why ispolygamy allowed in Islam?If a man is allowed to have more than one wife, then why does Islam prohibit a woman from having more than one husband?Why does Islam degrade women by keeping them behind the veil?How can Islam be called the religion of peace when it was spread by the sword?Why are most of the Muslims fundamentalists and terrorists?Ki l l ing an animal is a ruthless act . Why then do Musl ims consume nonvegetarian food?Why do Muslims slaughter the animal in a ruthless manner by torturing it and slowly and painfully killing it?Science tell us that whatever one eats, it has an effect on one’s behaviour. Why then, does Islam allow Muslims to eat non-vegetarian food, since eating of animals could make a person violent and ferocious?When Islam is against idol worship why do the Muslims worship, and bow downto the Kaaba in their prayer?Why are non-Muslims not allowed in the Holy cities of Makkah and Madinah?Why is the consumption of alcohol prohibited in Islam?Under Islamic law, why is a woman’s share of the inherited wealth only half that of a man?How can you prove that the Qur'an is the word of God?When all the Muslim follow one and the same Qur’an then why are there somany sects and different schools of thoughts among Muslims?All religions basically teach followers to do good deeds. Why should a persononly follow Islam? Can he not follow any of the religions?If Islam is the best religion, why are many of the Muslims dishonest, unreliable,and involved in activities such as cheating, bribing, dealing in drugs, etc.?Why do Muslims abuse non-Muslims by calling them Kafirs? Read the logical answers......

    He realized that it is easier for the unconscious to understand the language of dreams than that of rationality. Illness can even be seen as a physical dream that reveals unresolved emotional and psychological problems. Psychomagic presents the shamanic and genealogical principles Jodorowsky discovered to create a healing therapy that could use the powers of dreams, art, and theater to empower individuals to heal wounds that in some cases had traveled through generations. The concrete and often surreal poetic actions Jodorowsky employs are part of an elaborate strategy intended to break apart the dysfunctional persona with whom the patient identifies in order to connect with a deeper self. That is when true transformation can manifest. For a young man who complained that he lived only in his head and was unable to grab hold of reality and advance toward the financial autonomy he desired, Jodorowsky gave the prescription to paste two gold coins to the soles of his shoes so that all day he would be walking on gold. A judge whose vanity was ruling his every move was given the task of dressing like a tramp and begging outside one of the fashionable restaurants he loved to frequent while pulling glass doll eyes out of his pockets. The lesson for him was that if a tramp can fill his pockets with eyeballs, then they must be of no value, and thus the eyes of others should have no bearing on who you are and what you do. Taking his patients directly at their words, Jodorowsky takes the same elements associated with a negative emotional charge and recasts them in an action that will make them positive and enable them to pay the psychological debts hindering their lives.

    Nor is it a collection of bizarre facts, though the Angel of the Bizarre might well find himself at home in it. It is not a scientific contribution, a vehicle for an exotic teaching, a testament, a document, a fable. It is simply an account - at times figurative, at times factual - of a first excursion into some as yet scarcely explored realms of consciousness. The Morning of the Magicians is a classic of radical literature, a book that has challenged assumptions and conventional knowledge for decades. It has shaken the foundations of beliefs all over the world and may be the most influential book published in the twentieth century. Louis Pauwels and Jacques Bergier spent years searching "through all the regions of consciousness, to the frontiers of science and tradition" and opened their minds to any fact or theory that went beyond the frontier of current theories. The result is this remarkable work, and the stream of possibilities that it contains: Do mutants exist, are they a future form of man? Does extrasensory perception reveal that human consciousness has advanced beyond its currently accepted limits? What connects the ancient art of alchemy and modern atomic physics?

    Told in eloquent, honest prose, Art’s Cello is a story about coming to terms with the past and letting go of the failures we allow to define us — and, in the process, honoring the lives of those we’ve lost. Jim McKean is an international award-winning violinmaker, author, and corresponding editor of Strings Magazine. He is a graduate of the first violinmaking school in America and the former president of the American Federation of Violin and Bow Makers. His novel, Quattrocento, was published in 2002. Cover design by Evan Twohy.

