His Name Is John

Does the age produce the man, or does the man produce the age? It can be argued both ways. John S. Coffman, Mennonite evangelist, writer, and organizer, was born at a time when his church, long the quiet in the land, needed leaders to show the way to a more vital spiritual life and a more effective Christian witness in the world. Into this vacuum of need came this dynamic man, with just exactly the qualities of character and the spiritual and natural gifts to accomplish this task. Although he died young, his years were sufficient to make a powerful impression on the church of his fathers, the church he loved and for which he poured out his life. A granddaughter has immersed herself for a number of years in the life and work and influence of this great man. She has heard the recollections of her father, S.F. Coffman, who walked in the footsteps of his father to become also a great church leader. She accumulated the reminiscences of other members of the family and of older people who knew her subject intimately. She found many primary sources of information, such as files of old letters and her grandfather's diaries. She spent time in both Virginia and Indiana to absorb atmosphere and setting for a competent biography. The author chose to use a semi fictional form for her story. All quotes from letters and diaries are verbatim. Conversation is constructed from this factual background, using a good deal of the colloquial style which she knows the principals of the story used. The result is a biography which is not only an accurate portrayal, but is also interesting reading.

Elliott Smith wakes up in the hospital with a head injury...and an invisible companion. At first, he's convinced "John" is just a figment of a damaged brain, but when Elliott is fully recovered John is still around—and desperate to find out who he is. Reluctantly, Elliott agrees to help, and discovers Chicago PD has a John Doe on their hands with six bullets in him—who died in the ER at the same time Elliott was there. As Elliott digs deeper into the mystery of John, he stumbles on a body hidden behind a wall for 80 years, meets a sexy artist who could become more than just a one-night stand, and uncovers a deadly secret that has haunted a nun for two decades.

There was once a priest named Zechariah. He lived with his wife in the land of Judea. Zechariah and his wife, Elizabeth loved the Lord. They prayed together, and read God's Word.

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.

God Has a Name is a simple yet profound guide to understanding God in a new light--focusing on what God says about himself. This one shift has the potential to radically alter how you relate to God, not as a doctrine, but as a relational being who responds to you in an elastic, back-and-forth way. In God Has a Name, John Mark Comer takes you line by line through Exodus 34:6-8--Yahweh's self-revelation on Mount Sinai, one of the most quoted passages in the Bible. Along the way, Comer addresses some of the most profound questions he came across as he studied these noted lines in Exodus, including: Why do we feel this gap between us and God? Could it be that a lot of what we think about God is wrong? Not all wrong, but wrong enough to mess up how we relate to him? What if our "God" is really a projection of our own identity, ideas, and desires? What if the real God is different, but far better than we could ever imagine? No matter where you are in your spiritual journey, the act of learning who God is just might surprise you--and change everything.

Jon Dies at the End is a genre-bending, humorous account of two college drop-outs inadvertently charged with saving their small town--and the world--from a host of supernatural and paranormal invasions. Now a Major Motion Picture. "[Pargin] is like a mash-up of Douglass Adams and Stephen King... 'page-turner' is an understatement." —Don Coscarelli, director, Phantasm I-V, Bubba Ho-tep STOP. You should not have touched this flyer with your bare hands. NO, don't put it down. It's too late. They're watching you. My name is David. My best friend is John. Those names are fake. You might want to change yours. You may not want to know about the things you'll read on these pages, about the sauce, about Korrok, about the invasion, and the future. But it's too late. You touched the book. You're in the game. You're under the eye. The only defense is knowledge. You need to read this book, to the end. Even the part with the bratwurst. Why? You just have to trust me. The important thing is this: The sauce is a drug, and it gives users a window into another dimension. John and I never had the chance to say no. You still do. I'm sorry to have involved you in this, I really am. But as you read about these terrible events and the very dark epoch the world is about to enter as a result, it is crucial you keep one thing in mind: None of this was my fault.

The song "John Henry," perhaps America's greatest folk ballad, is about an African-American steel driver who raced and beat a steam drill, dying "with his hammer in his hand" from the effort. Most singers and historians believe John Henry was a real person, not a fictitious one, and that his story took place in West Virginia--though other places have been proposed. John Garst argues convincingly that it took place near Dunnavant, Alabama, in 1887. The author's reconstruction, based on contemporaneous evidence and subsequent research, uncovers a fascinating story that supports the Dunnavant location and provides new insights. Beyond John Henry, readers will discover the lives and work of his people: Black and white singers; his "captain," contractor Frederick Dabney; C. C. Spencer, the most credible eyewitness; John Henry's wife; the blind singer W. T. Blankenship, who printed the first broadside of the ballad; and later scholars who studied John Henry. The book includes analyses of the song's numerous iterations, several previously unpublished illustrations and a foreword by folklorist Art Rosenbaum.