The year is 2028. Man's most ancient and feared enemy still walks the earth. For centuries, he has been consolidating his power and marshaling his dark forces for one last play. Walker Cain is the Man of Shadows and has only one agenda: to establish a one-world order through which he can control our destiny and remove our freedoms of personal choice. For him, no other plan can be worth his time and resources. He is the beast and intends for all to carry his mark. Benjamin Jasher has been a historian for as long as humanity has lived to record the advancement of civilizations. As a young man following The Great Flood, the ancient patriarch Noah presented him with a special duty and a challenge: to record the march of history. To ensure his life's work continued, he was permitted to live as long as necessary. But he needed to make special note of the acts and machinations of the most insidious man who ever lived, Cain.

For few verses in the Bible is the relationship between scripture and the artistic imagination more intriguing than for the conclusion of Genesis 4:15: "And the Lord set a mark upon Cain, that whosoever found him should not kill him." What was the mark of Cain? The answers set before us in this sensitive study by art historian Ruth Mellinkoff are sometimes poignant, frequently surprising. An early summary of rabbinic answers, for examples runs as follows: R. Judah said: "He caused the orb of the sun to shine on his account." Said R. Nehemiah to him: "For that wretch He would cause the orb of the sun to shine! Rather, he caused leprosy to break out on him...." Rab said: "He gave him a dog." Abba Jose said: "He made a horn grow out of him." Rab said: "He made him an example to murderers." R. Hanin said: "He made him an example to penitents." R. Levi said in the name of R. Simeon b. Lakish: "He suspended judgment until the flood came and swept him away." After a review of such early Jewish and Christian exegesis, Mellinkoff divides physical interpretations on the mark into three groups: "A Mark on Cain's Body," "A Movement of Cain's Body," and "A Blemish Associated with Cain's Body." Her discussion of these groups is the heart of her study and offers its richest examples of interplay among medieval art and imaginative literature, on the one hand, and biblical exegesis, on the other. Thus in one remarkable tour de force, she shows us how a poetic misprision of Genesis 4:24 - "Sevenfold vengeance will be taken for Cain: but for Lamech seventy times sevenfold" - made Lamech the murderer of Cain; how there then grew up the legend that Lamech, a hunter, had killed Cain when he mistook him for an animal; how from that, the notion that the mark of Cain was a horn or horns on Cain's head arose (in the poignant formulation of the Tanhuma Midrash: "Oh father, you have killed something that resembles a man except it has a horn on its forehead!"); and how from that, in the maturity of the legend, there flowered Cornish drama, Irish saga, and stunning reliefs of a dying, antlered Cain in the cathedrals of Vezelay and Autun. Like Genesis 4:15 itself, 'The Mark of Cain' is suggestive rather than comprehensive. Concluding chapters on "Intentionally Distorted Interpretations of Cain's Mark" and "Cain's Mark and the Jews" bring the history down to our own day, but Mellinkoff does not claim to have said the last word on the subject. Her achievement is neither documentary nor exegetical but rather demonstrative: she shows us with brilliant economy how the artistic imagination functioned in a world whose intellectual definition was a closed canonical text.

When a man is consumed by hatred, is there anything left to love? After a tough day of counseling sessions, Anglican priest Mark Webber is looking forward to a relaxing dinner at a local restaurant. When he sees who's bellied up to the bar, though, he reaches for his cell phone to call the police. It's Lucas Cain, the man who killed Mark's brother three years ago. Apparently he's out of jail and hanging out with his old crowd, which has to be a breach of parole, right? Pulled over upon leaving the bar, Lucas blows a clean breathalyzer and hopes this isn't a harbinger of things to come. He's ready to build a sober, peaceful life. His friends aren't ready to let him move on, though, and he ends up taking refuge in an Anglican half-way house. Thrown together, Mark and Lucas find common ground in the struggle to help a young gay man come to terms with his sexuality-and the fight against homophobic townsfolk. As attraction grows, the past is the last stumbling block between them and a future filled with hope. Warning: Bad boys being good, good boys being bad.

Nothing makes Portland detective Archie Sheridan happier than knowing that Gretchen Lowell—the serial killer whose stunning beauty is belied by the gruesome murders she's committed—is locked away in a psych ward. Archie can finally heal from the near-fatal physical and emotional wounds she's inflicted on him and start moving on with his life. To this end, Archie throws himself into the latest case to come across his desk: A cyclist has discovered a corpse in Mount Tabor Park on the eastern side of Portland. The man was gagged, skinned, and found hanging by his wrists from a tree. It's the work of a killer bold and clever enough to torture his victim for hours on a sunny summer morning in a big public park and yet leave no trace. And then Archie gets a message he can't ignore—Gretchen claims to have inside knowledge about this grisly murder. Archie finally agrees to visit Gretchen, because he can't risk losing his only lead in the case. At least, that's what he tells himself . . . but the ties between Archie and Gretchen have always been stronger, deeper, and more complex than he's willing to admit, even to himself. What game is she playing this time? And even more frightening, what long-hidden secrets from Gretchen's past have been dredged up that someone would kill to protect? At once terrifying and magnetic, "Beauty Killer" Gretchen Lowell returns with a vengeance in Kill You Twice, Chelsea Cain's latest razor-sharp psychological thriller.

In this re-edited book version of The Book of Jasher, The Clan, the year is 2025. Man’s most ancient and feared enemy still walks the earth and has been consolidating his power and marshaling his dark forces for thousands of years. He is the man of shadows, and he has only one agenda: to establish a one-world order where he controls our destiny. For him, there can be no other purpose for power. Now only one man, Benjamin Jasher, stands between this same dark ruler and the goal of the same ancient society, not because he is more cunning but because he has the means to expose this dark adversary for what he is and what he wants: he is the Beast, and he intents for all to carry his mark.

The next installment in the critically acclaimed lectionary series that focuses on women's stories. In this second volume of the three-volume Women's Lectionary for the Whole Church, widely praised womanist bible scholar and priest Wil Gafney selects scripture readings that emphasize women's stories. Focusing especially on the Gospel of Mark, Year B of A Women's Lectionary features Gafney's fresh, inclusive, and thought-provoking translations of every reading, alongside commentary on each reading. Designed for liturgical use or scriptural study, this resource offers a new perspective on the Bible and the liturgical year. “Gafney's paradigm-shifting scholarship will influence biblical preaching and teaching for generations to come." —National Catholic Reporter

Hailed as "the most radical repackaging of the Bible since Gutenberg", these Pocket Canons give an up-close look at each book of the Bible.