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In the midst of one of its less inspiring genealogies, the Bible offers us a brief glimpse at the remote fringe of what must have been a remarkable story. As it is wont to do, rabbinical tradition would fill in the absence of detail regarding a certain Enoch. The biblical text presents this man in its most sparing voice:

When Enoch had lived sixty-five years, he became the father of Methuselah. Enoch walked with God after the birth of Methuselah three hundred years, and had other sons and daughters. Thus all the days of Enoch were three hundred sixty-five years. Enoch walked with God; then he was no more, because God took him. When Methuselah had lived one hundred eighty-seven years, he became the father of Lamech.

The comment about Enoch ‘walking with God’ and about God taking him—whatever these things might mean—stands out against a strictly patterned genealogy that merely names biological antecedents, successors, and their respective life spans. Continue Reading »

The serpent figures in the paradigmatic story of human origins as the Bible’s first cynic. He has strong ideas about the arbitrary nature of God’s decrees and the selfish motive that lies behind them:

But the serpent said to the woman, ‘You will not die; for God knows that when you eat of it your eyes will be opened, and you will be like God, knowing good and evil.’

The serpent has some convenient data with which to work. God in fact does not give a reason for his unexpected ring-fencing of just one tree when he has already given the whole ranch over to the first couple. It seems so unreasonable and, certainly, asymmetrical. It is the kind of thing that raises suspicions. Continue Reading »

It’s a shame that US immigration policy and the reality on the ground are so chaotic. If it were not so, it might be a simple matter to figure out what a body needs to do in order to employ, say, a housecleaner to come in for a few hours a month.

It is not simple and, so, a guide like this is needed.

The Nanny and Domestic Help Legal Kit is a model of clarity and accessible tools. Continue Reading »

The gospel of Matthew begins its presentation of ‘Jesus the Messiah, the son of David, the son of Abraham’ with a genealogy. This fits perfectly the identity given to Jesus at the front end as heir of a rich, three-fold legacy of memory of expectation. If he is ‘Messiah’ and if he is heir to David’s throne and if he is the vehicle or realization of the promises made to Abraham, then he before all else will be the restorer of Israel. So does the carefully selective genealogical material that follows cohere perfectly with Matthew’s grand design.

Matthew then crowns his genealogy with a rather famous quotation from the book of Isaiah which is now understood to have pointed to Messiah’s birth by way of a virgin. At least two features of this approach suggest that a key party—the nations—is missing. YHWH’s promise to Abraham embodies blessing to many nations, in the first instance. Any prospective reading of Isaiah nourishes the expectation that the nations will stream to Israel’s God at some future date and that they may even compete for first arrival honors as they flock to Zion to learn from him. Continue Reading »

John David Webster is a gifted and energetic musician with a passion for worshiping Jesus Christ.

The Live at Lakeview album places these virtues on appreciable display.

As is the case with most contemporary worship leaders, the experience would be enhanced if we felt less obligated to speak. He’s much better when he sings.

When he talks (as he does quite a lot), he sounds banal and overly nailed to a rock-star persona. When he sings, the music is glorious.

Sing, John David, sing!

This early publication of the Hebrew University Bible project is a formidable achievement that pays tribute to the inestimable labor of its editor and editorial team.

The work represents a critical edition of the Aleppo Codex of the Book of Isaiah, widely considered to be the work of Ben Asher and the biblical exemplar commended by Maimonides.

In a preface that appears in both Hebrew and English, editor M.H. Goshen-Gottstein painstakingly and with striking clarity details the philosophy and pragmatic decision-making that produced the published text with its no fewer than six critical apparatii in the light of the history of the biblical text as we know it. Continue Reading »

finishing well: Psalm 150

It is fitting that the book of Psalms should end with just this one hundred fiftieth and that the one hundred fiftieth should end with this totalitarian doxology:

Let everything that has breath praise the LORD! Praise the LORD! (Psalm 150:6 ESV)

All the other exemplars of that kind of summons to praise in the psalms which scholars since Hermann Gunkel have labeled the hymn provide a reason for the doxology to which they call the assembled worshippers or the ready individual. That motive, that basis for praise is usually an act or a quality of YHWH himself. The psalms do not smile upon the shell of praise when there is no kernel. Not for them the constant whipping up of a congregation to praise more, praise more loudly, praise better. To the contrary, the psalms provoke dense praise. It knows its reasons. Continue Reading »

Mood music has a bad rep. That’s a pity.

The environments we create for ourselves matter deeply. Some make life difficult. Some make it impossible. Others destroy it outright.

Alternatively, good environments are a space where things can grow. Sometimes in a most orderly way, sometimes with wild extravagance, often with unintended consequences of peace, blessing, sturdiness, and grace.

Rob Barrett’s Communion: Music for a Hectic World establishes this latter kind of environment. Gentle almost to a fault, flawless in staying with the story it has chosen. Traditional hymns and more contemporary worship melodies receive loving treatment from a small band of instrumentalists, in which the violins feature the most prominently.

Communion is worthy of the noble rather than laughable task of creating background music for the soul.

That’s saying something.

Three great icons of American cinema were joined at the hip by the memory-saturated musical score that accompanied them. The Godfather films were expansive in many ways, but it ought not be forgotten that the music that framed them arguably lingers in our minds at least as long as the story’s most compelling visual images.

Notwithstanding criticism of the City of Prague Orchestra’s performance on this CD, I find this album a deeply satisfying revisitation of the Godfather phenomenon. The ‘Godfather Waltz’ and the ‘Love Theme’—with their variations on the two themes—define the musical horizon here.

It is music that would not stand without the film, as is true of film music in general with few exceptions. Yet after recently watching the three films over the space of a few weeks, I find this performance of its sounds well worth the patience it requires to hear them again.

Scenes linger. Sounds endure. A great cinematic moment does that sort of thing.

You may never listen to another Christmas album like Over the Rhine’s Snow Angels. You may end up listening to no other.

OtR brings to Yuletide their bedazzling touch with the blues and their stupendous way with a lyric. Christmas is before all else a Christian celebration, which to this reviewer causes a bit of a squirm when devoutly secular artists toss off an album to the cause (are you out there, Sarah McLachlan?). OtC does not posture itself within that bandwidth we call `contemporary Christian’. So what do they do with, say, a manger?

The short answer: lots. Continue Reading »