A thousand miles of wilderness. Innumerable dangers. Uneasy alliances. A bond forged in blood. The odds are great, and survival has never been more uncertain. Vampires and humans have always been bitter enemies, destined to push each other to extinction. But when a group of scientists develops a genetic enhancement meant to boost the effectiveness of human hunters, tragic results threaten to bring about the destruction of vampires and humans alike. After the fallout of Year Zero and rise of mutated hybrids known as morphs, the remaining humans retreat into five fortresses. All seems well until Easthaven is attacked in an assault that leaves only thirty survivors. Enter Marcus Warren, one of the most powerful hunters in existence. Reluctantly, Marcus assumes leadership and decides that the group's only chance of survival is to cross a thousand miles of wilderness to Ashland. Forced to trust a hybrid named Clio and a vampire called Aya, Marcus and the others set out. Dangers lurk everywhere, and enemies seem destined to destroy them...if they don't destroy each other first.

What you believe about God sets the foundation of the person you will become. In God Has a Name, pastor and New York Times bestselling author John Mark Comer invites you to rethink many of the prevalent myths and misconceptions about God and weigh them against what God actually tells us about himself. After all, what you believe about God will ultimately shape the type of person you become. We all live at the mercy of our ideas, and nowhere is this more true than our ideas about God. The problem is many of our ideas about God are wrong. Not all wrong, but wrong enough to form our souls in detrimental and disheartening ways. God Has a Name is a simple yet profound guide to understanding God in a new light--focusing on what God says about himself in the Bible. This one shift has the potential to radically alter how you relate to God, not as a doctrine, but as a relational being who responds to you in an elastic, back-and-forth way. John Mark Comer takes you line by line through Exodus 34:6-8--Yahweh's self-revelation on Mount Sinai, one of the most quoted passages in the Bible. Along the way, Comer addresses some of the most profound questions he came across as he studied these noted lines in Exodus, including: Why do we feel this gap between us and God? Could it be that a lot of what we think about God is wrong? Not all wrong, but wrong enough to mess up how we relate to him? What if our "God" is really a projection of our own identity, ideas, and desires? What if the real God is different, but far better than we could ever imagine? No matter where you are in your spiritual journey, God Has a Name invites you to step into a fresh and biblically rooted vision of who God is that has the potential to alter your life with God and shape who you become.

Two prominent Israeli liberals argue that for the conflict between Israel and the Palestinians to end with peace, Palestinians must come to terms with the fact that there will be no "right of return." In 1948, seven hundred thousand Palestinians were forced out of their homes by the first Arab-Israeli War. More than seventy years later, most of their houses are long gone, but millions of their descendants are still registered as refugees, with many living in refugee camps. This group—unlike countless others that were displaced in the aftermath of World War II and other conflicts—has remained unsettled, demanding to settle in the state of Israel. Their belief in a "right of return" is one of the largest obstacles to successful diplomacy and lasting peace in the region. In The War of Return, Adi Schwartz and Einat Wilf—both liberal Israelis supportive of a two-state solution—reveal the origins of the idea of a right of return, and explain how UNRWA - the very agency charged with finding a solution for the refugees - gave in to Palestinian, Arab and international political pressure to create a permanent “refugee” problem. They argue that this Palestinian demand for a “right of return” has no legal or moral basis and make an impassioned plea for the US, the UN, and the EU to recognize this fact, for the good of Israelis and Palestinians alike. A runaway bestseller in Israel, the first English translation of The War of Return is certain to spark lively debate throughout America and abroad.

