Berit Olam

The last chapters of the book of Isaiah offer a vision of new hope at the dawn of the postexilic period. The dense and complex imagery of light, espousal, and victory gives expression to the joyful reality of a return to Jerusalem and to the as-yet-unrealized dreams of rebuilding and repopulating what has been laid to waste. Trito-Isaiah's proclamation of God's salvation or victory appears both as a brilliant light and a terrible darkness in these chapters. For while Yahweh's triumph means rejoicing for his righteous servants, it portends unspeakable horror for those who rebel against him. Far from a remotely related appendix tacked on to the prophetic text, Niskanen examines Isaiah 56–66 within the broader context of the entire book of Isaiah, revealing the stylistic and thematic connections between these and earlier chapters and the significance of the poetical structures and imagery employed in Isaiah 56–66.

Among all of the books of the First Testament, the Song of Songs is one of the most intriguing. On the one hand, its unabashed sensuality has captured the imagination and has endeared it to those who appreciate passionate human love. On the other hand, more demure readers have frequently been chagrined by their own fascination with its erotic character and have cloaked their interest under the guise of metaphorical reading. Both interpretations of the Song of Songs have been endorsed. Down through the ages, both Jewish and Christian interpreters have delighted in the exquisite imagery of the book's songs, but they have also frequently reverted to allegory in their interpretations. This commentary views the Song as a collection of love poems and carefully examines features of Hebrew poetry in order to uncover the delicacy of their expression. It is unique not only in the attention that it gives to the obvious feminine perspective of the poems but in their ecosensitive character. Although it is a tribute to mutual love, the principal frame of reference is the amorous disposition of the woman. Her words open and close the Song and her voice is dominant throughout. The imagery that the lovers use is drawn from nature. Whether it is the woman in awe of the strength and splendor of her lover or the man glorifying her physical charms, the descriptions all call on elements from the natural world to characterize the feature being described. Whatever they experience or know or even desire is somehow rooted in the natural world. Chapters are Superscription," "Mutual Yearning (1:2-2:7)," "An Opportunity Lost, Then Found (2:8-3:5)," "Ravished By Beauty (3:6-5:1)," "One of a Kind (5:2-6:3)," "The Admiration of all over (6:4-8:4)," and "Love Affirmed (8:5-8:14)."

Opening with the prophet Elijah's ascent into heaven and closing with the people of Judah's descent to Babylonia, 2 Kings charts the story of the two Israelite kingdoms until their destruction. This commentary unfolds the literary dimensions of 2 Kings, analyzes the strategies through which its words create a world of meaning, and examines the book's tales of prophets, political intrigue, royal apostasy, and religious reform as components of larger patterns. 2 Kings pays attention to the writers' methods of representing human character and of twisting chronological time for literary purposes. It also shows how the contests between kings and prophets are mirrored in the competing structures of regnal synchronization and prophecy-fulfillment. Much more than a common chronicle of royal achievements and disasters, 2 Kings emerges as a powerful history that creates memories and forges identities for its Jewish readers. 2 Kings is divided into four parts including; Part One: The Story of Elisha: 2 Kings 1:1-8:6" Part Two: "Revolutions in Aram, Israel, and Judah: 2 Kings 8:7-13:25" Part Three” "Turmoil and Tragedy for Israel: 2 Kings 14-17" and Part Four: "Renewal and Catastrophe for Judah: 2 Kings 18-25."

