The Firstborn of God is an in-depth, yet concise, look at the contradictions in the Bible. This book may well have the answers that you have been looking for! Throughout history our religious beliefs have been instrumental in shaping our social and political strictures. Whether we are devout or not, the fundamental philosophies of any give religion will dictate the way in which we interact with each other on a mental, social and political level. Most of the Western world is no exception and has based its theology on a text known as "The Bible." But what is "The Bible"? Is it a collection of scrolls written by a group of old men? Or is it the word of God as so many claim it to be? If the Bible really is the word of God, then it should follow that the chapters and verses will be clear-cut, easily understood and lack ambiguity. But this is not the case. The Bible is ambiguous and many of its texts contradict each other, which in turn implies that the scribes who wrote them had differing views on the divine word of God as well as differing social and political philosophies.

You many think you know everything you need to know about the historical figure "Jesus Christ", but every cherished belief you have is false. Jesus Christ is a fraud. For a start, his name wasn't Jesus Christ but Yehoshua ben Yosef. And, just as his name is a fiction designed to disguise the truth, so is everything else about him. We will demonstrate the following: 1) The central promise of Christianity – the resurrection of the dead – is utterly wrong. The Christian Gospels demonstrate conclusively that Jesus Christ was reincarnated. 2) Jesus Christ was the central figure in one of the most audacious plots in history. 3) He was head of an Elite Family that wished to rule the world. The Family exists to this day. 4) Jesus Christ was the leader of an army that sought to overthrow Roman rule in Judea. He was executed as a violent revolutionary attempting to set himself up as a king. 5) Judas, the infamous traitor, was the brother of Christ. The greatest lie in history has endured too long.

In Virgin Whore, Emma Maggie Solberg uncovers a surprisingly prevalent theme in late English medieval literature and culture: the celebration of the Virgin Mary’s sexuality. Although history is narrated as a progressive loss of innocence, the Madonna has grown purer with each passing century. Looking to a period before the idea of her purity and virginity had ossified, Solberg uncovers depictions and interpretations of Mary, discernible in jokes and insults, icons and rituals, prayers and revelations, allegories and typologies—and in late medieval vernacular biblical drama. More unmistakable than any cultural artifact from late medieval England, these biblical plays do not exclusively interpret Mary and her virginity as fragile. In a collection of plays known as the N-Town manuscript, Mary is represented not only as virgin and mother but as virgin and promiscuous adulteress, dallying with the Trinity, the archangel Gabriel, and mortals in kaleidoscopic erotic combinations. Mary’s "virginity" signifies invulnerability rather than fragility, redemption rather than renunciation, and merciful license rather than ascetic discipline. Taking the ancient slander that Mary conceived Jesus in sin as cause for joyful laughter, the N-Town plays make a virtue of those accusations: through bawdy yet divine comedy, she redeems and exalts the crime. By revealing the presence of this promiscuous Virgin in early English drama and late medieval literature and culture—in dirty jokes told by Boccaccio and Chaucer, Malory’s Arthurian romances, and the double entendres of the allegorical Mystic Hunt of the Unicorn—Solberg provides a new understanding of Marian traditions.

In this fully revised and updated edition, the bestselling authors of The Templar Revelation present new and compelling evidence linking Leonardo da Vinci with the forgery of Christianity's most famous relic. For centuries the Turin Shroud was believed to be Christ's authentic burial cloth, miraculously imprinted with his image -- but in 1988 carbon dating revealed it is a medieval- or Renaissance-era forgery. However, authors Lynn Picknett and Clive Prince realized that the 1988 discovery prompted even more questions: The image seems to be a photograph -- so could the Turin Shroud actually be the world's first photograph? If the face of the man on the Shroud is not Jesus', whose is it? Who had the sheer audacity to create what would become an infamous relic of Christianity, faking even Christ's holy, redemptive blood? Whoever did this was not only a genius but also a heretic.... After more than a decade of research, Picknett and Prince have accumulated evidence that shows not only was the forger of the Turin Shroud none other than Leonardo da Vinci but also that he used his own face for that of Christ. The Turin Shroud is, among other things, a five-hundred-year-old photograph of Leonardo da Vinci. Could Christianity's greatest relic in fact be an attempt to undermine the religion itself?

The hardcore views and lampoons presented here are entirely my own- ruthlessly analyzed and synthesized mainly from New Testament sources. If you ask me why I write such a nasty book, my retort is, why do the Gospel narrators write such bad, asinine, pious fucking fiction? Why were the Gospel writers not serious, and why do they make a joke of their god, Jesus? St Matthew should either be awarded Most Asinine Religious Writer of the Millennium or be sodomized with a broomstick. Theologians are extremely lousy analytic thinkers. For example, they and the educated Christians dont even know, or dare, to answer this sticky question over 2,000 years: Judas betrayed Jesus, but what was the substance of the betrayal? Was it over the stupid, limpid Sermons on the Mount, the Parable of Hidden Treasure, or Parable of the Pearl of Great Price? Be prepared for a rough ride! This is PPG rated. (Pastor et Parental Guidance)

The disconnection between spirituality and passionate love leaves a broad sense of dissatisfaction and boredom in relationships. The author illustrates how our vitality and capacity for joy depend on restoring the soul of the sacred prostitute to its rightful place in consciousness.