Gods And Devils Of Mankind

"[Evenson's] scary fictional treatment of church hypocrisy has the feeling of a reasoned attack on blind religious obedience."—Publishers Weekly Provost Eldon Fochs may be a sexual criminal. His therapist isn't sure, and his church is determined to protect its reputation. Father of Lies is Brian Evenson's fable of power, paranoia, and the dangers of blind obedience, and a terrifying vision of how far institutions will go to protect themselves against the innocents who may be their victims.

Originally written in 1938 but never published due to its controversial nature, an insightful guide reveals the seven principles of good that will allow anyone to triumph over the obstacles that must be faced in reaching personal goals.

The History of the Devil is a classic historical and religious book universally considered one of Daniel Defoe’s greatest works of non-fiction. The book was first published in 1726 and made an immediate impact on English literature, society and the ecclesiastical community in the early 18th century and continues to enrich humanity as a faithful source of historical and biblical truth and wisdom. The History of the Devil cleverly unfolds the actions, devices, and evil nature of Satan and his host of devils against God and mankind throughout the history of the world. Defoe divides the book into two parts: Ancient, or the time from before the creation of the universe to the coming of the Messiah, Jesus Christ; and Modern, or from the time of Christ and establishment of the Christian Church to the present day. His style is one that uniquely blends serious biblical principles and history with lighter satirical narrative, especially when dealing with mankind’s many false presuppositions about the Devil, and clearly delineates when each, or both, is applicable to the subject of discussion.

Interweaving academic theory, (auto)ethnography, and memoir-styled narrative, Christopher M. Driscoll explores what the “white devil” trope means for understanding and responding to tensions emerging from toxic white masculinity. The book provides a historical and philosophical account of the “white devil” as it appears in the stories and myths of various black religious and philosophical traditions, particularly as these traditions are expressed through the contemporary cultural expression of hip-hop. Driscoll argues that the trope of the white devil emerges from a self-hatred in many white men that is concealed (and revealed) through various defence mechanisms – principally, anger – and the book provides rich ground to discuss the relationship between perceptions of self (i.e. who we are), emotional regulation, and our behaviour towards others (i.e. how we act).

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