Many Christians are anxious to learn more about their faith. Unfortunately, many quickly find it is harder than they anticipated, especially when they are not very familiar with the core doctrines. Worse, what should they do when they find conflicting information?

For the past thirty years, author John J. Cobb has devoted himself to teaching the foundational truths of the Christian faith. "From Death to Life" embodies his passion for the accuracy and purity of God's word. In this study, he explores some of the core doctrines of Christianity, including God's doctrine, sin, justification, election, and predestination.

John J. Cobb first book, Lord, when? A Biblical Perspective on the Second Coming, was his first work in exploring the doctrines of the Christian faith? "From Death to Life" continues his quest to understand the tremendous love God has for his family. Through reading and understanding these doctrines, Christians can strengthen their faith and rediscover their love for God and His word.

Western society moved from a period in which Christianity was the dominant spiritual force to one of nationalism and then to making the economy the object of public devotion. Today this is challenged by those seeking the health of the Earth including all its inhabitants. The World Bank is the economistic institution most open to Earthist concerns. This book evaluates the Bank's potential for leadership in broadening public goals from narrowly economic goods to inclusive ones.

In The Lousy Adult, William J. Cobb reveals a world where love and respect collide with achievement and desire, a world where people often get what they want, yet must pay the price of alienation, remorse, and retribution in order to obtain it. In "The Sea Horse," a teenage boy defends a battered woman against her abusive husband while he deals with the loss of his own parents. In "Warsaw, 1984," a young man travels through Europe and ends up in a relationship in a country he can't understand. The Lousy Adult presents ten short stories about defrocked priests, guilty electricians, hardened mothers, and other colorful characters who portray the complexity of the human race. Praise for William J. Cobb's The Fire Eaters "Cobb's short stories, printed in the New Yorker and other magazines, hinted at the power he displays in this beautifully controlled and convincing debut, winner of the 1992 Associated Writing Programs award for the novel."-Publisher's Weekly

Western society moved from a period in which Christianity was the dominant spiritual force to one of nationalism and then to making the economy the object of public devotion. Today this is challenged by those seeking the health of the Earth including all its inhabitants. The World Bank is the economistic institution most open to Earthist concerns. The book evaluates the Bank's potential for leadership in broadening public goals from narrowly economic goods to inclusive ones.

This book contends that Hollywood films help illuminate the incongruities of various periods in American diplomacy. From the war film Bataan to the Revisionist Western The Wild Bunch, cinema has long reflected US foreign policy's divisiveness both directly and allegorically. Beginning with the 1990s presidential drama The American President and concluding with Joker's allegorical treatment of the Trump era, this book posits that the paradigms for political reflection are shifting in American film, from explicit subtexts surrounding US statecraft to covert representations of diplomatic disarray. It further argues that the International Relations theorist Walter Mead's concept of a US polity dominated by contesting beliefs, or a 'kaleidoscope', permeates these changing paradigms. This synergy reveals a cultural milieu where foreign policy fissures are increasingly encoded by cinematic representation. The interdisciplinarity of this focus renders this book pertinent reading for scholars and students of American Studies, Film Studies and International Relations, along with those generally interested in Hollywood filmmakers and foreign policy.

This book contends that Hollywood films help illuminate the incongruities of various periods in American diplomacy. From the war film Bataan to the Revisionist Western The Wild Bunch, cinema has long reflected US foreign policy's divisiveness both directly and allegorically. Beginning with the 1990s presidential drama The American President and concluding with Joker's allegorical treatment of the Trump era, this book posits that the paradigms for political reflection are shifting in American film, from explicit subtexts surrounding US statecraft to covert representations of diplomatic disarray. It further argues that the International Relations theorist Walter Mead's concept of a US polity dominated by contesting beliefs, or a 'kaleidoscope', permeates these changing paradigms. This synergy reveals a cultural milieu where foreign policy fissures are increasingly encoded by cinematic representation. The interdisciplinarity of this focus renders this book pertinent reading for scholars and students of American Studies, Film Studies and International Relations, along with those generally interested in Hollywood filmmakers and foreign policy.

Here is the haunting drama of Quasimodo, the hunchback; Esmeralda, the gypsy dancer; and Claude Frollo, the priest tortured by his own damnation. Shaped by a profound sense of tragic irony, it is a work that gives full play to the author's brilliant imagination.