That life could not be thought or imagined without him, that he was a part of the everyday, continually present in nature and history, and active at the depths of our selves, has been all but forgotten. It is the aim of this work to bring modern readers to a deeper appreciation of how, from the early centuries of the Christian period through to the recent beginnings of the modern world, the human story could not be told and human life could not be lived apart from the 'life' of the Devil. With that comes the deeper recognition that, for the better part of the last two thousand years, the battle between good and evil in the hearts and minds of men and women was but the reflection of a cosmic battle between God and Satan, the divine and the diabolic, that was at the heart of history itself.--from The DevilLucifer, Mephistopheles, Beelzebub; Ha-Satan or the Adversary; Iblis or Shaitan: no matter what name he travels under, the Devil has throughout the ages and across civilizations been a compelling and charismatic presence. In Christianity, Judaism, and Islam, the supposed reign of God has long been challenged by the fiery malice of his opponent, as contending forces of good and evil have between them weighed human souls in the balance.In The Devil, Philip C. Almond explores the figure of evil incarnate from the first centuries of the Christian era. Along the way, he describes the rise of demonology as an intellectual and theological pursuit, the persecution as witches of women believed to consort with the Devil and his minions, and the decline in the belief in Hell and in angels and demons as corporeal beings as a result of the Enlightenment. Almond shows that the Prince of Darkness remains an irresistible subject in history, religion, art, literature, and culture.Almond brilliantly locates the life of the Devil within the broader Christian story of which it is inextricably a part; the demonic paradox of the Devil as both God's enforcer and his enemy is at the heart of Christianity. Woven throughout the account of the Christian history of the Devil is another complex and complicated history: that of the idea of the Devil in Western thought. Sorcery, witchcraft, possession, even melancholy, have all been laid at the Devil's doorstep. Until the Enlightenment enforced a disenchantment with the old archetypes, even rational figures such as Thomas Aquinas were obsessed with the nature of the Devil and the specific characteristics of the orders of demons and angels. It was a significant moment both in the history of demonology and in theology when Benedict de Spinoza (1632-1677) denied the Devil's existence; almost four hundred years later, popular fascination with the idea of the Devil has not yet dimmed.

    Cultural critic George Case explores how the Occult craze permanently changed American society, creating the cultural framework for the political power of the religious right, false accusations of Satanic child abuse, and today’s widespread rejection of science and rationality. An insightful blend of pop culture and social history, “Here’s to My Sweet Satan” lucidly explains how the most technological society on earth became enthralled by the supernatural.

    In the philosophy of Satanism, she finally found the inner strength needed to beat a lifetime of addiction and depression. Now she shares the secrets she learned on her Satanic journey back to well-being. Discover the positive, life-changing power of Satanism for yourself! Learn the truth behind the common misconceptions about Satanism, and how to tap into the deep reservoir of personal power we all have inside. "I believe that there is much people can learn from these essays; courage, hope, wisdom, and love shine through them. I believe they will offer readers an insightful glimpse into a belief system that is often misunderstood at best and vilified at worst." - from the Foreword, by Melanie Strong About the Author: Lilith Starr is the founding Chapter Head of the Satanic Temple's Seattle Chapter. She holds a Harvard B.A. in English and a Stanford M.A. in Journalism. For 18 years, she fought addiction, trying to get sober in 12-step programs without success. Finding Satanism finally allowed her to beat addiction for good and make a full recovery. In gratitude, she dedicated her life to building Satanic community, eventually being chosen to head the Seattle Chapter of the Satanic Temple. Now she lives in a quiet Seattle neighborhood with her husband, where they host warm and welcoming weekly Satanic Brunches.