Ezra-Nehemiah has been neglected in biblical studies, but it is important as one of the few windows into the Persian period of Israel's history, the setting for so much of the final shape of the Hebrew Bible. To know this period is to know what influenced these redactors. In Ezra and Nehemiah Gordon Davies provides that knowledge using rhetorical criticism, a methodology that reveals the full range and progress of the book's ideas without hiding its rough seams and untidy edges. The purpose of rhetorical criticism is to explain not the source but the power of the text as a unitary message. This approach does not look at plot development, characterization, or other elements whose roughness makes Ezra-Nehemiah frustrating to read. Instead, it examines the three parts of the relationship - the strategies, the situations, and the effects - between the speaker and the audience. Rhetorical criticism's scrutiny of the audience in context favors the search for the ideas and structures that are indigenous to the culture of the text. Rhetorical criticism is interested in figures of speech as means of persuasion. Therefore, to apply it to Ezra-Nehemiah, Davies concentrates on the public discourse - the orations, letters, and prayers - throughout its text. In each chapter he follows a procedure that: (1) where it is unclear, identifies the rhetorical unit in which the discourse is set; (2) identifies the audiences of the discourse and the rhetorical situation; (3) studies the arrangement of the material; (4) studies the effect on the various audiences; (5) reviews the passage as a whole and judges its success. In the conclusion, Davies explains that Ezra-Nehemiah makes theological sense on its own terms, by forming a single work in which a range of ideas is argued. Biblical scholars as well as those interested in literary criticism, communication studies, rhetorical studies, ecclesiology, and homiletics will find Ezra and Nehemiah enlightening. Chapters are Ezra 1:1-6," "Ezra 4:1-24," "Ezra 5:1-6: 15," "Ezra 7," "Ezra 9-10," "Nehemiah 1- 2," "Nehemiah 3-7," and "Nehemiah 8-10." Gordon F. Davies is associate professor of Old Testament and dean of students at St. Augustine's Seminary of Toronto. "

1 Samuel is a national autobiography of the Hebrew people. David Jobling reads 1 Samuel as a story that is complete in itself, although it is part of a much larger narrative. He examines it as a historical document in a double sense: (1) as a document originating from ancient Israel and (2) as a telling of the past. Organizing the text through the three interlocking themes of class, race, and gender, Jobling asks how this historical - and canonical - story relates to a modern world in which these themes continue to be of crucial importance. While drawing on the resources of biblical narratology," Jobling deviates from mainstream methodology. He adopts a "critical narratology" informed by such cultural practices as feminism and psychoanalysis. He follows a structuralist tradition which finds meaning more in the text's large-scale mythic patterns than in close reading of particular passages, and seeks methods specific to 1 Samuel rather than ones applicable to biblical narrative in general.

King David ranks among the most intriguing persons in the Hebrew Bible. The Second Book of Samuel tells the story of David's kingship-his public successes and his private foibles. The narrator's rehearsal of this story, as questioning as it is vivid, glimpses the secrets of David's heart. In this commentary, Craig E. Morrison focuses on the aesthetics of the "art of the telling": how does the narrator succeed in breathing life into his portrait of David? How does he draw the reader into his story? This commentary is intended to accompany the reader's encounter with this ancient masterpiece so that one might cheer with David as he dances before the ark of God and weep with him as he grieves the death of his rebel son Absalom. Morrison's careful reading of 2 Samuel brings the reader face-to-face with David, whose multifaceted character eludes facile labels.

