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Not intended for your family game night! If you laughed your (blank) off playing Cards Against Humanity, you just found a party game that goes one step further. This game is sexist, ageist, racist, and downright dirty. Basically if you get offended by anything, go play some other lame game! Not only do you get to make up absolutely outrageous allegations, but you get to make them up about someone sitting right at your table! If you're playing with close friends - watch out! Inside jokes and embarrassing facts might just take center stage. Unlike similar games where the question reader is king, players vote to decide who handed over the best answer. You dont have to be a morally inept or a terrible person to win Personally Incorrect but it certainly cant hurt! Check out how the game works. One player reads a Question Card out to the group, replacing "Insert Name" with the name of a person at the ta

The cross is widely misunderstood in the present day; many in the world are deeply offended by its powerful truth. Erwin Lutzer, pastor of the Moody Church, gently leads readers on a journey into the heart of Christ to help them grasp what Christ Himself wants us to know. Jesus was not silent on the cross. Come turn your attention to His cries and be utterly changed.

'A major source of pleasure and one of its many strengths is its wide-ranging panoply of perspectives, its generosity in assigning chapters to be fleshed out by the lesser characters and its depiction of their idiosyncracies:the pious and easily offended pharmacist Carlos;the gluttonous Libaninho with his penchant for rice puddings and port;and the lazy,sleezy Canon Dias, Amaro's superior, who becomes a gloating accessory to his crimes.The use of suspense and ellipsis ensures the narrative is compelling;its plot at times almost takes a turn into Gothic territory. Margaret Jull Costa provides a solid, clear and flowing translation, which ensures that Eca's drily understated satire, his harsh but lucid critique of human selfishness and inadequacy are telling;it also reflects his engaging sense of bathos and all that is amusingly grotesque.' Daniel Lukes in The Times Literary Supplement

In September 1999, Sensation, an exhibition at the Brooklyn Museum, opened its doors, igniting a controversy still burning in the art world. This collection of cutting-edge art from the Saatchi collection in England, and the museum’s arrangements with Charles Saatchi to finance the show, so offended New York City mayor Rudolph Giuliani that he attempted to shut the museum down by withholding city funds that are crucially needed by that institution. Only a legal ruling prevented him from doing so. Like the Robert Mapplethorpe exhibition before it, Sensation once again raises questions about public spending for “controversial” art, but with the added dimension of religious conflict and charges of commercialization. The contributors to this volume use the Sensation exhibition as a stepping-stone to analyze larger questions such as the authority the government has to withhold funds, various interpretations of the First Amendment, how to respect divergent cultural and religious values; and the economic stake of museums and dealers in art. In their articles—written expressly for this volume, and spanning the disciplines of law, cultural studies, public policy, and art—the contributors consider issues at the center of arts policy. They propose various legal strategies, curatorial practices, and standards of doing business intended to serve the public interest in the arts. 

Many observers in colonial Spanish America—whether clerical, governmental, or foreign—noted the large numbers of forasteros, or Indians who were not seemingly attached to any locality. These migrants, or “wanderers,” offended the bureaucratic sensibilities of the Spanish administration, as they also frustrated their tax and revenue efforts. Ann M. Wightman’s research on these early “undocumentals” in the Cuzco region of Peru reveals much of importance on Andean society and its adaptation and resistance to Spanish cultural and political hegemony. The book thereby informs our understanding of social change in the colonial period.Wightman shows that the dismissal of the forasteros as marginalized rural poor is superficial at best, and through laborious and painstaking archival research she presents a clear picture of the transformation of traditional society as the native populations coped with the disruptions of the conquest—and in doing so, reveals the reciprocal adaptations of the colonial power. Her choice of Cuzco is particularly appropriate, as this was a “heartland” region crucial to both the Incan and Spanish empires. The questions addressed by Wightman are of great concern to current Andean ethnohistory, one of the liveliest areas of such research, and are sure to have an important impact.