    This is the story of how a new concept—the mind—emerged as a potential solution, one that was part soul and part machine, but fully neither.In this groundbreaking work, award-winning historian George Makari shows how writers, philosophers, physicians, and anatomists worked to construct notions of the mind as not an ethereal thing, but a natural one. From the ascent of Oliver Cromwell to the fall of Napoleon, seminal thinkers like Hobbes, Locke, Diderot, and Kant worked alongside often-forgotten brain specialists, physiologists, and alienists in the hopes of mapping the inner world. Conducted in a cauldron of political turmoil, these frequently shocking, always embattled efforts would give rise to psychiatry, mind sciences such as phrenology, and radically new visions of the self. Further, they would be crucial to the establishment of secular ethics and political liberalism. Boldly original, wide-ranging, and brilliantly synthetic, Soul Machine gives us a masterful, new account of the making of the modern Western mind.

    Tolkien's On Fairy-stories is his most-studied and most-quoted essay, an exemplary personal statement of his own views on the role of imagination in literature, and an intellectual tour de force vital for understanding Tolkien's achievement in writing The Lord of the Rings .Contained within is an introduction to Tolkien's original 1939 lecture and the history of the writing of On Fairy-stories, with previously unseen material. Here, at last, Flieger and Anderson reveal the extraordinary genesis of this seminal work and discuss how the conclusions that Tolkien reached during the composition of the essay would shape his writing for the rest of his life.

    The Satanic Narratives - A Modern Satanic Bible is a foundational text thoroughly deconstructing Satan, the adversarial archetype and the individualism of the Left-Hand Path. This updated Satanic Bible marks a reformation in the religion of Satanism, accessible to the average reader and philosopher alike. Satanists who struggled to find meaning in LaVey's Rand-inspired social Darwinism, will embrace this new focus on activism and social justice.While the skepticism and secular ethics mirror that of Humanism, this Satanic philosophy goes much further: incorporating rebellion, unrelenting perseverance, being the outcast, the individualist, and the adversary. The characteristics of each aspect of the Satan archetype are meticulously explained and linked to the philosophy presented. This not only justifies why it is worthy of the name "Satanism", but also answers the question of why it can only be called "Satanism".

    Examining heroic myths in the light of modern psychology, it considers not only the patterns and stages of mythology but also its relevance to our lives today--and to the life of any person seeking a fully realized existence.Myth, according to Campbell, is the projection of a culture's dreams onto a large screen; Campbell's book, like Star Wars, the film it helped inspire, is an exploration of the big-picture moments from the stage that is our world. It is a must-have resource for both experienced students of mythology and the explorer just beginning to approach myth as a source of knowledge.

    Having gained admittance into LaVey's inner circle as his assistant and confidante, Blanche Barton knows the "Black Pope" as well as anyone on earth. Written with the full cooperation of her enigmatic subject, Miss Barton's biography reveals what has previously been hidden from public view. In "Secret Life of a Satanist" we are treated to the full and unexpurgated stories behind:* LaVey's erotic involvement with Marilyn Monroe during her "lost years" as a stripper, and Jayne Mansfield's fatal infatuation with the Devil.* The dark origins of Satanic ritual, including ties to Sir Basil Zaharoff and the mysterious "Black Order" in Nazi Germany.* LaVey's early career as a hoodlum, carny, burlesque house organist, Zionist operative, lion tamer, and ghost hunter for the San Francisco Police Department.* LaVeyan philosophy and aims, combining misanthropy, eco-terrorism and nostalgia to forge the future Satanic Empire.* How the strange powers attributed to LaVey have affected his enemies, and friends."The Secret Life of a Satanist" is augmented by 24 pages of photographs, many never before seen, from LaVey's personal collection. An appendix includes several documents and essays by Anton LaVey, including instructions on lycanthropic transformation previously rejected by publishers for fear of provoking a "bloodbath."Here is, finally, an uninterrupted and unexpurgated visit with the author of The Satanic Bible, The Satanic Witch, and The Satanic Rituals, a man who has devoted his life to the overthrow of Judeo-Christian ideals.

