What Was Within

David Charles Anderson is the author of the chapbook Not Made by Hand and The Odes: From Solomon’s Songbook, a paraphrase of the first century Christian songbook, The Odes of Solomon . He and his wife live in Northern California. The poems in What Was Within remember a life begun on a fruit orchard in the foothills of the Sierra Nevada. They are suffused with an appreciation of the arts and a life shadowed by the presence of God. “I have been a fan of David Anderson’s work for years. This collection showcases his dexterity and skill in many kinds of poetry, from free verse to difficult forms. They are accessible yet often demand a second reading, yielding riches that surprise and delight.” —Lora Homan Zill, editor and publisher of Time of Singing: a Journal of Christian Poetry

Einstein famously stated that there are only two ways to live: as though nothing is a miracle, or as though everything is. When we’re undefended, psychologically naked with nothing standing between us and our immediate experience, then everyday miracles are within reach. Opening to the moment unfolding right before our eyes, exactly as it is, becomes a doorway into a magical landscape. What Was in Buddha's Left Hand? inspires us to experience the world with refreshing openness and appreciation, where we might discover enlightenment where we least expect to find it.

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.

The essays published here are revised versions of papers presented in 2008 and 2009 in the section devoted to Israel and the Production and Reception of Authoritative Books in the Persian and Hellenistic Period at the annual meeting of the European Association of Biblical Studies. The various contributors explore what was authoritative for Chronicles and what authoritative might have meant for the Chronicler from different perspectives. The volume includes chapters by Yairah Amit, Joseph Blenkinsopp, David J. Chalcraft, Philip R. Davies, David A. Glatt-Gilad, Louis Jonker, Mark Leuchter, Ingeborg Löwisch, Lynette Mitchell, Steven J. Schweitzer, Amber K. Warhurst, and the two editors, Diana V. Edelman, and Ehud Ben Zvi. This volume will be of particular interest to scholars and students of biblical literature and all who are interested in ancient Israelite historiography, in Chronicles, in the intellectual history of Israel in the Persian/early Hellenistic period, and in issues of biblical proto-canonicity, authority, and criticism.

“My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel—it is, before all, to make you see. That—and no more, and it is every-thing.” So wrote Joseph Conrad in the best-known account of literary impressionism, the late nineteenth- and early twentieth-century movement featuring narratives that paint pictures in readers’ minds. If literary impressionism is anything, it is the project to turn prose into vision. But vision of what? Michael Fried demonstrates that the impressionists sought to compel readers not only to see what was described and narrated but also to see writing itself. Fried reads Conrad, Stephen Crane, Frank Norris, W. H. Hudson, Ford Madox Ford, H. G. Wells, Jack London, Rudyard Kipling, Erskine Childers, R. B. Cunninghame Graham, and Edgar Rice Burroughs as avatars of the scene of writing. The upward-facing page, pen and ink, the look of written script, and the act of inscription are central to their work. These authors confront us with the sheer materiality of writing, albeit disguised and displaced so as to allow their narratives to proceed to their ostensible ends. What Was Literary Impressionism? radically reframes a large body of important writing. One of the major art historians and art critics of his generation, Fried turns to the novel and produces a rare work of insight and erudition that transforms our understanding of some of the most challenging fiction in the English language.

What Was Football Like in the 1980s? provides a fascinating and insightful perspective on the game in a decade when football faced major challenges on and off the field. The author's own memories and experiences are augmented by a wealth of research to bring you the definitive account of the clubs, players, managers, referees, grounds, crowds and competitions that defined '80s football. The book examines the Hillsborough, Heysel and Bradford fire tragedies, along with the increasingly commercialised aspects of the game and the evolution of televised football. The scourge of hooliganism - which reached its height in the 1980s - is also given due consideration. What Was Football Like in the 1980s? is an enthralling and illuminating account of a truly remarkable decade for the beautiful game, penned by a respected football author and journalist. How different was the sport 30 to 40 years ago? Richard Crooks gives you the answer, leaving no stone unturned.