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The terrorist attacks of 9/11 caused Americans to realize that our sense of invincibility had been shattered. This paper identifies al-Qa¿ida and ¿Salafi-Jihadists¿ as our enemy and recommends new approaches to fighting terrorism. Explores al-Qa¿ida¿s organization, leaders, doctrine, and radical ideologies. Argues that the war we must fight is one against Islamist trans-national actors who openly engage in terrorism or support terrorism. Our current national and military strategies to combat terrorism are inadequate to take on an ideologically emboldened transnational foe. We must refocus our efforts and prepare to fight a war of several generations (long war). Several initiatives are recommended that include development of a national strategy. Ill.

When Henry VIII arranges a marriage between his sister and the aging French king, widowed painter Susanna Dallet joins the entourage, unwittingly carrying a perilous secret that will embroil her in the dark intrigues of the French court.

"The terrorist attacks of September 11, 2001 (9/11), caused Americans to realize that our sense of invincibility had been shattered. This paper will identify Al-Qa'ida and Salafi-Jihadists as our enemy and will recommend new approaches to fighting terrorism. Colonel Brian Drinkwater will explore Al-Qa'ida's organization, leaders, doctrine, and their radical ideologies. It is argued that the war we must fight is one against Islamist transnational actors who openly engage in terrorism or support terrorism. It will highlight that our current national and military strategies to combat terrorism are inadequate to take on an ideologically emboldened transnational foe. It is emphasized that we must refocus our efforts and prepare to fight a war of several generations (long war), and several initiatives will be recommended to include development of a cogent grand national strategy. These recommendations are intended to assist future planners in the development of a grand national strategy and an integrated long war campaign plan aimed directly at Al-Qa'ida, the Al-Qa'ida associated movement, and Islamist terrorists and executed through the application of diplomatic, informational, military, and economic instruments of national power by an unified interagency effort in coordination with our multinational partners, international governmental and non-governmental organizations, and regional security organizations"--Page vii.

The latest in the award-winning Counterpunch series detonates an explosion of voracious, opinionated and witty fireworks on the unexpected intersections of politics, art, music, architecture and sex. This book showcases essays from the nation's most exciting and radical cultural critics.

The Serpent's Garden is a crime/thriller about the macabre and mysterious murders of five female graduate students at UCLA. A charismatic but controversial philosophy professor has been falsely charged and convicted of the ritualistic murders. All the women were found posed and clutching a Bible; the murderer left several clues including coins wedged in the victim's eyes bearing a crucified serpent, an open Bible, a novelty snake, and an eight-inch crucifix buried in the victims' birth canal. Professor Chance Carpenter ends up on death row because of a rush to judgment orchestrated by the diminutive FBI agent Laura Lamb. Her ambitions and nefarious secrets cause her to cross the thin blue line and also become a serial killer. She is captured but manages a miraculous escape from the confines of Quantico's FBI headquarters and heads west on a revenge crime spree of her own. She is now on the lam; her crimes are featured in the tabloids and a new dance craze is named after her. College kids are doing the "Laura Lamb". The true killer of the UCLA coeds, however, has blended in with average "Joe College". The thriller follows a trail of evil, surprise, and suspense.

A classic murder mystery set in a rural Irish Church of Ireland parish. A body is found in the garden of a country Rectory in the Irish midlands. Suspicion focuses on the eccentric assortment of tenants inhabiting the Abbey adjoining the Rectory. But what is the motive for the murder? Property deals, race fixing, art theft, and blackmail hang elusively in the air. The disappearance of a second victim at Christmas increases tension in the Parish, which comes to a head at the Easter General Vestry. Finally, on Midsummer's Eve, the murderer makes a last desperate attack, leading to a cross-country chase and the revelation of the strange and curious motive for the crimes.

