EXCERPTS FROM THE BOOK: There were fourteen Japanese ships, all destroyers and cruisers: a formidable batch of firepower if they should catch the poorly armed minelayers. By now, darkness had settled in and with it came a series of line squalls that made it impossible to see from ship to ship. Lightning blazed down from the fronts, rain fell in buckets, and the wind howled. Still the four-stackers plowed on. Over towards Savo Island, the PT Boats were still slugging it out with the Japanese navy. PTs 37, 311, and 123 would not return to base that night. There was no time for salvage, no time for the Japs to tow their 1900-ton destroyer to safer waters, no time for much of anything except to open her sea cocks and let the sea claim the first Japanese vessel to fall victim to an American offensive minefield. The minefield, so carefully laid by the GAMBLE, PREBLE, AND BREESE, claimed at least three of Japan's fighting ships within 24 hours after completing their mission. One of Aiso's marine guards told the CPO that he had hoped that the Japanese prisoner [who had starved his own men] would do something while being transferred to justify shooting him. It remained for an old "four piper," an ex-DD, to wipe out the first of the subs that went down in the enemy's Guadalcanal offensive. The old timer was the USS GAMBLE.

The USS Gamble in the South Pacific - World War Two

History

Hansen, Richard

Americas

Solving Light Books

Athena and Eden is a landmark book, revealing the surprising identity of Athena and unlocking the long-hidden meaning of the sculptures which graced the east facade of her famous temple, the Parthenon. The Greek myths tell us much about the sculptures, but the key to their correct interpretations lies elsewhere. Of all places, we find it in the Scriptures, particularly the Book of Genesis. The simple secret is that the Book of Genesis and the Parthenon sculptures tell the same story from opposite viewpoints. 
 Welcome to this provocatively unique exploration and reconstruction of the east facade of Athena's great temple: the Greeks' masterful monument to the serpent's side of Eden.

Athena and Eden: The Hidden Meaning of the Parthenon's East Facade

Arts & Photography

Robert Bowie Johnson, Jr.

History & Criticism

Based on solid evidence, Athena and Kain demonstrates a direct connection between the Greek religious system and the early events described in the Book of Genesis. Greek myth is not subjective metaphor or child-like belief in nature gods, but rather

Athena and Kain: The True Meaning of Greek Myth

Jr., Robert Bowie Johnson

Religious

The Parthenon Code reveals, for the first time in 2,000 years, the meaning of the seven sculptural themes on Athena's temple. A simple, but hidden artists' code expressed on vase-paintings and the Parthenon sculptures, leads to the astonishing truth that Greek myth/art chronicles in great detail the reestablishment of the way of Kain (Cain) after the Flood.

