In these dark, witty short stories, Katy Wimhurst creates off-kilter worlds which illuminate our own. Here, knitting might cancel Armageddon. A winged being yearns to be an archaeologist. Readers are sucked into a post-apocalyptic London where the different rains are named after former politicians. An enchanted garden grows in a rented flat. Magical realism meets dystopia, with a refreshing twist. Advance Praise: 'An iridescent, compelling collection. Darkly magical in all the right ways.' - Irenosen Okojie, author of Nudibranch and Speak Gigantular 'Tales of the unexpected... a refreshing and humorous collection illuminating the author's vast imagination and gift for merging people, place and politics in well crafted stories. Wimhurst's cultural allusions and social commentary might make you laugh or glance sideways, but there are always sparks of human hope amongst the dystopian debris. One ticket here please, open return.' - Emma Kittle-Pey, author of Gold Adornments and Fat Maggie. 'These are fresh and exciting pieces, and I loved the sense of these unsettling off-kilter worlds, reminiscent of M John Harrison's You Should Come With Me Now (Comma Press). I think readers will enjoy the author's skilful balance of wit and playfulness with dark and frightening things; magical realism with a melancholy and often chilling twist.' - Anna Vaught, author of Saving Lucia and Famished. 'Katy Wimhurst finds hope in dystopias; colour in the bleakest of worlds. Her art is in combining charming whimsy with weighty social issues and, in the balance, delighting and surprising her reader. Her rich imagination and fresh, clean writing is, at all times, a pleasure.' - Petra McQueen, founder of The Writers' Company 'Katy Wimhurst's stories are enchanting. They appear beguilingly simple yet contain layers of meaning and mystery. Although often comical, each story has a hidden steel core - an environmental message that we need to cherish our planet and be compassionate to one another. She specialises in dystopias - in societies overwhelmed by the threats we fear - but even here the endings sound a positive note. We remain enchanted.' - Dorothy Schwarz, author of Behind a Glass Wall and Simple Stories about Women. Extract: Ticket to Nowhere "Destination?" asked the woman in the railway ticket office. She had pink blotchy skin and dark bags under her eyes. "Nowhere," I said. "Single or return?" "Can I get an open return for the next train?" "Not during peak hours." I sighed. "Okay, single then." I had no idea how long I would be in Nowhere, but had taken a few days off work, anyway. "That'll be £35." "For a one-way ticket to Nowhere? That's a complete rip-off!" "Take it or leave it," the woman said flatly. "Nowhere's the cheapest destination on offer. I can do Elsewhere for £44 or Somewhere for £52. We have a special offer to Everywhere for £99, which includes free vouchers for a Nirvana milk-shake and Armageddon hamburger." "I need a ticket to Nowhere." I opened my purse and handed over the money. "When does the next train leave?" "In five minutes from platform three." I took the ticket, picked up my suitcase, and followed the signs to platform three. Pacing resolutely, I was conscious of the click-click of my high heeled boots on the floor. It was dark outside apart from the dim lamps that lit the platform at intervals. A lonely half-moon was hovering high above, and I turned up the collar of my woollen overcoat.

Scholars of early Christian and Jewish literature have for many years focused on interpreting texts in their hypothetical original forms and contexts, while largely overlooking important aspects of the surviving manuscript evidence and the culture that produced it. This volume of essays seeks to remedy this situation by focusing on the material aspects of the manuscripts themselves and the fluidity of textual transmission in a manuscript culture. With an emphasis on method and looking at texts as they have been used and transmitted in manuscripts, this book discusses how we may deal with textual evidence that can often be described as mere snapshots of fluid textual traditions that have been intentionally adapted to fit ever-shifting contexts. The emphasis of the book is on the contexts and interests of users and producers of texts as they appear in our surviving manuscripts, rather than on original authors and their intentions, and the essays provide both important correctives to former textual interpretations, as well as new insights into the societies and individuals that copied and read the texts in the manuscripts that have actually been preserved to us.

This book, “Revelation Rainbow” is the end of a forty-year quest by the author to find answers to the questions generated by Biblically un-informed scholarship that shrouds rather than unveils the great truths of this Holy Spirit directed work of our Lord. Hundreds of students of Revelation have been left in a bewildered state because certain scholars approach the book with a human mindset, instead of a Spirit led mindset. Instead of looking at Revelation as The Divine apocalypse, they try to humanize and literalize the book as a study of human secular history leaving the student with a complicated scheme of things that do not make sense. Having met these students, Mr. Doughty was greatly distressed to see them turn from God’s Word (especially Revelation) altogether. Subjects like the Antichrist, Millennium, Mark of the Best, Rapture, Tribulation and “Left Behind” are just some of the end-time twists causing confusion.

Table of contents

This accessible and enlightening history provides insights into the fascinating genre of apocalyptic literature, showing how the apocalypse encompasses far more than popular views of the last judgment and violent end of the world might suggest. An accessible and enlightening history of the "apocalypses"--ancient Jewish and Christian works -- providing fresh insights into the fascinating genre of literature Shows how the apocalypses were concerned not only with popular views of the last judgment and violent end of the world, but with reward and punishment after death, the heavenly temple, and the revelation of astronomical phenomena and other secrets of nature Traces the tradition of apocalyptic writing through the Middle Ages, through to the modern era, when social movements still prophesise the world’s imminent demise