Hell The Unspoken Truth

Is there a Hell to shun and a Heaven to gain? Does the Bible teach that Hell is a real and literal place of eternal punishment? What did Jesus say about Hell? Hell is a topic that seems to be avoided at all costs in today's world of religious beliefs and philosophies. Most religions have a more 'positive' outlook than this, such as re-incarnation and the evolution of mankind into a godlike state. Others deny the existence of Hell altogether. What does the Bible really say about Hell? International speaker and accomplished researcher, Val Waldeck, takes a deeper more probing look into the topic of life after death and the idea of hell. Her findings are documented in this book with great Biblical accuracy and conviction. The facts within these covers will give any individual cause to rethink their stand on this issue. Everyone will face the truth of death - it is not an option. Make sure you have learned all there is to know before you encounter the inevitable.

The Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004). This Encyclopedia provides a resource that critically analyzes that history in all its aspects. Not only does this Encyclopedia examine individual films and the careers of individual film makers, it also provides overview articles of national and regional documentary film history. It explains concepts and themes in the study of documentary film, the techniques used in making films, and the institutions that support their production, appreciation, and preservation.

Amid the turmoil of the 1960s and 1970s—an era that included the Black Civil Rights movement, the war in Vietnam, and the Troubles in Northern Ireland—young Irish Americans in New York began to question what it meant to be Irish in America. Led by Irish revolutionary socialist Brian Heron, these young people discarded outdated stereotypes and created an inclusive space to explore, celebrate, and share their culture. Thus was born An Claidheamh Soluis, the Irish Arts Center, an organization that is still going strong fifty years later. As an early organizer and director of the Irish Arts Center, James F. Olwell recounts how this premier cultural institution came to be. Beginning with his own experiences growing up Irish American in the Bronx, Olwell describes how Irish Americans grew to reclaim their cultural identity and share their art, traditions, and language through the Irish Arts Center. Olwell combines his personal experiences with extensive interviews and broader historical context to bring the story of the 1970s Irish Arts Center to life. Well researched and replete with funny, moving, and thoughtful anecdotes, The Art of Being Irish in Hell’s Kitchen is an essential cultural history of the Irish American community in New York. Pull up a chair and enjoy the tale. All are welcome here.

This reference work explores the history of the documentary film. It discusses individual films and filmmakers; examines national and regional filmmaking traditions; elaborates on production companies, organizations, festivals, and institutions; explores themes, issues, and representations; and describes various styles, techniques, and technical issues.

A social experiment was conceived. Its goal was to breed the best, the brightest, the most malleable and most loyal soldiers to ever serve. To this end, the Romulan Empire used its own children, blinded by the belief that anything that would bring glory to the praetor was justified. And when the winds of politics changed, these children were abandoned, left to die on a world so horrifying that it was dubbed—by those who dared to cling to life—Hellguard. One wild child, Saavik, was rescued by Spock. He took the half-Vulcan, half-Romulan child home to his parents, knowing that if anyone could reach and rescue Saavik, it was them. Now a Starfleet officer, Saavik has striven to honor her mentor and her Vulcan heritage. But recent events have shaken her. Left behind on Vulcan while the rest of the Enterprise crew goes to face court-martial for stealing and destroying their ship, the young science officer is adrift when two men from her past confront her. Tolek, another Hellguard survivor, tells Saavik that the survivors are being killed one-by-one and only they can discover who and why. The other, a Romulan who claims to be her father, swears it is the Vulcans who are eliminating the Hellguard survivors because they are an embarrassment to all of Vulcan, but that she has the power to stop it, by bringing down the Vulcan ambassador, Sarek. Not knowing where to turn, not knowing whom to trust, Saavik must find her own answers, and discover who she truly is.

Pranab Chakraborty was a fellow Bengali from Calcutta who had washed up on the shores of Central Square. Soon he was one of the family. From the winner of the Pulitzer Prize and the Frank O’Connor International Short Story Award, a staggeringly beautiful and precise story about a Bengali family in Cambridge, Massachusetts, the impossibilities of love, and the unanticipated pleasures and complications of life in America. “Hell-Heaven” is Jhumpa Lahiri’s ode to the intimate secrets of closest kin, from the acclaimed collection Unaccustomed Earth. An eBook short.

Peter Bogdanovich, known primarily as a director, film historian and critic, has been working with professional actors all his life. He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director). Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart. Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors. On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.” On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ” Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.” John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.” These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.