An energetic, inviting breakdown of sections of Genesis.

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MADE FOR GLORY

A senior pastor’s faith-based attempt to grapple with the origins of humanity.

“Is it possible one can get so involved in ‘religion’ they miss Christ?” asks McClure (Who Do You Say I Am?, 2013, etc.) at one point in his passionate and rhetorically fluid 2016 book, adding an implicit warning about worship-minded Christians who “know the rules but missed the Savior.” This emphasis on faith instead of faith rituals runs throughout this book, a warning against the ecumenical softening of the present age. “I have been amazed at how many church leaders and Christian education directors have told me that study of the Word of God is too hard and requires too much time,” he writes. His contention is that Bible study is not only essential to the Christian life, but also far easier and more natural than many modern-day Christians believe. He goes on to demonstrate this latter point by conducting a patient, accessible reading of the earliest stories in the book of Genesis, with particular concentration on the creation of humans in the Garden of Eden. “The more I consider Adam’s rising from the dust of the earth,” he writes, “the more I am convinced his origin is the key to unlocking the mysteries of creation.” This key is likewise a familiar theme in McClure’s work, this “hunger” of the faithful for a relationship with God, the duty to “allow ourselves to move deeper into God, closer to the heart of God—to be centered in God.” McClure has read widely and knows his Bible from front to back; his book is softened with many personal stories and peppered with quotes from Scripture. The book contains the usual dangers of a jeremiad: McClure’s “back to basics” approach must ignore legitimate complexity in order to land its points. The combination of personal and pastoral, however, strikes a near-perfect balance between instruction and fellowship. McClure’s Christian readers will read with pleasure.

An energetic, inviting breakdown of sections of Genesis. 

Pub Date: Nov. 3, 2016

ISBN: 978-1-63269-426-3

Page Count: -

Publisher: Deep River Books

Review Posted Online: Aug. 2, 2017

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MARTIN LUTHER KING, JR. AND THE MARCH ON WASHINGTON

This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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