Other than the Apostle Paul mentioning Titus name on several occasions, there is nothing about Titus in the scriptures. The author deduced that Paul used him as an arbitrator among churches. This novel is based on that premise. . Titus is a brilliant attorney who solves unsolvable mysteries. Then he meets the Apostle Paul and becomes a Christian. Corinth—full of wild sailors, temple prostitutes, wealthy investors. Crete—infamous for pirates, slave auctions, earthquakes. Dalmatia—with its barbarians, undead, and evil dragons. . Titus is an aristocrat, born of privilege, surrounded by luxury in the family palatio, and graduate of the university at Pergamum. His father is the supreme judge of Antioch and Flamin of Apollo, while his mother is Flaminica of Apollo’s Muses. He is a brilliant attorney solving unsolvable crimes and healing impossible relationships. His ambition is to become important like his father and qualify for the purple border on his own white toga. . His career spirals upward as he defends his clients and solves crimes. . Then he meets the apostle Paul and becomes a Christian. Paul sends him to places where he does not fit in to use his unique talent as arbitrate between arch enemies and impossible situations. . What does aristocrat Titus endure to carry out the apostle’s assignments? Discussion questions at end of book for each chapter which can be used in book clubs and classes or personal reflection.

THE CHRONICLES OF HANUVAR CONTINUE—SWORD AND SORCERY HEROICS ABOUND! Gladiators, legionnaires, scheming sorcerers, and dark gods had battered Hanuvar but not stopped him. The great Volani general now returns to the land of his enemies! Hanuvar had pledged to find the remnants of his people, scattered into slavery across the whole of the peninsula. This time he had no army to help him. His would be a stealthy war of liberation, buying the freedom of some and arranging for the escape of others, aided only by a young playwright, the daughter of a hated political rival, the tattered remnants of his old spy network, and the unlikeliest ally of all, the general who had once defeated him. Arrayed against them were the mighty legions, the sorcerous revenants, and the wily Metellus of the Praetorian guard, ever alert to seize advantage. To add to their troubles, someone was drawing unwanted attention to the helpless Volani slaves by murdering influential Dervans and leaving the sign of the sacred Eltyr corps beside their bodies. Someone who might well be Hanuvar’s lost daughter, who’d fought her way from captivity and was even now being hunted through the countryside. Worst of all, a magical attack had left Hanuvar with a lingering curse that might change him forever . . . or lead him to an early grave. At the publisher’s request, this title is sold without DRM (Digital Rights Management). Praise for Lord of a Shattered Land: “This wonderful work put me in mind of the stories I read when I was editing Baen’s Robert E. Howard library.” —David Drake, best-selling author of the Hammer’s Slammers series, Redliners, and the RCN series. “Howard Andrew Jones is the leading Sword & Sorcery author of the 21st Century . . . His Lord of a Shattered Land is his best work yet, a heroic fantasy retelling of one of the great tales of antiquity, the fall of Carthage and its legendary general Hannibal . . . It’s a magnificent achievement, destined to become a modern classic.” —John O’Neill, World Fantasy Award-winning publisher “The book is a riveting portrait of a hero trying to keep his civilization alive in the wake of a devastating military defeat; it’s a series of ripping yarns that collectively add up to a greater story with a deeper impact than any of its parts; it’s another triumph for Howard Andrew Jones, premier wielder of the new edge in sword-and-sorcery.” —James Enge, World Fantasy Award-nominated author Praise for Howard Andrew Jones: “Howard Jones writes not-to-be-missed epic fantasy with immersive world building and the highest stakes for the characters, fighting for personal survival and the survival of their world.” —Martha Wells, Hugo, Nebula, and Locus Award-winning author “Howard Andrew Jones is a scholar and a gentleman, a deft multi-genre wordsmith . . . a living link between the tight action-adventure narratives of old and the sprawling epic fantasies of today.” —Scott Lynch, author of The Republic of Thieves series “Howard Jones creates engrossing fantasy tales by combining historical authenticity with his thoughtful modern sensibilities and shapes events with his keen understanding of great adventure writers like Harold Lamb, Robert E. Howard, and Leigh Brackett.” —S. Craig Zahler, novelist and writer/director of Bone Tomahawk

Theology in the modern era often assumes that the consummate form of theological discourse is objective prose—ignoring or condemning apophatic traditions and the spiritual eros that drives them. For too long, Kierkegaard has been read along these lines as a progenitor of twentieth-century neo-orthodoxy and a stern critic of the erotic in all its forms. In contrast, Hughes argues that Kierkegaard envisions faith fundamentally as a form of infinite, insatiable eros. He depicts the essential purpose of Kierkegaard’s writing as to elicit ever-greater spiritual desire, not to provide the satisfactions of doctrine or knowledge. Hughes’s argument revolves around close readings of provocative, disparate, and (in many cases) little-known Kierkegaardian texts. The thread connecting all of these texts is that they each conjure up some sort of performative “stage setting,” which they invite readers to enter. By analyzing the theological function of these texts, the book sheds new light on the role of the aesthetic in Kierkegaard’s authorship, his surprising affinity for liturgy and sacrament, and his overarching effort to conjoin eros for God with this-worldly love.

Masculinity and Patriarchal Villainy in the British Novel: From Hitler to Voldemort sits at the intersection of literary studies and masculinity studies, arguing that the villain, in many works of contemporary British fiction, is a patriarchal figure that embodies an excess of patriarchal power that needs to be controlled by the hero. The villains' stories are enactments of empowerment fantasies and cautionary tales against abusing patriarchal power. While providing readers with in-depth studies of some of the most popular contemporary fiction villans, Sara Martín shows how current representations of the villain are not only measured against previous literary characters but also against the real-life figure of the archvillain Adolf Hitler.

Roman siege warfare had its own structure and customs, and expectations both by the besieged and by the attacking army. Sieges are typically sorted by the techniques and technologies that attackers used, but the more fruitful approach offered in Roman Siege Warfare examines the way a siege follows or diverges from typical narrative and operational plotlines. Author Josh Levithan emphasizes the human elements—morale and motivation—rather than the engineering, and he recaptures the sense of a siege as an event in progress that offers numerous attitudes, methods, and outcomes. Sieges involved a concentration of violent effort in space and the practical challenge posed by a high wall: unlike field battles they were sharply defined in time, in space, and in operational terms. Chapters examine motivation and behavior during a siege and focus on examples from both the Roman Republic and the Empire: Polybius, Livy, Julius Caesar, Flavius Josephus, and Ammianus Marcellinus. Levithan examines the “gadgetary turn,” during which writers began to lavish attention on artillery and wall-damaging techniques, fetishizing technology and obscuring the centrality of the assault and of human behavior. This volume speaks to classicists and historians of all stripes. All passages are translated, and references are accessible to nonspecialists. Military historians will also find much of interest in the volume, in its treatment both of Roman military conduct and of wider military practice.