Let My People Live reengages the narrative of Exodus through a critical, life-affirming Africana hermeneutic that seeks to create and sustain a vision of not just the survival but the thriving of Black communities. While the field of biblical studies has habitually divided "objective" interpretations from culturally informed ones, Kenneth Ngwa argues that doing interpretive work through an activist, culturally grounded lens rightly recognizes how communities of readers actively shape the priorities of any biblical interpretation. In the Africana context, communities whose identities were made disposable by the forces of empire and colonialism—both in Africa and in the African diaspora across the globe—likewise suffered the stripping away of the right to interpretation, of both sacred texts and of themselves. Ngwa shows how an Africana approach to the biblical text can intervene in this narrative of breakage, as a mode of resistance. By emphasizing the irreducible life force and resources nurtured in the Africana community, which have always preceded colonial oppression, the Africana hermeneutic is able to stretch from the past into the future to sustain and support generations to come. Ngwa reimagines the Exodus story through this framework, elaborating the motifs of the narrative as they are shaped by Africana interpretative values and approaches that identify three animating threats in the story: erasure (undermining the community's very existence), alienation (separating from the space of home and from the ecosystem), and singularity (holding up the individual over the collective). He argues that what he calls "badass womanism"—an intergenerational and interregional life force and epistemology of the people embodied in the midwives, Miriam, the Egyptian princess, and other female figures in the story—have challenged these threats. He shows how badass womanist triple consciousness creates, and is informed by, communal approaches to hermeneutics that emphasize survival over erasure, integration over alienation, and multiplicity over singularity. This triple consciousness surfaces throughout the Exodus narrative and informs the narrative portraits of other characters, including Moses and Yahweh. As the Hebrew people navigate the exodus journey, Ngwa investigates how these forces of oppression and resistance shift and take new shapes across the geographies of Egypt, the wilderness, and the mountain area preceding their passage into the promised land. For Africana, these geographies also represent colonial, global, and imperial sites where new subjectivities and epistemologies develop.

An extended study of the Old Testament poems of the Junius collection as a group.

The Exodus Towers features all the high-octane action and richly imagined characters of The Darwin Elevator—but the stakes have never been higher. The sudden appearance of a second space elevator in Brazil only deepens the mystery about the aliens who provided it: the Builders. Scavenger crew captain Skyler Luiken and brilliant scientist Dr. Tania Sharma have formed a colony around the new Elevator’s base, utilizing mobile towers to protect humans from the Builders’ plague. But they are soon under attack from a roving band of plague-immune soldiers. Cut off from the colony, Skyler must wage a one-man war against the new threat as well as murderous subhumans and thugs from Darwin—all while trying to solve the puzzle of the Builders’ master plan . . . before it’s too late for the last vestiges of humanity. Praise for The Darwin Elevator “A hell of a fun book.”—James S. A. Corey, New York Times bestselling author of Abaddon’s Gate “[Jason M.] Hough’s first novel combines the rapid-fire action and memorable characters associated with Joss Whedon’s short-lived Firefly TV series with the accessibility and scientific acumen of [James S. A.] Corey’s ‘Expanse’ series.”—Library Journal (starred review) “The best part about alien stories is their mystery, and Jason Hough understands that like no other. Full of compelling characters and thick with tension, The Darwin Elevator delivers both despair and hope along with a gigantic dose of wonder. It’s a brilliant debut, and Hough can take my money whenever he writes anything from now on.”—Kevin Hearne, New York Times bestselling author of The Iron Druid Chronicles “Newcomer Hough displays a talent for imaginative plotting and realistic dialogue, and the brisk pacing and cliffhanger ending will keep readers enthralled and eagerly awaiting the next installment.”—Publishers Weekly “Jason M. Hough does a great job with this huge story. The world of Darwin and the Elevator is deliciously complex and satisfying. Skyler, Tania, and all the other characters are delightfully drawn and fun to spend time with. . . . The story unfolds with just the right balance of high adventure, espionage, humor, and emotional truth. . . . As soon as you finish, you’ll want more.”—Analog “A debut novel unlike any other . . . This is something special. Something iconic. The Darwin Elevator is full of majesty and wonder, mystery and mayhem, colorful characters and insidious schemes.”—SF Signal “Fun, action-packed and entertaining . . . a sure contender for science fiction debut of the year!”—Pat’s Fantasy Hotlist “Claustrophobic, intense, and satisfying . . . I couldn’t put this book down. The Darwin Elevator depicts a terrifying world, suspends it from a delicate thread, and forces you to read with held breath as you anticipate the inevitable fall.”—Hugh Howey, New York Times bestselling author of Wool “Hough writes with irresistible energy and gritty realism. His puts his characters through hell, blending a convincing plot with heart-stopping action and moments of raw terror as the world goes crazy in the shadow of unfathomable alien intentions.”—Sara Creasy, author of the Philip K. Dick Award–nominated Song of Scarabaeus