Books with author John G Anderson

This fifth in a series continues this non-academic author's attempts to decode on a word-by-word basis all of Joyce's Finnegans Wake. This volume covers chapter 2.2, generally considered the most difficult of chapters, with the intent to explore Joyce's novel as an art object. This difficult chapter takes us through the human psychosexual journey of the first 12 years. This journey, critical to the development of the full human spirit, is a pothole-ridden ride from infant dependency at the breast to breezy adolescent independence in puberty, from the stroller to the "hot rod." This Freud induced chapter flags the pot holes along the way and the flats they can cause. The goal of the journey is independence and new possibilities while the flats cancel the trip and the child stays at home. This chapter is known as the "Night Lessons." These Lessons are Night Lessons because they are designed to maintain the night, the darkness that prevents access to the new and previously unknown. These lessons condition their students to lose interest in the realm of the unknown where new possibilities await discovery. As we learn at the end of the chapter, fear of death is the ultimate Night Lesson. Death is the Big Flat. This is TZTZ god school--stay in the dark, stay in the known and stay in the past. Study only what was known in the past. Study each subject separately without regard to connection across subject boundaries. Wear my school uniform, concern for the opinions of others. Stay separated and protected from new possibilities. Stay in the old, in "yesternight." This chapter brings us three courses in the TZTZ effort to protect the known and old from the new: restriction of the enjoyment by children of their early libido experience, choice and organization of knowledge as fed to children, and the allowable relationship of the human soul to god. So the subjects are sex, knowledge and the relation to god. If you think that sounds like Eve's adventure in the Garden of Eden, you are right. The subliminal Lesson Plan in TZTZ god school is to stall and fix psychosexual development in an early and undeveloped stage, teach only and maintain strict boundaries between the old subjects of study, and prevent mankind's direct approach to ES god. As we shall see, this means separation, separation, separation. The Joyce Tikkun tutorial tries to mend together these important areas of human concern. The connecting threads are like the human developments in puberty: increased freedom and courage to unify with those separated off as other from self and the family, the already known. This Joyce effort aims to increase the portion of the united nature of ES god that humans reach in these areas: puberty liberated libido attraction to non-family members, thinking across disciplines and new thoughts, and by reaching for god. In this chapter, the union of man and woman beyond the family is the sacrament of increased possibilities.

Jack Fox is an adventurous twelve-year-old with a penchant for trouble. When he stumbles across a mysterious old transporter and is accidentally teleported away through the universe by a magic crystal, he finds himself trapped in a world filled with strange creatures, frightening beings and unimaginable dangers. To return home, Jack must acquire the Crystal of Time and the Crystal of Codes. But once there, he soon discovers that there is much more at stake than just his own life. Count Riavath, Tassiotus' evil sorcerer and ruler plans to use the crystals to open a portal to invade other worlds. If he succeeds then Earth will be threatened and Tassiotus will be doomed forever. With the help of a few courageous friends and allies, can Jack acquire the crystals he needs, unite the good people of Tassiotus against the sorcerer and his army, stop his evil scheme and return home to the ones he loves? Or will Count Riavath kill him first, initiate the portal and begin his invasion?The fate of many worlds has fallen to one boy.The battle of Good versus Evil has begun.Children's fantasy author G.J. Anderson will transport you to a world beyond imagination with this epic tale of friendship, courage and sacrifice. Suspense-filled adventure, swashbuckling action, mystery, magic, humour, grand-scale battles and many unforgettable characters make Jack Fox and the Crystals of Time a must-read for all ages.