This is one of a series of picture books for seniors with no text, specifically formatted for those who enjoy looking through a book yet struggle with reading. If your loved one is offended by being given children's book or finds heavy, hard-cover books difficult to hold, this is the answer. With the goal of providing visually appealing books that boost self-esteem and pride in book ownership, there are no words on the cover or inside that mention this is geared for seniors, adults with reading troubles, Alzheimer's patients or other. With the needs of the senior in mind, this picture book of birds is a square 8.5 x 8.5 soft cover book (perfect for holding) with vivid, full-color photographs, located only on the right side (to provide visual stimulation without causing one to feel overwhelmed). Each gorgeous high quality (300 DPI) photo was carefully selected to be evoke beauty, calm, joy and a sense of wonder. Photos of delightful birds in their natural habitats from around the world provide a unique scene on the turn of every page. Unlike bird guidebooks and others that fill the page with descriptions that can snag up a senior who has trouble with reading, this book focuses only on the photos themselves. With 45 large photos (93 total page count) in bright, vivid full-color, a senior will find joy in 'reading' this book over and over. Please note: The only script is that which must be legally included: Title page (that does not mention this is geared for seniors), copyright and ISBN. The final page lists photo/artist credits. This is a Level 1 book. If you are looking for picture books for seniors that do include some captions, please look to Emma Rose Sparrow's Level 2 books. For short story books with 1 to 3 photos per chapter, look to her Level 3 books.

GOLD MEDAL WINNER - 2017 DAN POYNTER'S GLOBAL E-BOOK AWARDS - THRILLERThe world didn’t end with a religious war, or a race war, or an economic collapse. It didn’t end with everyone blowing each other up with nuclear warheads and it didn’t end with a natural disaster. It didn’t end because someone got offended in one of the million petty squabbles that were real, or fake, or imagined. It ended quietly. Harlan is visiting his friend in Los Angeles when people start dying. His friend, the neighbors, the entire city falls victim to an unknown disease. Except for Harlan. Or so he thinks.And he learns quickly that just because there are other survivors, not all are to be trusted. Morality becomes blurred as Harlan is forced to commit questionable acts to protect himself and those around him. He must navigate through a darkening landscape fraught with violence and despair as he desperately tries to get home to the love of his life, Jessica, and the child she is carrying.IF they are still alive.

Ovid (Publius Ovidius Naso, 43 BCE–17 CE), born at Sulmo, studied rhetoric and law at Rome. Later he did considerable public service there, and otherwise devoted himself to poetry and to society. Famous at first, he offended the emperor Augustus by his Ars Amatoria, and was banished because of this work and some other reason unknown to us, and dwelt in the cold and primitive town of Tomis on the Black Sea. He continued writing poetry, a kindly man, leading a temperate life. He died in exile.Ovid's main surviving works are the Metamorphoses, a source of inspiration to artists and poets including Chaucer and Shakespeare; the Fasti, a poetic treatment of the Roman year of which Ovid finished only half; the Amores, love poems; the Ars Amatoria, not moral but clever and in parts beautiful; Heroides, fictitious love letters by legendary women to absent husbands; and the dismal works written in exile: the Tristia, appeals to persons including his wife and also the emperor; and similar Epistulae ex Ponto. Poetry came naturally to Ovid, who at his best is lively, graphic and lucid.The Loeb Classical Library edition of Ovid is in six volumes.

DO NOT READ THIS BOOK ...if you are pregnant, nursing, plan to become pregnant, intend to ever have a chance at getting a girl pregnant, hate goblins, have an irrational fear of giant man eating spiders, have lost loved ones in the Troll Wars, are illiterate, lack all sensory organs, are easily offended, despise tea, faint at the thought of bloodshed, are a raving lunatic who obsessively stalks authors to murder them in their sleep, are driving a motorized vehicle, or have not yet experienced puberty. Within these pages, you will find nine short stories (and two poems) detailing the darkly depraved, mildly amusing, ultimately unscrupulous, seriously sordid, and wretchedly rotten life and adventures of Gandersnitch the Goblin, the Banished Barber of Goblonia. This book is not for the wee-est of the wee, the innocent and pure, or those with massive heart defects. These are Goblin Tales, in all their gory glory! All claims of damages arising from the misuse of these pages will be mocked most mercilessly. You have now been duly warned. Continue at your own bloody risk, and enjoy the show!

