The Shadow Scrolls is a new novel series by PD Lorenz. Book One, The Vale of Blood, follows the coming of age adventures of young Jonathan of Scharp and the girl, quite literally, of his dreams. Swept away from the relative safe haven that is Irenay and the land of his birthright, Jonathan finds himself wrapped up into the mysterious City of Gish and the plight of its people. Upon arrival, he becomes enfolded into an insurgent assassin's sect called, The Shade. However, just beyond his meteoric rise through the ranks of power lies a snake in waiting... A serpent called betrayal whose venomous strike condemns our hero to a horrifying existence, leaving one question to linger on the edge of eternity... Can hope and the light of redemption rise out of the ashes of a life poorly chosen...?

Shintai Ryu Ninjitsu, Kuji Kiri Ninjutsu from Soke Joshua Carr Many people know the Bujinkan ( Masaaki Hatsumi ) , Jinenkan (Unsui Manaka), Genbukan (Shoto Tanemura), Iga Ryu and Koga Ryu Ninjutsu systems. There is another system of Ninjutsu that is called Shintai Ryu Ninjutsu aka Kuji Kiri Ninjutsu of Soke Joshua Carr from the U.S.A. This book is a Densho of the Kuji Kiri Ninja system and describes much martial arts techniques and weapons of the Ninja. This system has some elements of Dux Ryu Ninjutsu the system created by Frank Dux (Inspiration for the movie Bloodsport) which has its roots in the Koga Yamabushi Ninjitsu group. Soke Joshua Carr created this hybrid Ninja style with elements of: Mixed Martial Arts, Jiu Jitsu, Bujinkan Budo, Kan Shu Kenpo, Renzoku Jiu Jitsu and many others. You can read it all and learn the techniques of the Shinobi warriors from ancient Japan.

Oskar Skarsaune gives us a new look into the development of the early church and its practice by showing us the evidence of interaction between the early Christians and rabbinic Judaism. He offers numerous fascinating episodes and glimpses into this untold story.

With nearly all Dead Sea Scrolls published, this collection of essays integrates this very important corpus of ancient texts into the study of Hebrew Bible, ancient and rabbinic Judaism as well as early Christian and other ancient literatures, languages, and cultures.

Joe Henderson offers a critique of the assumption that poetic form in the book of Jeremiah indicates authenticity. This assumption undergirds Bernhard Duhm's reconstructions (1901) of the prophet's biography and the book's composition, the basic components of the dominant paradigm for twentieth-century Jeremiah scholarship. Henderson argues that Duhm's model is best understood as an attempt to bring the book into conformity with nineteenth-century systems of aesthetics, historiography, and theology-and with the Grafian reconstruction of the history of Israel's religion. The accord between these systems and Duhm's assumption about poetic form has less to do with their common grasp of the historical reality of Hebrew prophecy than with their common roots in the Romantic theory of prophetic and poetic inspiration-a theory forged by Robert Lowth in his exposition (1752) of the poetry he found in the prophetic books. Henderson contends that continued adherence to Duhm's foundational assumption has held back recent attempts to “move beyond Duhm” and overcome the fragmentation of the book entailed by his model. Rhetorical critics, who maintain that Jeremiah 2–10 is unified by the structural devices of the historical prophet, and redaction critics, who maintain that Jeremiah 11–20 is unified by the theological agenda of Deuteronomistic editors, both rely on the assumed authenticity of the poetry. Henderson observes that although these scholars have uncovered evidence of dramatic presentation in Jeremiah 2–20, they have failed to see that the dramatic nature of these chapters undermines their use for Duhm's historical-critical projects and reveals what actually unifies them-narrative progression.