    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.

    In “Bhagavad Gita for Beginners: The Song of God in Simplified Prose,” author Edward Viljoen uses contemporary, simplified language to bring this inspiring work to life. That which seems to be forcing people to act in selfish--even evil--ways is really the accumulation of desires coming together in a strong, irresistible appetite for self-satisfaction. These desires are rooted in the senses, and sense information can be misleading. More powerful than the senses, though, is the mind. And more powerful than the mind is the will (or intellect), and that which is above it all,--the Real Self, that part of us not deluded by the information of the sense world. The Bhagavad Gita For Beginners: The Song Of God In Simplified Prose will inspire uninitiated readers of the Bhagavad-Gita to delve into the original text, as well as bring a newly-found clarity and perspective to those already familiar with it.

    Modern critical biblical scholarship often points out how the church's teachings about Jesus have become encrusted with tradition so that it is hard to see what the core documents--the New Testament--really say about him. Now, with the insight of 200 years of modern critical scholarship and assuming an audience that includes both the well-churched and the non-churched, how should the church present the story and identity of the central personality of their faith, Jesus of Nazareth? Many people will be surprised at the story they hear.

    Byrne wanted the book to be the size and shape of a portable Bible, and thus The New Sins resembles the sort of book a strange person in a robe would try to give you in an airport. Bizarre and profound, the book includes 80 color photographs taken by the author.

    It combines a lifetime's familiarity with Greek literature and history with the latest archeological discoveries and the author's own journeys to the main sites in the story to describe how particular Greeks of the eighth century BC travelled east and west around the Mediterranean, and how their extraordinary journeys shaped their ideas of their gods and heroes. It gathers together stories and echoes from many different ancient cultures, not just the Greek - Assyria, Egypt, the Phoenician traders - and ranges from Mesopotamia to the Rio Tinto at Huelva in modern Portugal. Its central point is the Jebel Aqra, the great mountain on the north Syrian coast which Robin Lane Fox dubs 'the southern Olympus', and around which much of the action of the book turns. Robin Lane Fox rejects the fashionable view of Homer and his near-contemporary Hesiod as poets who owed a direct debt to texts and poems from the near East, and by following the trail of the Greek travellers shows that they were, rather, in debt to their own countrymen. With characteristic flair he reveals how these travellers, progenitors of tales which have inspired writers and historians for thousands of years, understood the world before the beginnings of philosophy and western thought.

    This surge of violence has occurred alongside an expansion of capitalist social relation. In this new work, Silvia Federici examines the root causes of these developments and outlines the consequences for the women affected and their communities. She argues, that this new war on women, a mirror of witch hunts in 16th- and 17th-century Europe and the “New World,” is a structural element of the new forms of capitalist accumulation. These processes are founded on the destruction of people’s most basic means of reproduction. Like at the dawn of capitalism, the factors behind today’s violence against women are processes of enclosure, land dispossession, and the remolding of women’s reproductive activities and subjectivity.

    Here Auerbach, thought by many to be the greatest of twentieth-century scholar-critics, makes the seemingly paradoxical claim that it is in the poetry of Dante, supreme among religious poets, and above all in the stanzas of his Divine Comedy, that the secular world of the modern novel first took imaginative form. Auerbach’s study of Dante, a precursor and necessary complement to Mimesis, his magisterial overview of realism in Western literature, illuminates both the overall structure and the individual detail of Dante’s work, showing it to be an extraordinary synthesis of the sensuous and the conceptual, the particular and the universal, that redefined notions of human character and fate and opened the way into modernity.CONTENTSI. Historical Introduction; The Idea of Man in LiteratureII. Dante's Early PoetryIII. The Subject of the "Comedy"IV. The Structure of the "Comedy"V. The PresentationVI. The Survival and Transformation of Dante's Vision of RealityNotesIndex

    His account of the people he encountered changed the field of anthropology, transforming Western notions of ‘primitive’ man. Tristes Tropiques is a major work of art as well as of scholarship. It is a memoir of exquisite beauty and a masterpiece of travel writing: funny, discursive, movingly detailing personal and cultural loss, and brilliantly connecting disparate fields of thought. Few books have had as powerful and broad an impact.

