Apocalypse When

The final book of the Bible, Revelation prophesies the ultimate judgement of mankind in a series of allegorical visions, grisly images and numerological predictions. According to these, empires will fall, the "Beast" will be destroyed and Christ will rule a new Jerusalem. With an introduction by Will Self.

This book fills these gaps in a striking and original way by means of ten concise thematic chapters which explain the origins of these concepts from the book of Revelation in an accessible way. These explanations are augmented and developed via a carefully selected sample of the ways in which the concepts have been treated by artists through the centuries. The 120 visual examples are drawn from a wide range of time periods and media including the ninth-century Trier Apocalypse, thirteenth-century Anglo-Norman Apocalypse Manuscripts such as the Lambeth and Trinity Apocalypses, the fourteenth-century Angers Apocalypse Tapestry, fifteenth-century Apocalypse altarpieces by Van Eyck and Memling, Dürer and Cranach's sixteenth-century Apocalypse woodcuts, and more recently a range of works by William Blake, J.M.W. Turner, Max Beckmann, as well as film posters and film stills, cartoons, and children's book illustrations.

If you want a gripping, well-written, detailed story of insurrection against Rome, supported by splendid illustrations, start here.?The Sunday Telegraph

The end of the world may be upon us, but it certainly is taking its sweet time playing out. The walkers on The Walking Dead have been "walking" for nearly a decade. There are now dozens of apocalyptic television shows and we use the "end times" to describe everything from domestic politics and international conflict, to the weather and our views of the future. This collection of new essays asks what it means to live in a world inundated with representations of the apocalypse. Focusing on such series as The Walking Dead, The Strain, Battlestar Galactica, Doomsday Preppers, Westworld, The Handmaid's Tale, they explore how the serialization of the end of the world allows for a closer examination of the disintegration of humanity--while it happens. Do these shows prepare us for what is to come? Do they spur us to action? Might they even be causing the apocalypse?

In the two thousand years that have elapsed since the time of Christ, Christians have been as much divided by their faith as united, as much at odds as in communion. And the contents of Christian confession have developed with astonishing energy. How can believers claim a faith that has been passed down through the ages while recognizing the real historical contingencies that have shaped both their doctrines and their divisions? In this carefully argued essay, David Bentley Hart critiques the concept of "tradition" that has become dominant in Christian thought as fundamentally incoherent. He puts forth a convincing new explanation of Christian tradition, one that is obedient to the nature of Christianity not only as a "revealed" creed embodied in historical events but as the "apocalyptic" revelation of a history that is largely identical with the eternal truth it supposedly discloses. Hart shows that Christian tradition is sustained not simply by its preservation of the past, but more essentially by its anticipation of the future. He offers a compelling portrayal of a living tradition held together by apocalyptic expectation--the promised transformation of all things in God.

Apocalyptic texts are often seen as either frightening or irrelevant, a tool for fearmongering and manipulation or for the lucrative doomsday industry. But Apocalypse When?: Interpreting and Preaching Apocalyptic Texts equips readers to understand these texts as sources of encouragement and strength for the church. As the world faces threats of war, poverty, climate and environmental crises, and political upheaval, churches can draw on the wisdom and courage of our biblical ancestors who faced their own calamities and persecutions. Their struggles against powerful economic, militaristic, cultural, and social forces drew them closer to God. We have much to learn from their faith, ethical integrity, and dedication to the promises of God that engender hope in the midst of turmoil and terror. With solid historical exegesis, thought-provoking ideas for preaching, and examples of sermons that creatively and compellingly proclaim God's word, this book provides much-needed guidance for the church in tumultuous times.

From its indefinite beginnings through its broad commercialization and endless reinterpretation, American rock-and-roll music has been preoccupied with an end-of-the-world mentality that extends through the whole of American popular music. In Apocalypse Jukebox, Edward Whitelock and David Janssen trace these connections through American music genres, uncovering a mix of paranoia and hope that characterizes so much of the nation’s history. From the book’s opening scene, set in the American South during a terrifying 1833 meteor shower, the sense of doom is both palpable and inescapable; a deep foreboding that shadows every subsequent development in American popular music and, as Whitelock and Janssen contend, stands as a key to understanding and explicating America itself. Whitelock and Janssen examine the diversity of apocalyptic influences within North American recorded music, focusing in particular upon a number of influential performers, including Bob Dylan, Leonard Cohen, John Coltrane, Devo, R.E.M., Sleater-Kinney, and Green Day. In Apocalypse Jukebox, Whitelock and Janssen reveal apocalypse as a permanent and central part of the American character while establishing rock-and-roll as a true reflection of that character.

A satirical reimagining of what a Leftist-controlled America might look like in the future, with winks and nods to Orwell’s 1984. After winning 101% of the vote, the new AOC Administration is immediately tested by something no one in The Party expected. It is a future Green America, where one political party controls all aspects of everyone’s lives and cows should no longer exist. Yet a toxic cloud, composed of cow farts is racing toward Washington, DC, threatening the lives of everyone in its path. As a few Patriots attempt to resist The Party’s overreach, and CCP Network is peddling 24/7 news coverage of one crisis after another, a citizenry no longer familiar with bovine flatulence will have to face what they've been told is their worst fear… a Cow Fart Apocalypse! “E.M. Cooter is the new George Orwell, but with a sense of humor.”