This sixth in a series continues this non-academic author's ground-breaking word by word analysis of James Joyce's Finnegans Wake. This volume covers all of the long chapter 2.3 with the intent to explore its 80 pages as an art object. Coming off the last chapter about children, the role performed in the case of children by over-bearing parents is taken over by imperialistic forces in the case of adults. The imperialists consume weak adult spirits by telling them what to do. Anal-retentive children become passive/aggressive adults under the direction of imperialists. They are the "head liners" in this chapter. The spirit imperialists in this chapter range from the church allowing you to experience the joy of sexual intercourse only in the harness of the properly married state, to the state ordering you to kill other humans, to your customers whose desires you must appease in order to do business and to your collective unconscious which houses the collective bulletins registered in human experience. All of these usurpers are deployed to limit your free will and tell you what to do. They speak to your outer ear in order to smother the voice in your inner ear. In terms of RCC theology related to the human spirit, the Holy Spirit is at least theoretically the source of mutuality and is supposed to infuse the spirit of the joined father-son divine mutuality into our human relationships. But that spirit has since Pentecost been locked up in and administered exclusively by the church through its sacraments. In Joyce's theology, a passive Holy Spirit sequestered in the church does register the relationship in the trinity of father and son, but that relationship is not charity but the domination of the father over the son. Joyce sees this father dominance in Christ's fearful reluctance in the Garden of Gethsemane. In this chapter the three main victims made passive by the spirit imperialists are the Captain in the Norwegian Captain tale, Buckley in the Buckley and Russian General tale, and Earwicker in his own pub. The subject arenas for passivity are sex, war and earning a living. In the background as always with Joyce is the passivity of Eve and Adam in the Garden, a passivity that let aggressive TZTZ god into their spirits as fear and dependency and was laid down in the collective unconscious. The setting for this chapter about the human spirit is the sale of alcoholic spirits by Earwicker in his Pub aptly named the "House of Call." With "stout" flowing into glasses and coins pinging into his till, this chapter focuses on what else in the process the Proprietor Earwicker sells to the consuming patrons. And that what else is his own stout, his own spirit. Even though he is the Proprietor, he no longer owns himself. He takes their "orders" and then takes their orders. The audience in this pub setting is exclusively male. And inasmuch as the alcohol does the talking, when these males do and say what they want, they listen to the same old stories and banter at rather than talk to each other. There is no union or communion or mutuality-promoting conversation. Passive/aggressives yell at each other but don't communicate, communication being the mutuality-based network of the Holy Spirit. In a pun that connects much of this chapter, juvenile psychosexual "hang-ups" become telephone-type "hang-ups" in adult communication and mutuality.

This seventh in a series continues this non-academic author's ground-breaking word-by-word analysis of James Joyce's Finnegans Wake. This volume covers chapters 2.4, 3.1 and 3.2 with the intent to explore them as art objects. In Chapter 2.4 spirit imperialists attack love. Love, particularly the spontaneous kind, is an outpost of freedom and more possibilities. That outpost is a threat to the status quo regime of the imperialists and puts its central committee on alert. The imperialist control effort focuses on the two main sources of spontaneous love, the natural nurturing tendency of human females and the giving spirit of Jesus. One pure expression of this kind of control is the arranged marriage, an institution that often serves political interests. In arranged marriages, control trumps love. The arranged part of the marriage is usually the female. The arranged marriage makes spontaneous love illicit. This chapter presents love suffering from control in the context of two arranged marriages: Joyce's version of Isolde to King Mark in Tristan and Isolde ["T&I"] and Jesus to the church in the Gospels. The result in both cases is the same: love fused to death and a relationship barren of new offspring. The spirit mates in this chapter are King Mark from T&I and Evangelist Mark. The Book of Mark as edited reduced the independent and loving Christ to the "suffering servant," and Tristan died at the Cliff of Penmark, just as the real Christ died at the pen of Mark. Editors, the hated object of Joyce's early life as an author, fuse the stories. Another common element in the themes is the threat of the new replacing the old: Tristan replacing King Mark and the Son religion replacing the Father religion. This threat is announced at the opening of chapter 2.4. Part 3 brings us Shaun's chapters, chapters that feature his spirit. He is exhibited as a spirit imperialist in marching pants stained by an anal retentive childhood experience outlined in earlier chapters. He is stuck in the past, to influences from the past. Put another way and more to the point, the past is stuck in him. In Joyce's images, he has remained subject to the "son" or past family experiences in his soul and has not arisen to the independent "sun" in the present. Their dream character connects these Part 3 chapters to the altered mind state that produced the Book of Revelations, the source of formal elegance for these chapters. Shaun is cast in the mould of the closed spirit of the Anti-Christ [AC] and Shem in the mould of the open spirit of Christ [C]. Following the forehead allegiance indicator used in Revelations, these two chapters end after Shaun/Jaun puts a postage stamp on his forehead, he as the envelope of a message from others. His message is fear of unrestricted life possibilities because of its sufferings. His postage stamp is yellow for fear, but he has no spirit of his own, no message of his own to deliver. By contrast, Shem's spirit has risen within himself from dependence to independence, like the phoenix bird of myth that creates itself young from its own ashes. That mythical ascent ends chapter 3.2.