    This book will help you experience the freedom found in knowing just how fully God is committed to loving YOU.FOREWORD BY LOUIE GIGLIO Rediscover the missing piece in what today’s Christians believe about the Christian life. As lead Pastor of one of America’s biggest churches, John Lindell went on a personal quest for answers and discovered the true meaning behind God’s grace, and when he came to see the full revelation of God’s commitment to us, it changed his life forever.   In Soul Set Free, Lindell invites you on a life-changing journey through the Book of Romans. Learn to no longer view the gospel as anything less than a truth that sets your soul free.   The good news of the gospel can be summed up in three parts: Christ died for our sins, we are forgiven through faith in Christ, and heaven is our reward upon death. However, none of these parts cover what transpired when we were saved.   The gospel is even better than what we believe. It brings joy but it’s even better. It’s forgiveness of sins but it’s even better. It’s God sending His only Son but it’s even better.

    Finkelstein moves from an interrogation of the place the Holocaust has come to occupy in American culture to a disturbing examination of recent Holocaust compensation agreements. It was not until the Arab-Israeli War of 1967, when Israel's evident strength brought it into line with US foreign policy, that memory of the Holocaust began to acquire the exceptional prominence it enjoys today. Leaders of America's Jewish community were delighted that Israel was now deemed a major strategic asset and, Finkelstein contends, exploited the Holocaust to enhance this newfound status. Their subsequent interpretations of the tragedy are often at variance with actual historical events and are employed to deflect any criticism of Israel and its supporters. Recalling Holocaust fraudsters such as Jerzy Kosinski and Binjamin Wilkomirski, as well as the demagogic constructions of writers like Daniel Goldhagen, Finkelstein contends that the main danger posed to the memory of Nazism's victims comes not from the distortions of Holocaust deniers but from prominent, self-proclaimed guardians of Holocaust memory. Drawing on a wealth of untapped sources, he exposes the double shakedown of European countries as well as legitimate Jewish claimants, and concludes that the Holocaust industry has become an outright extortion racket. Thoroughly researched and closely argued, The Holocaust Industry is all the more disturbing and powerful because the issues it deals with are so rarely discussed.In a devastating new postscript to this best-selling book, Norman G. Finkelstein documents the Holocaust industry's scandalous cover-up of the blackmail of Swiss banks, and in a new appendix demolishes an influential apologia for the Holocaust industry.

    One thinks of Wiesel's Night or Levi's Survival in Auschwitz. But in 1927, years before these works were written, Joseph Roth (1894-1939) composed The Wandering Jews. In these stunning dispatches written when Roth was a correspondent in Berlin during the whirlwind period of Weimar Germany, he warned of the false comforts of Jewish assimilation, laid bare the schism between Eastern and Western Jews, and at times prophesied the horrors posed by Nazism. The Wandering Jews remains as vital today as when it was first published. "[A] book of impassioned reportage and polemic...it is impossible not to feel a sympathetic wonder."—Michael Andre Bernstein, The New Republic "In these disturbing yet strikingly illuminating pages, the truth of Jewish destiny from long ago vibrates and sings..."—Elie Wiesel "No other writer...has come so close to achieving the wholeness that Lukacs cites as our impossible aim."—Nadine Gordimer "What a marvelous writer! Read him now. You can thank me later."—Michael Dirda, Washington Post Book World"[C]aptures and encapsulates Europe in those uncertain hours before the upheaval of a continent and the annihilation of a civilization."—Cynthia Ozick, author of Quarrel and Quandary  "[A] writer well worth adding to the short list of giants such as Thomas Mann, Elie Wiesel, and Primo Levi."—Hadassah Magazine, Sanford Pinsker