The Books of the Bible they speak will be evident." This new order is introduced because "the order in which today's readers are used to encountering the books of the Bible is yet another factor that hinders their understanding." The book order in "The Books of the Bible," and the rationale for it, is as follows: The Covenant History "The first quarter of the Bible unfolds as one continuous narrative." Genesis<br> Exodus<br> Leviticus<br> Numbers<br> Deuteronomy<br> Joshua<br> Judges<br> Ruth<br> Samuel–Kings The Prophets The prophets are presented in "what… is plausibly their historical order." Jonah Amos<br> Hosea<br> Micah<br> Isaiah Zephaniah<br> Nahum<br> Habakkuk Jeremiah<br> Obadiah<br> Ezekiel Haggai<br> Zechariah<br>
Salò, or the 120 Days of Sodom and shit, in Pasolini's desire to burst the limits of cinema, via the anally resonant eye of the film lens." Barber also notes that Pasolini's film reduces the extent of the storytelling sequences present in de Sade's "The 120 Days of Sodom" so that they "possess equal status" with the sadistic acts committed by the libertines. Pasolini scholar Gian Annovi notes in the book "Pier Paolo Pasolini: Performing Authorship" (2007) that "Salò" is stylistically and thematically marked by a "link between Duchamp's Dada aesthetics and the perverse dynamics of desire," which, according to Annovi, became artistic points of interest for