Inanna Ishtar

Six-thousand-year-old clay tablets left behind by the Sumerians tell us in cuneiform script that the planets Uranus and Neptune are "greenish-blue." How did they know? Our science could not confirm that until the Voyager II fly-by in the 1980s. The ignored question of the last century has to be: “Who told the Sumerians that Uranus and Neptune exist, and about their colors?” Again: “Who told them?” Take a breath to grasp the significance of that question? The same clay tablets also tell that Inanna, a fierce and beautiful goddess from antiquity, is not a fictional character. As Aphrodite to the Greeks, Venus to the Romans, through many adventures and love affairs erroneously categorized as myth, she gained for herself a place in the Nefilim Pantheon of Twelve. Inanna/Ishtar is a chronicle of fact-based incidents interspersed with highly probable fictional stepping stones. Acknowledged the “Goddess of Love and War,” her ferocity in battle and passion in bed are depicted in the detail anticipated of one bearing that epithet. For the deities of antiquity, the few prohibitions regarding sex were related to royal rights of succession allowing Inanna, a Divine Child, daughter of two of the ruling pantheon, a free romp among the gods and mortals of her time. This tale swims upstream against the flow of current teachings and knowledge. It contains theory and context some may find objectionable. Eventually, continually emerging discoveries will require a rewrite of the Bible (another one), giving our precursors the place in our ancient history they deserve. It is through our Creator, by way of the Nefilim and Anunnaki, that we exist in our present form, far ahead of our time. They provided the “missing link” that has baffled anthropologists for centuries. Nibiru, their home planet, ("Planet X" to current astronomers), orbits our sun from deep space. The Sumerians tell it is a monarchy ruled by a pantheon of twelve including a King, his two sons, a daughter, and eight others of royal blood. To accept their reality, consider how they came to be; a subject that is not being taught in our culture. I hope the following will help make it clear. The title, “Goddess of Love and War,” is bestowed on Inanna by history, not the author. It would not be fitting to write, "They kissed and went to bed to make love.” Therefore, the several descriptions of sexual activity herein are not gratuitous, but they are graphic.

Ishtar is the first book dedicated to providing an accessible analysis of the mythology and image of this complex goddess. The polarity of her nature is reflected in her role as goddess of sexual love and war, and has made her difficult to characterise in modern scholarship. By exploring this complexity, Ishtar offers insight into Mesopotamian culture and thought, and elucidates a goddess who transcended the limits of gender, divinity and nature. It gives an accessible introduction to the Near Eastern pantheon, while also opening a pathway for comparison with the later Near Eastern and Mediterranean deities who followed her.

The Dictionary of Deities and Demons in the Bible (DDD) is the single major reference work on the gods, angels, demons, spirits, and semidivine heroes whose names occur in the biblical books. Book jacket.

A fresh retelling of the ancient texts about Ishtar, the world's first goddess. Illustrated with visual artifacts of the period. "A great masterpiece of universal literature."--Mircea Eliade

Since its founding by Jacques Waardenburg in 1971, Religion and Reason has been a leading forum for contributions on theories, theoretical issues and agendas related to the phenomenon and the study of religion. Topics include (among others) category formation, comparison, ethnophilosophy, hermeneutics, methodology, myth, phenomenology, philosophy of science, scientific atheism, structuralism, and theories of religion. From time to time the series publishes volumes that map the state of the art and the history of the discipline.

Rivkah Harris’s cross-cultural and multidisciplinary approach breaks new ground in assessing Mesopotamian attitudes toward youth and mature adulthood, aging and the elderly, generational conflict, gender differences in aging, relationships between men and women, women’s contributions to cultural activities, and the "ideal woman." To uncover Mesopotamian perspectives, Harris combed through primary sources - including literature and myth, letters, economic and legal texts, and visual materials. Even such pivotal cultural influences as the Gilgamesh Epic and Enuma Elish are reinterpreted in an original manner.