The book take place during the 16th century during The Salem Witch Trials. The event between Violet and Hans took place in Massachusetts. On May 13 1691. The Salem Witch Hunt was the deadliest witch hunt in the history of colonial North America. More than 200 accused,19 found guilty/and executed by hanging. Violet and Hans were two of the nineteen that were hung. During the Colonial America's mass hysteria. Violet and Hans are two people who are victims to dogmatic beliefs. Both of them fall in love deeply unto their deaths. It’s a book on converting people to beliefs, so uncanny. It’s not religious. Its fictitious. Two people against an unruly people. So both Violet and Hans are eventually label and punish for something that is beyond human comprehension. Which led to an event that has made its mark in history. (The Salem Witch Hunt Trials Feb1692 - May 1693).

"Over the past twenty-five years, Scott MacDonald's kaleidoscopic explorations of independent cinema have become the most important chronicle of avant-garde and experimental film in the United States. In this collection of thematically related personal essays and conversations with filmmakers, he takes us on a fascinating journey into many under-explored territories of cinema. MacDonald illuminates topics including race and avant-garde film, the political implications of the nature film, the inventive single shot films of the late 1960s and early 1970s, why men use pornography and what they are looking at when they do, poetry and the poetic in avant-garde film, the widespread failure of film studies academicians to honor those who keep film exhibition alive, and other topics. Several of the interviews--those with Korean filmmaker Gina Kim, French nature filmmakers Claude Nuridsany and Marie Pérennou (Microcosmos), Canadian media artist Clive Holden, formalist/conceptualist David Gatten, and New York's Film Forum director Karen Cooper--are the first substantial conversations with these filmmakers available in English."--Publisher's description.

Maggie Mullen is an overweight twenty-seven-year-old woman who has built a quiet, simple life for herself that revolves around her cat-tending business, the time she spends with her own faithful feline Lucy, and her enduring love for Frank Sinatra. But things are quickly becoming complicated. Maggie is asked to be the maid of honor at her younger sister’s wedding: a nightmare prospect that threatens to take Maggie from her carefully constructed comfort zone and force her to face her past, present, and future. The life she’s been leading is her own . . . but is it enough? Maggie Mullen is an overweight twenty-seven-year-old woman who has built a quiet, simple life for herself that revolves around her cat-tending business, the time she spends with her own faithful feline Lucy, and her enduring love for Frank Sinatra. But things are quickly becoming complicated. Maggie is asked to be the maid of honor at her younger sister’s wedding: a nightmare prospect that threatens to take Maggie from her carefully constructed comfort zone and force her to face her past, present, and future. The life she’s been leading is her own . . . but is it enough? Maggie Mullen is an overweight twenty-seven-year-old woman who has built a quiet, simple life for herself that revolves around her cat-tending business, the time she spends with her own faithful feline Lucy, and her enduring love for Frank Sinatra. But things are quickly becoming complicated. Maggie is asked to be the maid of honor at her younger sister’s wedding: a nightmare prospect that threatens to take Maggie from her carefully constructed comfort zone and force her to face her past, present, and future. The life she’s been leading is her own . . . but is it enough?

Apocalyptic Bodies traces the biblical notions of the end of the world as represented in ancient and modern texts, art, music and popular culture, for example the paintings of Bosch. Tina Pippin addresses the question of how far we, in the late twentieth century, are capable of reading and responding to the 'signs of the times'. It will appeal not only to those studying religion, but also to those fascinated with interpretations of the end of the world.

This book is a collection of three papers. The first chapter deals with the fate of the sinners in the Last Judgment on Russian icons and in Orthodox wall painting. In the second chapter, the role of the inscription bands encircling the illustration of Ps 148, 1(-2) is explored. Many of these bands begin with the final verse of the psalter, Ps 150, 6. The role of this verse in the illustration of the laud psalms is investigated in the last chapter in which the miniature of Ps 150 in the Carolingian Stuttgart psalter is scrutinized. It emerges that all three chapters share a common thread: Both the Last Judgment composition and the laud psalms illustration serve as tools to convey the very essence of the Christian faith: That Jesus Christ is the Lord.

Colonial New Englanders would have found our modern notions of free speech very strange indeed. Children today shrug off harsh words by chanting "sticks and stones may break my bones but names will never hurt me," but in the seventeenth century people felt differently. "A soft tongue breaketh the bone," they often said. Governing the Tongue explains why the spoken word assumed such importance in the culture of early New England. Author Jane Kamensky re-examines such famous Puritan events as the Salem witch trials and the banishment of Anne Hutchinson to expose the ever-present fear of what the puritans called "sins of the tongue." But even while dangerous or deviant speech was restricted, Kamensky points out, godly speech was continuously praised and promoted. Congregations were told that one should ones voice "like a trumpet" to God and "cry out and cease not." By placing speech at the heart of familiar stories of Puritan New England, Kamensky develops new ideas about the relationship between speech and power both in Puritan New England and, by extension, in our world today.