The description for this book, The Old Enemy: Satan and the Combat Myth, will be forthcoming.

Stay safe. Stay at home. This is what the whole world has been told during the greater part of this year, 2020. Lockdown is a term that even both my grandsons of pre-school going age understand. This isolation from the outside world is for our own good, we have been told. And this is probably true. So many millions have been infected by this novel coronavirus, COVID-19. At the time of writing there was more than 35 million infections worldwide1 and more than a million had already succumbed to this deadly enemy of the human race. The disease has not only been a threat to the health of the global population, but has also left, in its path of destruction, crippled economies and, consequently, has added millions to the already high number of unemployed people in the world. In my previous work entitled, The Church, The City & The Virus2, I have contended that probably not all countries have always responded to this pandemic in a manner that had the best interests of most of its citizens at heart. In my humble opinion, this is especially true in the case of our own country, South Africa. It appears now, with hindsight, that from the get-go, political opportunists set themselves up to benefit from the plight and suffering of the people of this nation. Heartless and corrupt, politically connected individuals have enriched themselves, their friends and their families at the expense of the poor and the destitute. The extent of the corruption has not only reached to the high heavens, but has also angered a nation already suffering the worst nightmare imaginable. There are so many sayings and clichés that one can think of that ring chillingly true during these dark days and crazy times. As others have said so many times before, power corrupts, and absolute power corrupts absolutely. Evil triumphs when good people do nothing. Those who are silent when they ought to have spoken and were able to, are taken to agree. In South Africa, now, in this author’s view, there remains a confusing silence from very influential and very powerful people whose voices many South Africans have expected to hear. I am not referring to the voices of politicians from opposition parties - sometimes, during this pandemic, politicians opposed to the ruling party have probably made relevant and useful contributions - but one can never be sure whether it is really about the nation’s interest or their own narrow interests. Other good but faint voices have also been heard. There is an organisation named For South Africa or FORSA for short, who have submitted important input to the powers that be, and they should probably be appreciated for that. The South African Council of Churches (SACC) has provided some response as far as the recent wave of corruption is concerned, but the practical possibilities of executing their proposed programme of action has yet to be seen. Many business leaders have spoken - but again, one must hope that it is really about the greater good and in the interest of the vulnerable majority and not about narrow personal, business interest. Trade unions and certain state-salaried employee groups have also made their voices heard. Again, one cannot be sure whether it is out of concern for the nation’s interests or self-interest.

A newly revised text for A Clockwork Orange’s 50th anniversary brings the work closest to its author’s intentions. A Clockwork Orange is as brilliant, transgressive, and influential as when it was published fifty years ago. A nightmare vision of the future told in its own fantastically inventive lexicon, it has since become a classic of modern literature and the basis for Stanley Kubrick’s once-banned film, whose recent reissue has brought this revolutionary tale on modern civilization to an even wider audience. Andrew Biswell, PhD, director of the International Burgess Foundation, has taken a close look at the three varying published editions alongside the original typescript to recreate the novel as Anthony Burgess envisioned it. We publish this landmark edition with its original British cover and six of Burgess’s own illustrations.

Ye Zixi dragged his long skirt with him as he prepared to push open the door to the lounge. "What the f*ck!" What did she see ... Through the thin gap in the door, two people were hugging each other. One was struggling violently, while the other was being confined forcefully. Ye Zixi subconsciously wanted to run away, but suddenly, a cold palm pressed against her bare shoulder ...

Australia and the World celebrates the pioneering role of Neville Meaney in the formation and development of foreign relations history in Australia and his profound influence on its study, teaching and application.

This is a collection of original essays by international scholars which focuses on Irish writing in English from the eighteenth century to the present. The essays explore the recurrent motif of exile and the subversive potential of Irish writing in political, cultural and literary terms. Case-studies of major writers such as Swift, Joyce, and Heaney are set alongside discussions of relatively unexplored writing such as radical pamphleteering in the age of the French Revolution and the contribution of women writers to Nationalistic journalism.

Is Jesus mythological? And is he a mere product of his cultural milieu? Through narratological and social-scientific analysis of the gospel account, Barber systematically demonstrates that there are two opposing patterns structuring the gospel. The first is the pattern of this world, which is the combat myth, with a typical sequence of motifs having mythological meanings. It is lived out by everyone else in the accounts except Jesus, because this pattern of the world is the pattern of myth-culture, which is the pattern of the old Adam and sin nature. The pattern of Jesus is the pattern intended for Adam to walk in, and is the unique pattern of the new Adam, Jesus Christ. Jesus's pattern inverts the sequence and subverts the significance of each and every motif and episode of the myth-culture's pattern. Barber shows that Jesus's "failure" to conform to this world's mythological pattern establishes that he is not mythological, and not a product of his culture. As the apostle Peter states, ". . . we did not follow cleverly devised tales [myths] when we made known to you the power and coming of our Lord Jesus Christ, but we were eyewitnesses of his majesty" (2 Pet 1:16).