Many observers in colonial Spanish America—whether clerical, governmental, or foreign—noted the large numbers of forasteros, or Indians who were not seemingly attached to any locality. These migrants, or “wanderers,” offended the bureaucratic sensibilities of the Spanish administration, as they also frustrated their tax and revenue efforts. Ann M. Wightman’s research on these early “undocumentals” in the Cuzco region of Peru reveals much of importance on Andean society and its adaptation and resistance to Spanish cultural and political hegemony. The book thereby informs our understanding of social change in the colonial period.Wightman shows that the dismissal of the forasteros as marginalized rural poor is superficial at best, and through laborious and painstaking archival research she presents a clear picture of the transformation of traditional society as the native populations coped with the disruptions of the conquest—and in doing so, reveals the reciprocal adaptations of the colonial power. Her choice of Cuzco is particularly appropriate, as this was a “heartland” region crucial to both the Incan and Spanish empires. The questions addressed by Wightman are of great concern to current Andean ethnohistory, one of the liveliest areas of such research, and are sure to have an important impact.

The sequel to Sick B*stards WARNING: THIS IS AN EXTREME HORROR NOVEL. There is gore. There is bad language. There are scenes of a sexual nature. But hidden underneath it all is also a chilling story. Please do not purchase this book if you are easily shocked, disgusted or offended. This book is not for you. Home truths pave the way for a journey of self-discovery and revenge in the direct sequel to Matt Shaw's Sick Bastards.

Frederic LaDelle was a successful vaudeville entertainer when he wrote this book in 1913. Please be aware it was not at all a politically correct era. This is offered as part of the history of vaudeville. Those easily offended should not purchase.

Circe vows revenge when she is offended by her likeness during filming for a remake of The Odyssey. When Wonder Woman tries to stop her, the sorceress conjures a portal that takes the hero to a realm of magical movie genres. Does the Amazon warrior take on wizards and dragons in a fantasy realm? Should have a showdown with the sheriff in a dusty western? Does Wonder Woman head into a haunted house to wrestle with werewolves, vampires, and mummies? In this interactive story, YOU CHOOSE the path Wonder Woman takes. With your help, she'll defeat Circe's Movie Magic Mischief!

This book acknowledges that if Jesus Christ is counter-cultural, and we are products of our culture, then we will inevitably be offended by Christ at some point. What happens when our cultural values and biblical values collide? How then, do we navigate Scripture and our beliefs about what is true, just, and moral? Adolescent culture is increasingly beginning from a place that is hostile to God. The bible is offensive to their culture. How do we translate the bible for them without sacrificing God's truth? The method proposed in this book is to look at cultural truths that our audience is living with, and employ those to point to Scripture. Instead of starting with opening the bible, begin with opening culture. Uncover the values and beliefs of culture and bring them to the surface.

Mancdaman Zancharthus has become High priest of Tchernobog. Offended to the bone by devil worship(and fiscal insanity), he has embarked on a mad crusade to turn his own order inside out and reform the unreformable, Mother Khymir herself. Tchernobog, however, has other plans, and marshalls all his forces to maintain the status quo---wire-jacketted sendings, one-eyed cut-throats, poison-cult prostitutes, and last but not least, possessed harem piggies (it isn't as funny as it sounds). To even the odds, Zancharthus secretly schools his formidable consort Torrisanna in sorcery, and envisions an invincible bodyguard, the Cohort Ravener, commissioning his unwilling friend Jagutai to make it a reality. But Jagutai has to cope with a very significant distraction---that lewd little bundle called Lilitu, who has gotten herself into terrible trouble with Gudrid, Torrisanna's fanatical successor at the Temple of Tsa Terrathu-Even wilder than Blood+Pearls, seething with sex, blood and demonic barnyard dementia, Jagutai and Lilitu is a fever dream in print.

Many evangelicals are unfamiliar with it, don’t understand it, and are often offended when they encounter it, but when it comes to the Lord’s Supper the Scriptures clearly teach that Holy Communion is not for anybody and everybody. In this short work of fiction Rev. Tyrel Bramwell recalls the questions he had when he first encountered closed Communion as a young evangelical and the conversations he has had as a pastor, in order to dispel false assumptions and provide the Biblical answers to real misunderstandings.