The Amish offer a startling contrast to the postmodern view of sexuality and gender roles. After the sexual revolution of the 1960s, mainstream American culture never looked back. Meanwhile, the Amish never looked forward. In twenty-first-century Amish communities, heteronormative sexuality is still based on a unifying principle: an understanding of sexuality as emerging from a divine plan. In the eyes of the Amish, sex is squandered by those who embrace it as hedonistic or who carve out a sexual identity that moves them away from that singular, God-given purpose. But this communal emphasis on sex for procreation does not mean that the Amish do not possess a complex range of sexual identities and opinions. In Serpent in the Garden, clinical psychologist James A. Cates breaks new ground in the study of Amish sexuality by examining this shrouded, rarely discussed subject. The first book to bring Amish sexuality into primary focus, this volume argues that, because the Amish are a sexual minority, queer theory is the ideal framework from which to observe their views on sex, sexuality, and gender. The book offers a broad view of sexuality in Amish culture that includes the challenges that gays and lesbians face in the community, as well as an exploration of Amish gender roles, their views toward intimacy, their responses to cases of child sexual abuse, and the role of fetishes among the Amish. Cates draws from multiple perspectives and years of research on the Amish themselves. He also looks at pushback against alternative behaviors or identities, as well as Amish success in keeping mainstream values at bay. With this book, Cates establishes Amish sexuality as a topic worthy of professional attention. Offering readers a more sophisticated understanding of the Amish and of sexual expression among cultures, Serpent in the Garden will appeal to scholars working on gender and sexuality, the Amish, and social service professionals who serve the Amish community.

In the court of Henry VIII, there are many secrets—and some people will kill to keep them hidden.Susanna Dallet is the daughter of a Flemish painter and wife to a philandering husband, living in the court of Henry VIII. When her husband is murdered, Susanna is suddenly left with a household to provide for and nothing to her name. Her days of anonymity are over when Susanna finds that guild rules preventing women from working do not apply at the king’s court, and she manages to secure a position as a miniature-portrait painter. Before long, she has not only made a name for herself, she is close to those who surround Princess Mary. But even in this lofty company, Susanna is not safe. An old manuscript that she has inherited turns out to hold the keys to an age-old mystery, and the forces that claimed her husband are closing in. As danger looms, Susanna joins with Robert Ashton, secretary to Henry’s cunning and ruthless adviser Archbishop Wolsey, and together they must fight a fearsome society in league with a demon.Combining heartpounding action, sly humor, romance, and supernatural twists, The Serpent Garden is the story of a creative and resourceful woman who unwittingly finds herself in a dangerous—and deadly—game of hide-and-seek.

The most pervasive gods in ancient Rome had no traditional mythology attached to them, nor was their worship organized by elites. Throughout the Roman world, neighborhood street corners, farm boundaries, and household hearths featured small shrines to the beloved lares, a pair of cheerful little dancing gods. These shrines were maintained primarily by ordinary Romans, and often by slaves and freedmen, for whom the lares cult provided a unique public leadership role. In this comprehensive and richly illustrated book, the first to focus on the lares, Harriet Flower offers a strikingly original account of these gods and a new way of understanding the lived experience of everyday Roman religion. Weaving together a wide range of evidence, Flower sets forth a new interpretation of the much-disputed nature of the lares. She makes the case that they are not spirits of the dead, as many have argued, but rather benevolent protectors—gods of place, especially the household and the neighborhood, and of travel. She examines the rituals honoring the lares, their cult sites, and their iconography, as well as the meaning of the snakes often depicted alongside lares in paintings of gardens. She also looks at Compitalia, a popular midwinter neighborhood festival in honor of the lares, and describes how its politics played a key role in Rome’s increasing violence in the 60s and 50s BC, as well as in the efforts of Augustus to reach out to ordinary people living in the city’s local neighborhoods. A reconsideration of seemingly humble gods that were central to the religious world of the Romans, this is also the first major account of the full range of lares worship in the homes, neighborhoods, and temples of ancient Rome.

How we perceive our enemy will largely determine how we fight against him. Unless we grasp how the devil fits into God's scheme of things, we will find it difficult to stand against his conspiracy against us personally and his influence within our culture. We can have a proper theology of the devil only if we have a proper theology of God. Only when we stand in awe of God will we find it unnecessary to be in awe of Satan. As Martin Luther once said, 'The devil is God's devil.' God is still in control. The Serpent of Paradise gives an overview of the career of Satan and his interaction with the Almighty. It traces his fall from an exalted position to his demise in everlasting shame and contempt. It shows us that Satan always loses even when 'he wins.' Best of all, it confirms that we who have been translated from the kingdom of darkness into the kingdom of light are able to stand against him. Be strong in the Lord and in his mighty power. Put on the full armor of God so that you can take your stand against the devil's schemes. ~ Ephesians 6:10-11 NIV. The Serpent of Paradise is a book about Satan, but it is also a book about God's power, God's program, and God's purposes in this world.

