It is generally accepted that Revelation’s heavenly scenes were intended to demonstrate that God continued to exercise his control even when the audience’s experience might suggest otherwise. In The Abyss in Revelation, Edward Gudeman argues that even though the scenes of the underworld and its inhabitants are describing reality from the opposite perspective, they declare God’s sovereignty and power in an equally powerful way. Examining the motif and imagery of the abyss and the sea in Old Testament, New Testament, Greco-Roman, and Second Temple Jewish writings, Gudeman identifies traditions that John appropriates in Revelation in order to create his unique vision of the abyss. Gudeman shows that the abyss and related concepts in Revelation are variously envisioned as the abode of evil creatures, the place from which they exit, and a prison that holds them captive. In all of this, John consistently demonstrates that God is in control of the activity of Satan and demonic beings and that their destruction is both planned and certain. Original and convincing, this volume sheds light on Revelation’s message about how God responds to evil and advances our understanding of several interpretive problems related to the abyss and its inhabitants. Biblical scholars especially will benefit from Gudeman’s research.

Ginnungagap, the Gaping Abyss, was once what separated the realms of Ice and Fire, keeping them in balance and sparing the other realms from their ravages. With the Nine Realms shattered, however, Ginnungagap has been left unguarded and unspeakable horrors now await those who wish to cross it. Ragnarok: The Abyss includes new scenarios for Ragnarok as well as new monsters to vanquish in glorious battle. New mechanics introduce something once barely recognised by war clans – Fear – and present entirely new challenges for them to overcome in the telling of their sagas.

This first part of this saga summarizes the references of the most significant mythologies in the world that speak about the Creation of the world and the appearance of evil with all its forces and entities. The Sakla Rebellion includes passages that explain what the Kingdom of Heaven is like and who inhabits it. In a chronological way, it narrates the events that took place before the Earth existed as such and where the great links of science about the beginnings of life lie. This first work shows how the gods and the laws of nature emerged, giving rise not only to this orb, but also to the solar system.

Once More Into The Abyss by Dennis Danvers is the last of three novelettes about Stan, whose parents claimed to be aliens and either perished or went home via an abyss in the middle of New Mexico. Stan is drawn back to the Abyss when his wife is offered a job there studying alien artifacts. So Stan and his family (wife, son, brother and three dogs) take a road trip. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

The black Book Of The abyss is the creationf Of pope Fraize founder of the chuch of Leviathan. An /Offline orginization dedicated to the teachings of the left hand path

The title of my book, A Journey into the Abyss of the Mind, looks at some of lifes scenarios and what we as individuals are faced with on a day-to-day basis. Throughout this book, I am hoping that the reader(s) will be able to identify with some of the struggles and understand that they are not alone and they too can shake themselves from any negativity they are faced with. Remember after the rain always come the sun and the rainbow.

Uses the figure of the mad poet to explore the connections between madness and creativity.

Rosalia de Castro (1837-85) wrote five volumes of poetry before succumbing to cancer of the uterus at the age of forty-eight. While she is perhaps best known for her more introspective and intimate poetry, Castro's mature works are also highly feminist and political in thematic orientation. This book examines the fascinating system of poetic techniques Castro employs in her works to link the compelling issues surrounding femaleness and identity- both national and individual- to the construction of a system of gendered symbolic language that has been vastly understudied by contemporary scholars.

Once upon a time the Blood Sorcerer vanquished the kingdom of Elden. To save their children, the queen scattered them to safety and the king filled them with vengeance. Only a magical timepiece connects the four royal heirs and time is running out. As the dark Lord who condemns souls to damnation in the Abyss, Micah is nothing but a feared monster wrapped in impenetrable black armour. He has no idea he is the last heir of Elden, its last hope. Only one woman knows the daughter of his enemy. Liliana is nothing like her father, the Blood Sorcerer who'd cursed Micah. She sees past Micah's armour to the prince inside. A prince whose sinful touch she craves. But first she has to brave his dark, dangerous lair and help him remember. Because they only have till midnight to save Elden.