THE GOD ON TRIAL SERIES
Very few biblical scholars have given a satisfactory explanation of the Tree of Life and the Tree of the Knowledge of Good and Evil. The God on Trial Series, by Oswald and Denice Grant, deals with Satan’s rebellion against God and explains the meaning of the Tree of Life and of the Tree of the Knowledge of Good and Evil in the context of the war between the Creator and the Covering Cherub Lucifer. Placed in the middle of the Garden of Eden, the two trees symbolically represent the very issues involved in the war (GR. polemos) between God and Satan, and explain what sin really is and how the Tree of the Knowledge of Good and Evil plays a part in it. It also extricates God’s kingdom from Satan’s kingdom, and gives credit to each where credit is due. These books take away the confusion that has existed about God’s true character of light, and clear His name from any participation in Satan’s kingdom of darkness, destruction, and death.
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BOOK 1: THE DEMONIZATION OF GOD UNMASKED
The Demonization of God Unmasked is the first book in the “God On Trial” series. Here you will find an in-depth study on how Satan has demonized the Creator through the Tree of the Knowledge of Good and Evil. A must read for those who want to understand the meaning behind the Tree of the Knowledge of Good and Evil and its role in bringing about death. This is a book is an eye opener that everyone needs to read!
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BOOK 2: GOD ON TRIAL: HAVE WE BEEN LIED TO? IS GOD A KILLER?
The second book in the God on Trial Series, God on Trial: Have We Been Lied To? Is God a Killer? is an in-depth study of Satan’s initial rebellion against God. As this study unfolds, the reader becomes aware of the true meaning of the two Trees in the Garden of Eden, and what they symbolize. Soon it becomes evident that Satan’s has so deceived us about who God is that in order to unmask his lies it became necessary for God Himself to come down to the earth to remove all the lies the accuser had levelled against Him. Finally, it becomes quite clear that Lucifer’s rebellion affects each human being intimately, and that just like Adam and Eve, we each still have to make a choice between the Tree of Life and the Tree of the Knowledge of Good and Evil.
BOOK 3: "THE WRATH OF GOD" UNMASKED
Our third book in the God on Trial Series, “The Wrath of God” Unmasked, deals with one of the most misunderstood and misrepresented topics in the Bible is the “wrath of God.” God punishing sinners in “wrath” is a recurring theme that runs throughout the Bible. The “wrath of God” has puzzled the human race for millennia, and not surprisingly, for how can one harmonize “the wrath of God” with the love of God? Isn’t this a most puzzling paradox? And yet this is a highly important subject, one which every human being needs to know and understand.
Wolfgang Amadeus Mozart’s Die Zauberflöte, set to Schikaneder’s libretto, brings to the forefront the Enlightenment models of light and darkness, good and evil. The traditional understanding of these concepts pits light against darkness, and good against evil. This thesis contends that Die Zauberflöte is a work which portrays a system that contains both good and evil, rather than one that depicts the clash of good against evil. The ancient Pythagorean Monad and Dyad explain this concept. The Monad, a single number, represented an indivisible principle said to belong to the Olympian Creator Gods, while the Dyad, a dual, divisible law, represented a principle which contained two opposing forces. This principle was the property of the demiurges, who, according to the ancients, rule the earth. The main purpose of the law of contrary forces is to enforce order, and it accomplishes this goal through a system of merit and demerit, rewards and punishments. In this paradigm, Sarastro and the Queen of the Night are symbols of Osiris and Isis, the Egyptian gods who formed a unified godhead operating by the law of opposing forces. Part of this godhead is also Typho, Monostatos in the opera, the representation of pure evil. The significance of ancient Egyptian mysticism is stressed in this study for a better understanding of the opera. To that end, three of the main sources for the libretto, the fables of Dschinnistan, Ignaz von Born’s Über die Mysterien der Egyptiens, and Jean Terrasson’s The Life of Sethos are explored. In addition, the writings of the Freemasons as well as eighteenth-century literature and philosophy are examined to ascertain the degree to which the system of contrary duality was relevant in Mozart’s time.
Who was the Covering Cherub along with Lucifer? Who filled his post when he defected, or was his position left vacant? Is there a Covering Cherub that has never been named, having remained anonymous all along? Or is there evidence that Michael is a Covering Cherub, and was so all along?