Some ancient works of literature survive in fragments that appear so simple and complete that it's hard to imagine them as being part of a larger narrative. Such is the case with Ruth and Esther. On first reading they appear so simple, so whole, and their meanings so completely self-evident. Yet the closer you look, the more perplexing they become. Ruth and Esther offers that close look, enabling readers to discover the uncertainties of the texts and demonstrating how these uncertainties are not problems to be solved, but rather are integral to the narrative art of these texts. In Ruth, the first part of this volume, Tod Linafelt highlights the most unresolved and perplexing aspects of Ruth. In doing so he offers an interpretation he calls "unsettling." Linafelt states that it is unsettling in the sense that he often refuses to settle on a single, unequivocal meaning of a particular word, phrase, or theme. Rather he prefers to underscore the dual or even multiple meanings that the narrative so often has. Another way Ruth differs from other interpretations is that Linafelt entertains the possibility that there might be complexity or ambiguity with regard to the various characters motivations, the presentation of God, or the books purpose. In this commentary, Linafelt explores the ambiguities of meaning built into the grammar, syntax, and vocabulary of the story to discover how these ambiguities carry over to the larger interpretive issues of characterization, theology, and purpose. He also lays forth an argument that the book of Ruth is intended to be read as an interlude between Judges and Samuel. The second part of this volume focuses on Esther, a story of anti-Judaism that raises strikingly contemporary questions concerning relations between sexism, ethnocentrism, and national identity. In Esther, Timothy Beal guides readers into the meaning of the story using rhetorical criticism. He asks questions without assuming that there must be answers and allows for complexity, perplexity, and the importance of accidents in the text. In essence, Beal emphasizes the particular over the general and the tentative over the continuous; however, he does not altogether dismiss the importance of broader interpretations of Esther, especially those focusing on narrative structure. Chapters in Ruth are The Bond between Ruth and Naomi, Finding Favor in Boaz's Field, An Ambiguous Encounter in the Night, and Making It All Legal. Chapters in Esther are Beginning with the End of Vashti: Esther 1:1-22, Remembering to Forget: Esther 2:1-4, New Family Dynamics: Esther 2:5-18, Coup: Esther 2:19-23, Politics of Anti-Judaism: Esther 3:1-15, Another Quarter: Esther 4:1-17, Face to Face: Esther 5:1-8, Fifty Cubits for Mordecai: Esther 5:9-14, Sleep Deserts: Esther 6:1-14, Coming Out Party: Esther 7:1- 10, Overwriting: Esther 8:1-17, and Aftermath: Esther 9:1-10:3.

The biblical book of Judges contains culturally familiar stories such as that of Samson and Delilah and Deborah and Baraq. But despite the popularity of these stories, other important stories in Judges such as that of Achsah, the raped pilegesh, and the final civil war are virtually unknown to the average reader. Approaching Judges as a unified literary document, Tammi Schneider shows that the unity of the narrative reveals that when the Israelites adhere to the covenant established with their deity they prosper, but when they stray from it, disaster follows. This is true not only in the Deuteronomistic refrains, as is recognized by many scholars, but in the whole book, and is reflected in Israel's worsening situation throughout its narrative time. Schneider also highlights the unifying themes in Judges. She emphasizes the role of gender, family relations, and theology expressed in the biblical narrative, and uses intertextuality to better understand the text of Judges and its context in the Deuteronomistic history and the Hebrew Bible.

What does Joshua hold to be the essential marks of Israelite identity? What distinguishes Israel from all other peoples? In tracking these themes, L. Daniel Hawk reveals in Joshua a profound struggle to define the people of the God of Israel. Hawk shows that the themes surrounding Joshua express fundamental markers of national identity: religious practice (obedience to the commandments of Moses), ethnic separation (extermination of the peoples of Canaan), and possession of land ("the land that YHWH gives"). Through the medium of narrative, Joshua tests each of these markers and demonstrates that none clearly characterize the people of God. Instead, Joshua presents Israel as a nation fundamentally constituted by choosing: YHWH's choosing of Israel and Israel's choosing of YHWH. In the present day in which ideologies of religion, race, and territorial possession have given rise to countless expressions of violence, Hawk expresses the particular value of reading Joshua. The Joshua story holds a mirror up to all who regard themselves as the people of God. The reflection is both repelling and inspiring but until we confront it, what it truly means to be the chosen people of God will remain elusive. Chapters are "Rights of Passage (1:1-18)," "Who's Who in the Promised Land? (2:1-12:24)," "Strangers in the Night (2:1-24)," "Changing State (3:1-4:24)," "First Things First (5:1-15)," "Going in Circles (6:1-27)," "Ai Spy (7:1-8:35)," "Foiled Again (9:1-10:27)," "Conquering Canaanites (10:28-12:24)," "Organizing Israel (13:1-21:45)," "Altar Egos (22:1-34)," "Unfinished Business (23:1-18)," and "Decisions, Decisions (24:1-33)." Includes twelve charts that lay out structural features of the book.