Infernal War

Lucifer and the angels who rebelled with him got thrown out of Heaven. They, Along with the inhabitants of Earth, find themselves in a despicable place. They all blame Lucifer for their current predicament and want revenge. Ovnion, Lucifer's old ally and former king of Earth, is the only one to approach Lucifer with a different purpose. Ovnion wants to ally with Lucifer. He thinks if they work together they might survive. Lucifer will use Ovnion to become the sole ruler over both angels and Earth beings. As the fallen angels and Earth beings fight amongst themselves, Lucifer will do everything in his power to use their war to his advantage.

The Confederate letters of Edwin H. Fay are remarkable documents, bearing little resemblance to the average run of missives that poured from Southern camps during the course of the Civil War. The spelling and grammar reveal a sound education. [Harvard, 1852]. Lucy E. Fay was Edwin H. Fay's youngest daughter. -- Introduction.

In recent years, the intersection of religion and the American Civil War has been the focus of a growing area of scholarship. However, primary sources on this subject are housed in many different archives and libraries scattered across the U.S., and are often difficult to find. The Routledge Sourcebook of Religion and the American Civil War collects these sources into a single convenient volume, the most comprehensive collection of primary source material on religion and the Civil War ever brought together. With chapters organized both chronologically and thematically, and highlighting the experiences of soldiers, women, African Americans, chaplains, clergy, and civilians, this sourcebook provides a rich array of resources for scholars and students that highlights how religion was woven throughout the events of the war. Sources collected here include: • Sermons • Song lyrics • Newspaper articles • Letters • Diary entries • Poetry • Excerpts from books and memoirs • Artwork and photographs Introductions by the editor accompany each chapter and individual document, contextualizing the sources and showing how they relate to the overall picture of religion and the war. Beginning students of American history and seasoned scholars of the Civil War alike will greatly benefit from having easy access to the full texts of original documents that illustrate the vital role of religion in the country’s most critical conflict.

The inevitable has arrived. Civilizations across the globe have begun to collapse under the insurmountable pressure exerted by the invasions from Hell, and there is no going back. All attempts to staunch the hemorrhaging of mortal lives have produced anemic results at best. As populations and resources are depleted in a steady downward spiral, the skeletal remains of governments worldwide close their borders and abandon international aid treaties in favor of riding out the storm alone in their own dark corners. While humanity trembles and death tolls soar, the gods and their supernatural allies continue fighting to stymie the ever-advancing Infernal hordes. Each divinity has staked their claim in certain locations to foster relations with the survivors there, be it a modest abbey or multinational empire. Dorian, the Ascended One, and his Alabaster Order have fought without pause for months to tip the delicate balance of peace and chaos ever so slightly in their favor, but it is Dorian’s champion, Nathaniel, who has made the greatest impact on both sides. Known throughout the world as a bringer of hope to the innocent and a foe to demons rivaling the gods themselves, Nathaniel has thrived under his master’s tutelage. But as the already frenetic pace of demonic invasions accelerates further, no amount of hope or divine might will prepare Earth’s forces for what is about to blow the doors off on its way to total domination.

There is a longstanding confusion of Johann Fust, Gutenberg's one-time business partner, with the notorious Doctor Faustus. The association is not surprising to Elizabeth L. Eisenstein, for from its very early days the printing press was viewed by some as black magic. For the most part, however, it was welcomed as a "divine art" by Western churchmen and statesmen. Sixteenth-century Lutherans hailed it for emancipating Germans from papal rule, and seventeenth-century English radicals viewed it as a weapon against bishops and kings. While an early colonial governor of Virginia thanked God for the absence of printing in his colony, a century later, revolutionaries on both sides of the Atlantic paid tribute to Gutenberg for setting in motion an irreversible movement that undermined the rule of priests and kings. Yet scholars continued to praise printing as a peaceful art. They celebrated the advancement of learning while expressing concern about information overload. In Divine Art, Infernal Machine, Eisenstein, author of the hugely influential The Printing Press as an Agent of Change, has written a magisterial and highly readable account of five centuries of ambivalent attitudes toward printing and printers. Once again, she makes a compelling case for the ways in which technological developments and cultural shifts are intimately related. Always keeping an eye on the present, she recalls how, in the nineteenth century, the steam press was seen both as a giant engine of progress and as signaling the end of a golden age. Predictions that the newspaper would supersede the book proved to be false, and Eisenstein is equally skeptical of pronouncements of the supersession of print by the digital. The use of print has always entailed ambivalence about serving the muses as opposed to profiting from the marketing of commodities. Somewhat newer is the tension between the perceived need to preserve an ever-increasing mass of texts against the very real space and resource constraints of bricks-and-mortar libraries. Whatever the multimedia future may hold, Eisenstein notes, our attitudes toward print will never be monolithic. For now, however, reports of its death are greatly exaggerated.

A fierce, searing response to the chaos of the war on terror—an utterly original and blackly comic debut In the early years of the Iraq War, a severely burned boy appears on a remote rock formation in the Akkad Valley. A shadowy, powerful group within the U.S. government speculates: Who is he? Where did he come from? And, crucially, what does he know? In pursuit of that information, an interrogator is summoned from his prison cell, and a hideous and forgotten apparatus of torture, which extracts "perfect confessions," is retrieved from the vaults. Over the course of four days, a cavalcade of voices rises up from the Akkad boy, each one striving to tell his or her own story. Some of these voices are familiar: Osama bin Laden, L. Paul Bremer, Condoleezza Rice, Mark Zuckerberg. Others are less so. But each one has a role in the world shaped by the war on terror. Each wants to tell us: This is the world as it exists in our innermost selves. This is what has been and what might be. This is The Infernal.