A rigorous textual juxtaposition of two faiths, marred by uneven writing.



A comparative study of Christianity and Islam that seeks to spell out terms of reconciliation between the two religions. 

When Ireland (Christianity’s Invitation From Jesus to Islam, 2016) was a Protestant seminarian in 2000, he became fascinated by the theological connections between the Christian and Muslim faiths. He discovered many similarities and points of intersection, particularly in the religions’ authoritative scriptures. However, he also noted a considerable doctrinal divide, and that their interpretations of the conditions for salvation are mutually exclusive. For example, Christians venerate Jesus as the son of God and accept his combination of humanity and divinity. However, although the Quran repeatedly references Jesus and recognizes his status as a major prophet, it denies that he was more than a mere man. Ireland carefully reviews relevant passages in the Bible to present a remarkably concise snapshot of Christian theology. He provides a synoptic overview of the faith’s essential message, the Trinitarian conception of God, and an accessible interpretation of the Holy Spirit. Likewise, he explores the fundamental tenets of Judaism, as Christianity was historically connected to it and all three of the major monotheistic traditions are Abrahamic. The author also examines the Quran and adumbrates its foundational beliefs, which simply contradict the Bible’s claim to ultimate authority. Although Ireland calls for mutual respect and tolerance between the two religions—and reciprocal forgiveness for historical sins committed by zealots on either side—his deepest purpose is to describe and recommend the Christian view of salvation, which he says was made possible by Jesus’ ministry, martyrdom, and resurrection. The author’s command of the relevant scriptural material and scholarly commentaries is extraordinary, and this study functions as a handy reference guide for readers looking to compare the Bible and the Quran, point by point. Problematically, though, the prose style can be awkward and unwieldy: “In our review Christianity, would identify Islam as an individual religion separate from the basic beliefs of Christianity, since it uses many terms defined in Christianity or narratives in the Holy Bible in ways that are inconsistent with Biblical teachings.”

A rigorous textual juxtaposition of two faiths, marred by uneven writing.

Pub Date: Dec. 15, 2016

ISBN: 978-0-692-81648-6

Page Count: -

Publisher: Middle East Religious Studies Foundation

Review Posted Online: May 23, 2017

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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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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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