divine writ, a holy misogyny that remains with us today.

In this book, Cheryl Rose-Hall shares the unique painting technique that she has developed. As a sensitive, she shares how she paints by attuning to her subjects through the eyes and spirals out from that central point. Using historical data along with her psychic impressions, she creates empowered works of art based on sacred sites and their mythology. This book includes photos, images, and research that the public has never seen before. This is reiterated in the brilliant forward by Dr. Jean Houston. The book is divided into the four mythic lands where Cheryl lives and creates. Narnia (Northern Ireland), Lemuria (Mt. Shasta), Avalon (UK), and Bohemia (Prague, Czech Republic). There are 120 color photos and 60 color paintings and their stories. Some of the highlights include The real portrait of Mary painted by St. Luke, the actual Kingdom of Narnia, and the rarely seen ancient Lemurian petroglyphs near Mt. Shasta documented by archeologists.

A sinner-saint who embraced then renounced sexual and worldly pleasures; a woman who, through her attachment to Jesus, embodied both erotic and sacred power; a symbol of penance and an exemplar of contemplative and passionate devotion: perhaps no figure stood closer to the center of late medieval debates about the sources of spiritual authority and women's contribution to salvation history than did Mary Magdalene, and perhaps nowhere in later medieval England was cultural preoccupation with the Magdalene stronger than in fifteenth-century East Anglia. Looking to East Anglian texts including the N-Town Plays, The Book of Margery Kempe, The Revelations of Julian of Norwich, and Bokenham's Legend of Holy Women, Theresa Coletti explores how the gendered symbol of Mary Magdalene mediates tensions between masculine and feminine spiritual power, institutional and individual modes of religious expression, and authorized and unauthorized forms of revelation and sacred speech. Using the Digby play Mary Magdalene as her touchstone, Coletti engages a wide variety of textual and visual resources to make evident the discursive and material ties of East Anglian dramatic texts and feminine religion to broader traditions of cultural commentary and representation. In bringing the disciplinary perspectives of literary history and criticism, gender studies, and social and religious history to bear on specific local instances of dramatic practice, Mary Magdalene and the Drama of Saints highlights the relevance of Middle English dramatic discourse to the dynamic religious climate of late medieval England. In doing so, the book decisively challenges the marginalization of drama within medieval English studies, elucidates vernacular theater's kinship with influential late medieval religious texts and institutions, and articulates the changing possibilities for sacred representation in the decades before the Reformation.