    This prodigious narrative, composed by the poet Ferdowsi between the years 980 and 1010, tells the story of pre- Islamic Iran, beginning in the mythic time of Creation and continuing forward to the Arab invasion in the seventh century. As a window on the world, "Shahnameh" belongs in the company of such literary masterpieces as Dante's "Divine Comedy," the plays of Shakespeare, the epics of Homer- classics whose reach and range bring whole cultures into view. In its pages are unforgettable moments of national triumph and failure, human courage and cruelty, blissful love and bitter grief.In tracing the roots of Iran, "Shahnameh" initially draws on the depths of legend and then carries its story into historical times, when ancient Persia was swept into an expanding Islamic empire. Now Dick Davis, the greatest modern translator of Persian poetry, has revisited that poem, turning the finest stories of Ferdowsi's original into an elegant combination of prose and verse. For the first time in English, in the most complete form possible, readers can experience "Shahnameh" in the same way that Iranian storytellers have lovingly conveyed it in Persian for the past thousand years.

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    The mythic legacy of the Scandinavians includes a cycle of stories filled with magnificent images from pre-Christian Europe. Gods, humans, and monstrous beasts engage in prodigious drinking bouts, contests of strength, greedy schemes for gold, and lusty encounters. The Norse pantheon includes Odin, the wisest and most fearsome of the gods; Thor, the thundering powerhouse; and the exquisite, magic-wielding Freyja. Their loves, wars, and adventures take us through worlds both mortal and divine, culminating in a blazing doomsday for gods and humans alike. These stories bear witness to the courage, passion, and boundless spirit that were hallmarks of the Norse world.“Kevin Crossley-Holland retells the Norse myths in clear, attractive prose . . . An excellent introduction, notes, and a glossary provide mythological and historical backgrounds and suggest parallels with myths in other parts of the world.”–The Denver Post

    In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

    At her death in 1964, O'Connor left behind a body of unpublished essays and lectures as well as a number of critical articles that had appeared in scattered publications during her too-short lifetime. The keen writings comprising Mystery and Manners, selected and edited by O'Connor's lifelong friends Sally and Robert Fitzgerald, are characterized by the directness and simplicity of the author's style, a fine-tuned wit, understated perspicacity, and profound faith.The book opens with "The King of the Birds," her famous account of raising peacocks at her home in Milledgeville, Georgia. Also included are: three essays on regional writing, including "The Fiction Writer and His Country" and "Some Aspects of the Grotesque in Southern Fiction"; two pieces on teaching literature, including "Total Effect and the 8th Grade"; and four articles concerning the writer and religion, including "The Catholic Novel in the Protestant South." Essays such as "The Nature and Aim of Fiction" and "Writing Short Stories" are widely seen as gems.This bold and brilliant essay-collection is a must for all readers, writers, and students of contemporary American literature.

    A pervasive narrative in everything from school textbooks to political commentary, it is central to the way in which many Americans perceive the historical legacy of theirnation. Yet, as Steven K. Green shows in this illuminating new book, it is little more than a myth.In Inventing a Christian America, Green, a leading historian of religion and politics, explores the historical record that is purported to support the popular belief in America's religious founding and status as a Christian nation. He demonstrates that, like all myths, these claims are based onhistorical facts that have been colored by the interpretive narratives that have been imposed upon them. In tracing the evolution of these claims and the evidence levied in support of them from the founding of the New England colonies, through the American Revolution, and to the present day, heinvestigates how they became leading narratives in the country's collective identity. Three critical moments in American history shaped and continue to drive the myth of a Christian America: the Puritan founding of New England, the American Revolution and the forging of a new nation, and the earlyyears of the nineteenth century, when a second generation of Americans sought to redefine and reconcile the memory of the founding to match their religious and patriotic aspirations. Seeking to shed light not only on the veracity of these ideas but on the reasons they endure, Green ultimately showsthat the notion of America's religious founding is a myth not merely in the colloquial sense, but also in a deeper sense, as a shared story that gives deeper meaning to our collective national identity.Offering a fresh look at one of the most common and contested claims in American history, Inventing a Christian America is an enlightening read for anyone interested in the story of-and the debate over-America's founding.

    Alfred R. Ferguson was founding editor of the edition, followed by Joseph Slater (until 1996).