Destination Sinai is the spiritual journey of two former Christians to traditional Judaism. It is also the story of two people who met when they were teenagers and forged a friendship that lasted nine years before finally marrying. During those nine years, each journeyed on a different path, through relationships, engagements and spiritual highs and lows. From traditional Christianity to the Jews for Jesus/Messianic Movement, they finally converted to traditional (Orthodox) Judaism. Since their conversion, Asher and Elisheva Thomas have had four children. They have traveled from community to community, Phoenix to Milwaukee and now Las Vegas, sharing their story and commitment to God, as they continue to find their way in a religion and culture that has forever changed their lives and the lives of their family and closest friends.
This groundbreaking book explores the evolving concept of unfinishedness as essential to understanding art movements from the Renaissance to the present day. Unfinished features more than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cézanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. What unites these works, across centuries and media, is that each one displays some aspect of being unfinished. Essays and case studies by major contemporary scholars address this key concept from the perspective of both the creator and the viewer, probing the impact that this long artistic trajectory—which can be traced back to the first century—has had on modern and contemporary art. The book investigates the degrees to which instances of incompleteness were accidental or intentional experimental or conceptual. Also included are illuminating interviews with contemporary artists, including Tuymans, Celmins, and Marden, and parallel considerations of the unfinished in literature and film. The result is a multidisciplinary approach and thought-provoking analysis that provide valuable insight into the making, meaning, and critical reception of the unfinished in art.
Tina Thomas would have been turning 35 on the day that her husband of less than two weeks stood trial for her murder in the Jefferson County Courthouse in Birmingham, Alabama, US. Eight years and almost four months had passed since Tina died on her honeymoon, while scuba diving near the SS Yongala wreck on the Great Barrier Reef in Northern Queensland, Australia. During this period, there had been extensive police investigations conducted by local, state and federal agencies in Queensland and...
Tina Thomas would have been turning 35 on the day that her husband of less than two weeks stood trial for her murder in the Jefferson County Courthouse in Birmingham, Alabama, US. Eight years and almost four months had passed since Tina died on her honeymoon, while scuba diving near the SS Yongala wreck on the Great Barrier Reef in Northern Queensland, Australia. During this period, there had been extensive police investigations conducted by local, state and federal agencies in Queensland and...
In A Day in the Country (third of six in Ashers Anthology), a letter sent to a family in another town comes about because of a meeting between musicians. One of which is a craftsman, who tells his apprentice that someone he met also had relatives with the same name as the apprentice. Years later, a phone call from the family, who received the letter, leads to a visit by the now-married apprentice to the caller. What follows isin some respectsa partial comedy and drama involving a potential religious intermarriage that fails to materialise but has remarkable consequences.
For the last third of the nineteenth century, Union General Stephen Gano Burbridge enjoyed the unenviable distinction of being the most hated man in Kentucky. From mid-1864, just months into his reign as the military commander of the state, until his death in December 1894, the mere mention of his name triggered a firestorm of curses from editorialists and politicians. By the end of Burbridge's tenure, Governor Thomas E. Bramlette concluded that he was an "imbecile commander" whose actions represented nothing but the "blundering of a weak intellect and an overwhelming vanity." In this revealing biography, Brad Asher explores how Burbridge earned his infamous reputation and adds an important new layer to the ongoing reexamination of Kentucky during and after the Civil War. Asher illuminates how Burbridge—as both a Kentuckian and the local architect of the destruction of slavery—became the scapegoat for white Kentuckians, including many in the Unionist political elite, who were unshakably opposed to emancipation. Beyond successfully recalibrating history's understanding of Burbridge, Asher's biography adds administrative and military context to the state's reaction to emancipation and sheds new light on its postwar pro-Confederacy shift.
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