The Parthenon Code: Mankind's History in Marble

If you’ve read "The Parthenon Code: Mankind’s History in Marble" by Mr. Johnson, you’re in for a further treat. "Noah in Ancient Greek Art" goes deeper into the true identity of Athena, identifying the real woman she represents―the one who came through the Flood on the ark as Ham’s wife. It sounds fantastic, but just wait and see. The evidence is overwhelming. In the early post-Flood world, this woman was so influential in promoting the resurgence of the way of Kain (Cain) that every Mediterranean and Mid-eastern culture idolized her, often using different names for different aspects and achievements of this “goddess.” If you haven’t yet read "The Parthenon Code," you’re in for a big surprise in this book. What today’s scholars call ancient myth is not myth at all, but rather the history of the human race expressed from the standpoint of the way of Kain. This new book is written in such a way that you will be able to pick up and understand this crucial thread very quickly. In most cases, the ancient art speaks for itself. The Greek gods look exactly like people because, with rare exceptions, that is who they represent. In Plato’s Dialogue, "Euthydemus," Socrates referred to Zeus, Apollo and Athena as his “lords and ancestors.” Another witness to this obvious truth is the life of the great hero, Herakles. À la “George Washington slept here,” scores of Greek towns claimed that Herakles had performed some kind of great feat (often one of his twelve labors) within or near their boundaries. Herakles was a real man. In fact, he was the Nimrod of Genesis. On a vase-painting in the book, Athena picks up the hero Herakles in her chariot at his death, and takes him to immortality on Mount Olympus. Who does he join there, space aliens? Of course not. He joins his ancestors, the Olympian family. If it looks like a human, talks like a human, and acts like a human, it must be a human. This is the key to understanding Greek art. The Greeks claimed their descent from an original brother-sister/husband-wife pair named Zeus and Hera. Zeus and Hera are the Greek versions of Adam and Eve. The Greeks referred to Zeus as the father of gods (ancestors) and men, and to Hera as the mother of all living. Their poets and playwrights traced this first couple to an ancient paradise called the Garden of the Hesperides, and always depicted it with a serpent-entwined apple tree. You have probably heard at one time or another about Eve eating the apple. The Hebrew word for fruit in Chapter 3 of Genesis is a general term. The idea that Adam and Eve took a bite of an apple comes to us from the Greek tradition. The author gives you this, and all the other background you need to understand Noah’s place in ancient Greek art. As the narrative progresses, you’ll see that Noah was not some vague figure remembered by a few maverick Greek artists. Greek vase-artists and sculptors actually defined the rapid growth and development of their contrary religious outlook in direct relation to Noah and his loss of authority. Greek artists portrayed the victory of their man-centered idolatrous religion as the simultaneous defeat of Noah and his Yahweh-believing children. The twelve labors of Herakles sculpted on the temple of Zeus at Olympia (restored and explained in Section III of the book), in and of themselves, chronicled and celebrated mankind’s successful rebellion against Noah and his God after the Flood. The most important part of this book may be Section IV which explains why the scholarly world remains blind to the obvious and simple historical truths expressed in ancient art. The short answer is that Darwinism (what the author calls Slime-Snake-Monkeyism) has thoroughly polluted the mainstream sciences. Today, mainstream anthropologists do not study the record of our origins that our ancient ancestors have left us in their art and literature. Instead, they study chimpanzees. This is very sad, pitiful even. These grown men and women work diligently and proudly in an effort to find the evidence that will finally “prove” that they themselves, along with their vaunted intellects, are the products of unintelligent chance, with no expectation of immortality. The author continues to marvel along with the apostle Paul, as perhaps you will as well: “Does not God make stupid the wisdom of this world?” (I Corinthians 1:20). "Noah in Ancient Greek Art" features 140 illustrations including twenty-seven vase-scenes of Noah, most in an historical context. This book is the best evidence against Slime-Snake-Monkeyism you’ll ever read.

Noah in Ancient Greek Art

Robert Bowie Johnson

SOWING ATHEISM exposes the National Academy of Sciences (NAS) as a nest of anti-family, anti-free speech atheists who delight in forcing the false and abominable notion of worm and reptile descent on America s school children. 
 The author wrote SOWING ATHEISM in response to the book, SCIENCE, EVOLUTION, AND CREATIONISM, published in January, 2008 by the National Academy of Sciences (NAS). The NAS sent its book to educators, school boards, and science teachers throughout the country. The NAS book falsely affirms that molecules-to-man evolution is a fact when, in reality, it does not even meet the minimum conditions for a valid theory of science. The NAS fails to present any bona fide evidence for the spontaneous chemical generation of life from dead matter, for the evolution of the sexes, or for what it calls speciation, the alleged evolution of one species into another over vast eons of time. 
 SOWING ATHEISM reveals that in order to conceal the lack of evidence for its evo-atheism (evolutionist-atheism), the NAS resorts to repetitive false affirmations, disguised tautologies, authoritative obfuscations, baiting and switching, and smearing apostate Christian lipstick on its atheist pig all in order to mislead and manipulate its audience. The NAS promotes an empty and deceitful atheistic philosophy of science, not an evidence-based, inductive, truth-seeking science. 
 Using the NAS definition of religious belief, SOWING ATHEISM demonstrates beyond a doubt that the evo-atheism embraced by the NAS is an evidence-shy, faith-based religion. 
 SOWING ATHEISM brings to light the fact that the men and women who put the NAS book together, and the rest of the NAS hierarchy, show themselves unable to comprehend the crucial difference between saying something is true, and proving that it is true. While such a handicap has no bearing on their respective abilities to philosophize, it categorically disqualifies them as competent scientists. This is the hardest-hitting book yet in the creation/evolution debate.