In today's increasingly morally toxic environment, with public sins as blatant as same-sex marriage and abortion, John Anderson believes that the most critical and compassionate responsibilities of the Church are to warn and call our society back to the Lord. True love and compassion impel us, and God commands us. It is possible to have revival in the midst of moral chaos, but we have only a small "window of mercy," and so the Church must begin now!

John David Anderson returns to the world of superheroes he created in Sidekicked with an entirely new cast of characters in Minion, a funny and emotional companion to his first breakout tween novel—perfect for superhero fans who also love the work of bestselling authors Rick Riordan, Louis Sachar, and Frank Cottrell Boyce.Michael Morn might be a villain, but he's really not a bad guy. When you live in New Liberty, there are no Supers and only two kinds of people: those who turn to crime and those who suffer. Michael and his adoptive father spend their days building boxes—special devices with mysterious abilities—that they sell to the mob at a price. They provide for each other, they look out for each other, and they'd never betray each other. But then a Super comes to town, and Michael's world is thrown into disarray. The Comet could destroy everything Michael and his dad have built, the safe and secure life they've made for themselves. And now Michael and his father face a choice: to hold tight to their life or to let it unravel.

This fourth in a series continues this non-academic author's ground-breaking word by word analysis of James Joyce's Finnegans Wake. This volume covers all of chapters 1.7, 1.8 and 2.1 with the intent to explore them as art objects. In chapters 1.7 and 1.8 Aesthetics meets Theosophy meets Metaphysics. Together they share a common subject-how one part or whole treats another part. These two chapters move from shun to share, hurt to help, male to female. In aesthetics, from bad art to good art. In theosophy, from TZTZ god to ES god. In metaphysics a la Arthur Schopenhauer, from male to female aspects of Will. Featuring an all male cast, chapter 1.7 is a stinging criticism of Shem by Shaun-brother against brother. Chapter 1.7 is intentionally bad art. In aesthetic terms, the whole of the chapter is at odds with the parts and the parts at odds with other parts. With an all female cast, chapter 1.8 features a young washerwoman and old washerwoman washing clothes and talking together across a river. The main point is that they are working together, and Old shares knowledge of the eternal feminine with Young. Sharing replaces shunning. Part helps part. Chapter 1.8 is intentionally divine art. Chapter 2.1 starts Part II that features the Earwicker children, the human expression of the death defying new. As children, they come with the potential for new possibilities. Initially, however, their realization is limited by youth, when they are more under instinct-based and parental control than under self-control. Chapter 2.1 features a children's game fueled by immature sexual intoxication and loss of self-control. Joyce presents this come-on game in the rhythms and rhymes of children's stories, poems and songs, that is in children's art limited by the purpose to please a young mind. Chapter 2.1 takes the form of a play. The action in the play is the children's game. It is a play about play. With drama in the structure, Joyce weaves Macbeth into the chapter and like Shakespeare's bearded witches, boils the pot with male and female. Hermetic magic supplies the metaphors and concepts for chapter 2.1. Hermetic magic is the art of accessing the celestial force field known as the Astral Light. In order to have strong magic the magus must be in equilibrium and must know him or herself. Magus Joyce notes that these same requirements are necessary for the highest art.

Organic vegetable gardens are getting extremely popular within the gardening world. To do it properly here are some tips and techniques to follow for a healthy and abundant organic kitchen garden.to be effective at natural vegetable cultivating you should draw up definite plans. The dirt is your first thought; how to make it rich and ripe, and how to plan it so destructive vermin won't assault your vegetable nursery. The two different ways that natural vegetable planting varies from traditional nurseries is the utilization of manure and how to monitor bugs. Phosphorous, nitrogen and potassium are the three parts basic to your natural nursery.