Hi, family, friends, fans, and readers. While reading my book Heavens Own Fire, many of you will experience many different emotions, laughter and tears, smiles and sighs. Not to sound arrogant at all, but I know that you will love the poetry and short stories. I want you all to enjoy my writings and get very familiar with my style so that you will be prepared for my next novel, knowing not only my style but also some of my emotions, especially those of love and laughtersingle in love and married in love. Overall, this is a great read for everyone. Thanks and love forever. Leonard Alexander
sanctified by fire
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What is the eternal punishment of the lost? What is the eternal life that God promises his people? What is this "hell" which is claimed as part of Christian belief but goes against our sense of justice and rightness? Why were Adam and Eve thrown out of Eden? Can a God of love send most of those he has made in his own image to a place of nonstop torment? What is the connection between the current heaven and earth and the new heaven and earth that God promises? Beginning with the tree of life, and taking Hebrews 12.29, "Our God is a consuming fire," as his pivotal text, Michael Greed addresses these and similar questions. His central argument is that there is only one fire in the Bible--our God, who is a consuming, purifying fire.
The Hudson River Valley was the first iconic American landscape. Beginning as early as the 1820s, artists and writers found new ways of thinking about the human relationship with the natural world along the Hudson. Here, amid the most dramatic river and mountain scenery in the eastern United States, Washington Irving and James Fenimore Cooper created a distinctly American literature, grounded in folklore and history, that contributed to the emergence of a sense of place in the valley. Painters, led by Thomas Cole, founded the Hudson River School, widely recognized as the first truly national style of art. As the century advanced and as landscape and history became increasingly intertwined in the national consciousness, an aesthetic identity took shape in the region through literature, art, memory, and folklore-even gardens and domestic architecture. In Sanctified Landscape, David Schuyler recounts this story of America's idealization of the Hudson Valley during the nineteenth and early twentieth centuries. Schuyler's story unfolds during a time of great change in American history. At the very moment when artists and writers were exploring the aesthetic potential of the Hudson Valley, the transportation revolution and the rise of industrial capitalism were transforming the region. The first generation of American tourists traveled from New York City to Cozzens Hotel and the Catskill Mountain House in search of the picturesque. Those who could afford to live some distance from jobs in the city built suburban homes or country estates. Given these momentous changes, it is not surprising that historic preservation emerged in the Hudson Valley: the first building in the United States preserved for its historic significance is Washington's Headquarters in Newburgh. Schuyler also finds the seeds of the modern environmental movement in the transformation of the Hudson Valley landscape. Richly illustrated and compellingly written, Sanctified Landscape makes for rewarding reading. Schuyler expertly ties local history to national developments, revealing why the Hudson River Valley was so important to nineteenth-century Americans-and why it is still beloved today.
Estrelda Alexander recounts the story of African American Pentecostal origins and development. Whether you come from this tradition or you just want to learn more, this book will unfold all the dimensions of this important movement's history and contribution to the life of the church.
Sacred Fire: Torah from the Years of Fury (1939-1942) consists of commentaries on each weekly Torah portion. It also includes a number of lengthy sermons delivered on the major Jewish Festivals as well as a few discourses alluding to people loved and lost. Because writing is not permitted on the Sabbath, these "words of Torah" were transcribed from memory, after the Sabbath or festival had ended. Although the pages of Sacred Fire are not stained with the names of its author's tormentors, there are numerous references to historical events through which parallels can be drawn. Rabbi Shapira often refers, for example, to the binding of Isaac and the martyrdom of Rabbi Akiba. Sacred Fire forms a religious, spiritual response to the Holocaust that speaks from the heart of the darkness. In doing so, it may well form the basis for what could one day become Judaism's formal liturgical response to the events that occurred during those years of fury.
Glenn Hinson focuses on a single gospel program and offers a major contribution to our understanding not just of gospel but of the nature of religious experience. A key feature of African American performance is the layering of performative voices and the constant shifting of performative focus. To capture this layering, Hinson demonstrates how all the parts of the gospel program work together to shape a single whole, joining speech and song, performer and audience, testimony, prayer, preaching, and singing into a seamless and multifaceted service of worship. Personal stories ground the discussion at every turn, while experiential testimony fuels the unfolding arguments. Fire in My Bones is an original exploration of experience and belief in a community of African American Christians, but it is also an exploration of African American aesthetics, the study of belief, and the ethnographic enterprise.
Targum meaning translation references the various language transliterations of the original Hebrew Torah, which came about according to need. The Aramaic and Palestinian versions printed here are acknowledged to be the oldest and most widely used renderings of the ancient language translations of the original Hebrew Torah. Though they are accepted to date back to at least the first century CE, I believe them to be half a millennia older as they first came into being to accommodate the Israelite's assimilation of Aramaic when exiled to Babylon in 597 BCE. It was during the 70 years of that diaspora that Aramaic became the predominant colloquial language and accepted vernacular of use by the Hebraic peoples. During this 70 years of assimilation, the Israelite's use of Hebrew as lexicon dwindled from being the primary dialect of everyday conversation, to being one of mostly scholastic application utilized intellectually by the priestly class.