Sowing Atheism: The National Academy of Sciences' Sinister Scheme to Teach Our Children They're Descended from Reptiles

Religion & Spirituality

Christian Books & Bibles

THE TRUE GOD OF THE SACRED SCRIPTURES Superexcessively above and beyond the best intentions of the amiable adventurer of Christendom, who wants to save everybody but is unable to do so, the True God has a purpose worthy of the One Who created the universe and all the life that is in it. He is Supreme. In the Hebrew Scriptures, He is El which means Subjector; in the Greek Scriptures, He is Theos which means Placer. He is the Supreme Subjector and Placer of all. He “wills that all mankind be saved and come into a realization of the truth” (I Timothy 2:4), and He is “operating all in accord with the counsel of His will” (Ephesians 1:11). The will of the Almighty is paramount. There is no man or spirit who can withstand it. He is “Declaring the end from the beginning, and from ancient times the things that are not yet done, saying, My counsel shall stand, and I will do all my pleasure” (Isaiah 46:10). What do we know of God’s essential being? He is Spirit (John 4:24), He is Light (I John 1:5), and He is Love (I John 4:8). Since all is out of God (Romans 11:36), then creation is out of Spirit, Light, and Love—Love which purposes, Light which reveals, and Spirit which energizes. Can we even imagine Spirit and Light intending a final darkness for much of humanity? Can we entertain for a second that Love will take pleasure in even a single creature’s unending anguish? Let us consider these very direct and simple words from the apostle Paul: Faithful is the saying and worthy of all welcome (for for this are we toiling and being reproached), that we rely on the living God, Who is the Saviour of all mankind, especially of believers. These things be charging and teaching (I Timothy 4:9-11). Perhaps in all the annals of human history, no declaration so deserving of acceptance has been so neglected or opposed as this—that God is the Saviour of all mankind. Yet, as we see from the context, the assertion that the living God, or True God, is the Saviour of all mankind, especially of believers, is faithful; that is, unfailing and dependable. The saying is worthy of all welcome. This means we should embrace it and believe it. True, all of God’s words are faithful and call for eager acceptance within their context, but here is a saying marked off with special emphasis and magnified with special importance. Paul further instructs Timothy to be charging and teaching this marvelous precept. This means it is a foundational truth of Christianity. The True God, the Supreme Subjector and Placer, is not just the Saviour of a few, or of some, or of many, or of most, but of all mankind. It is clear also from the context that believers, members of the body of Christ, enjoy an especial place—not an exclusive one—in the plans and purpose of the True God. The details will astound you. Off comes the cloak of dogma, creeds, and mistranslations revealing the True God Who has always been there in the Sacred Scriptures: The Supreme Spirit of Light and Love.

A Truer God: The Supreme Spirit of Light and Love in the Hebrew and Greek Scriptures

Johnson Jr., Robert Bowie

The thirst for truth can never be quenched by the empty and seductive words of Plato, Socrates, Charles Darwin, Karl Marx, Friedrich Nietzsche, Joseph Campbell, or any of their deluded, fawning disciples. And yet, the decadent theories of these very men dominate the minds of today’s ruling Cainite Moronocracy. Obama, Oprah, Academia, Apostate Christendom, the National Academy of Sciences, and the Malleable Marxist Media foist upon us their atheism, idolatry, sanctified sodomy, chance human reptile descent, and, in place of our history, their concocted mythology—all deftly mingled and neatly packaged within a coercive statist regime dressed up as the promise of a future manmade paradise. A single chapter from the Book of Proverbs or Psalms puts all their disgraceful and unfruitful philosophies to shame. Our physical survival depends on rainwater. Without rain, what can the earth produce? Without the nourishing Word of God, what of any ultimate value can our minds and spirits produce? We need the rain. We need the One Who makes the rain. To take back America, we need what the ruling Cainite Moronocracy ignores and mocks: the Word of God.

Outing the Moronocracy: Ending the Rule of the Blind, the Stupid, and the Disgraceful in American Society

Politics & Social Sciences

Politics & Government

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