A multidisciplinary compilation of nineteen incisive essays ranges from the formality of traditional art criticism to intimate, lyrical meditations as they explore nuclear test sites, the meaning of national borders and geographical features, and the idea of the feminine and the sublime.

She opened the shagreen box. Couched in gray silk was an emerald necklace, one he had not seen for twenty years. The stones were just as he recalled them: a dozen or more, baguette cut and set in gold links, with a single ruby at the center. Flashes of verdigris, orpiment, and Prussian blue sparkled in the candlelight. The form of this necklace was as disturbing as ever. It had nearly cost him his life. It is the summer of 1765. The renowned and exquisitely dressed portrait painter Joshua Pope accepts a commission to paint the wedding portrait of Herbert Bentnick and his fiancée, Sabine Mercer, to whom Bentnick has become engaged less than a year after the death of his first wife. Joshua has barely begun the portrait when a man's body is found in the conservatory. A few days later, Sabine's emerald necklace disappears, and Bentnick accuses Joshua of theft. The painter is suddenly fighting not only for his reputation but for his life. With a sure understanding of period detail and character, Janet Gleeson creates a richly nuanced tale of greed and revenge that plays out in the refined landscapes and dark streets of eighteenth-century London.

The serpent of ancient times was more often associated with positive attributes like healing and eternal life than it was with negative meanings. This groundbreaking book explores in plentiful detail the symbol of the serpent from 40,000 BCE to the present, and from diverse regions in the world. In doing so it emphasizes the creativity of the biblical authors' use of symbols and argues that we must today reexamine our own archetypal conceptions with comparable creativity.--From publisher description.

WHY A REVELATION? In a Revelation of Conflict for the Soul Becoming, there is a question that is being asked of all who might pick up this book and press through from cover to cover. The premise of this writing is to ask you one simple question and to ask it in many different applications as our lives are all moving through distinct seasons. Why does anyone need a revelation? It is for the purpose of gaining a knowing that comes not from this realm but from the realm where this domain was created. If that peaks your interest then I can't wait for you to read and glean and ask for more of why? WHY NOW? Why now is not for me to answer as much as it is for the Lord of Heaven to reveal to you, why not now? We wake up, we go to sleep and we wake up, maybe? The time is now! It is time to answer the question that has not been asked in a way that has brought you the confirmation that you need. You need to know, and you need to be known! The time is now and it is now for this reason; tomorrow is a hope and just because it is, does not mean that you are guaranteed to have it, at least in this kingdom. WHY ME? Why you is for one simple reason. Until the revelation becomes in you, you will never know why and for what purpose you were created. You were created to become the Bride of Christ. This was always the Father's desire, that you would have intimacy with Him. THE QUESTION IS THIS: ARE YOU WHO YOU SAY YOU ARE OR ARE YOU SOMETHING ELSE?

A lyrical and, at times, refreshingly humorous journey of one woman's search for her truth, this debut novel unfolds in a sequence of two alternating narratives. In the first story line Tildy Glick recounts the moment her boyfriend, Ray, ends their year-long relationship. The event is experienced as a trauma more painful than even Tildy believes may be warranted. Unwilling to accept the loss, she spends the next year attempting to hold onto Ray by methodically recalling the minutest memories of their time together. In the course of this obsessive process, she begins to observe that her own longings are rooted in a painful and emblematic childhood summer thirty years earlier. About to turn 13 she is obsessively attached to a mother who showers her with intrusive attention and, alternately, abandons her due to her interest in a married lover. Tildy is unprepared when her father, a man with a simmering sense of failure and an inability to express himself, leaves the family in the middle of the night after a fight with his wife, leaving Tildy and her older brother, Kenny, to contend with their mother's unraveling. These narratives resonate and play off one another in the way that memories intrude on, inform, and punctuate present experiences. The characters are profoundly human and profoundly flawed, hoping for greater things, helpless in the face of their own failings, yet determined to make sense of their own lives.