This private-label collection of Messianic Jewish worship services highlights the tenor voice of the author and a moving collection of biblical texts that are sung in both Hebrew and English.
The spare arrangements mean that one hears a lot of McConnell, arguably the album’s strength andweakness. His voice is fluid and not unpleasant, but not blessed with immense range. If you like it, you get a lot of it. If you don’t, ditto.
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This collection of 36 essays provides a telling profile of the state of Isaiah studies following the breakdown of the paradigm constructed by B. Duhm and generations of his followers. This first volume of a twin set is divided by subject matter into two parts: ‘The Formation and Leitmotifs of the Book of Isaiah’ and ‘Oracles and Passages’. When viewed as a snapshot of Isaiah studies at the end of the century just ended, however, the articles helpfully record clustering of a different nature. Most of them published here for the first time, these essays illuminate the methodological and sometimes ideological divergences which characterise both the speciality in question and biblical studies in general.
Whether this represents a post-modern flourishing of variety which is to be celebrated or a fragmentation of the discipline which ought rather to be lamented will depend upon the perspective of the reader.
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Marvin Sweeney’s distinguished career has so often touched upon the compositional urges that lie behind different tranches of biblical literature that he has become one of the most-mentioned points of reference in introductions and prefaces to works that travel the same road. This 2001 publication now turns to one of the personalities—whether one defines such in historical or literary terms—that appears to lie behind the literature and to illuminate the product by filling out our understanding of the process. Temperamental considerations suggest that the book’s provocative—and not entirely misleading—subtitle is likely the invention of Sweeney’s editors rather than the author himself.
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This recently-launched intellectual journal has a most promising masthead. Chock full of news-, policy-, and even history-makers, it suggests that the publication taking shape under the influence of such notables will soon be a must-read for those who don’t leave home without Foreign Affairs. Fukuyama, Brzezinksi, Applebaum, Berger, Ferguson, Huntington, Mead, Rabinovich, Vargas Llosa … The jaw drops.
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Twila Paris is the grande dame of Christian music, a classy fixture on the stage, and a genuine voice that has never been overproduced or diluted by crossover ambitions.
Paris is one of those artists who projects enough real-human street cred to her fans that it seems natural to most of them to refer to her simply by her first name. This collection of ‘Twila Songs’ links old with new to great effect.
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Maybe you’ve never placed luxury and motorcycles in the same sentence before. Then you’ve never stumbled upon Robb Report: Motorcycling, a bi-monthly glossy that actually brings the two together with a fair amount of panache.
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Motorcyclist is a mainstay in the motorcycle magazine world, a place where cycle novices like this reviewer can begin to get a monthly diet of news, mechanics, advertisements, reviews, and cycle talk.
The format is busy, with very narrow margins. Think the opposite of those luxury goods magazines that seem bent on calming your mind. Motorcyclist wants to rev it up, or better yet, place it in a helmet and roughly equidistant between the two ends of a handlebar.
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It’s a shame this American-made film portrayal of a WWI German unit trapped in the vanity of trench warfare didn’t have currency in 1930’s Germany. It might have made a dent in the German people’s hunger for the bellicose rhetoric happily supplied by the young National Socialist movement.
Alas, we forget too soon.
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Now eclipsed by the Streep-Redford film presentation that appropriated its title, Karen Blixen’s memoir of life on her Kenyan coffee farm speaks movingly of the more benign side of colonialism in Africa and of one European’s self-evident love for the land she had made her own.
Sadly, Blixen’s lush descriptions of ‘her people’ are often judged too quickly by modern criteria of racial attitudes, a game that is like asking this early twentieth-century writer to wrestle with one arm tied behind her back. If it can be granted that there was anything good about Europe’s colonization of Africa, then Bliksen (Isak Dinesen was her pen name) is its face.
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If the Catholic Biblical Quarterly (‘CBQ‘) can be compared to AAA baseball, that’s only because they throw so hard in the bigs. Journals like the Journal of Biblical Literature and both Novum Testamentum and Vetus Testamentum may be the first choice when biblical scholars choose to publish their best work, but CBQ is on balance just about as capable and perhaps only slightly less consistent.
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Canter Bridge 