This collection of essays by biblical scholars is the first book-length treatment of the 2014 film Noah, directed by Darren Aronofsky. The film has proved to be of great interest to scholars working on the interface between the Bible and popular culture, not only because it was heralded as the first of a new generation of biblical blockbusters, but also because of its bold, provocative, and yet unusually nuanced approach to the interpretation and use of the Noah tradition, in both its biblical and extra-biblical forms. The book's chapters, written by both well-established and up-and-coming scholars, engage with and analyze a broad range of issues raised by the film, including: its employment and interpretation of the ancient Noah traditions; its engagement with contemporary environmental themes and representation of non-human animals; its place within the history of cinematic depictions of the flood, status as an 'epic', and associated relationship to spectacle; the theological implications of its representation of a hidden and silent Creator and responses to perceived revelation; the controversies surrounding its reception among religious audiences, especially in the Muslim world; and the nature and implications of its convoluted racial and gender politics. Noah as Antihero will be of considerable interest to scholars conducting research in the areas of religion and film, contemporary hermeneutics, reception history, religion and popular culture, feminist criticism, and ecological ethics.

This collection of essays by biblical scholars is the first book-length treatment of the 2014 film Noah, directed by Darren Aronofsky. The film has proved to be of great interest to scholars working on the interface between the Bible and popular culture, not only because it was heralded as the first of a new generation of biblical blockbusters, but also because of its bold, provocative, and yet unusually nuanced approach to the interpretation and use of the Noah tradition, in both its biblical and extra-biblical forms. The book's chapters, written by both well-established and up-and-coming scholars, engage with and analyze a broad range of issues raised by the film, including: its employment and interpretation of the ancient Noah traditions; its engagement with contemporary environmental themes and representation of non-human animals; its place within the history of cinematic depictions of the flood, status as an 'epic', and associated relationship to spectacle; the theological implications of its representation of a hidden and silent Creator and responses to perceived revelation; the controversies surrounding its reception among religious audiences, especially in the Muslim world; and the nature and implications of its convoluted racial and gender politics. Noah as Antihero will be of considerable interest to scholars conducting research in the areas of religion and film, contemporary hermeneutics, reception history, religion and popular culture, feminist criticism, and ecological ethics.

Always Another Mountain is the whimsical life story of David Foster, an adventurer, an outdoors man, and a man afflicted with the debilitating lung disorder Cystic Fibrosis. This book is adapted from the screenplay and draws the reader in through film styled scene descriptions. The story is an inspirational love story with many notes of humor that will leave you the reader with a full range of emotions. David had a passion for life and a love of the outdoors which transcended the physical limitations brought on by this incurable disease. Foster wanted to leave this world better than he found it, and wanted his life to serve as an inspiration not only for those suffering from CF, but for all of us. This is a story that touches on triumphs and tragedies that all those afflicted with cystic fibrosis must face during their shortened lives, and specifically David Foster s life. ""I'm just like anyone else, I just cough a little more"" -DavidFoster

Everyone wants you to read the book on which he or she is working, a novel everyone is writing in order to find the meaning of life, with which everyone's spouse ran off. But everyone has to finish the novel before everyone can know where the novel begins. In the meantime, there are all these distractions, such as the twelfth-floor window at the office building where everyone works out of which people or maybe just one person keeps jumping or falling--everyone isn't sure--or everyone's sexy coworker Sam, whom everyone is struggling valiantly against to keep from becoming a paramour. It's kind of pitiful, actually, the way everyone keeps begging you to read, sending you e-mails, dropping it into conversation ("I have a book, you know?"), posting links to it on social-networking sites. Everyone figures that if he or she begs enough, you will break down and try it.