by Sarah Ruden ‧ RELEASE DATE: March 28, 2017
No version of the Bible is the last word, as this text for grammarians, seminarians, and savants demonstrates—simultaneously...
A poet and translator of classical literature tackles the Good Book to find concealed biblical meaning and nuance.
There are peculiarities, Ruden (Paul Among the People: The Apostle Reinterpreted and Reimagined in His Own Time, 2010, etc.) discovered, with the King’s English versions of the Old and New Testaments, even if that King is James. Of course, other translations of Scripture have faults, too, but when one seeks to understand what they meant when they first entered the canon, King James is the standard for comparison. The author digs into the original classic Hebrew for the Old Testament and “common dialect” Koine Greek for the New. She compares the rhetorical conventions, grammar, style, and poetics of the Hebrew and Greek to the King James. As paired case studies in translation, she presents, among other passages, the story of David and Bathsheba and the Lord’s Prayer, the accounts of Genesis and the Virgin Birth, the Ten Commandments and the parable of the Good Samaritan, and the book of Jonah and Paul’s comments on circumcision. Ruden retranslates these passages primarily for accuracy. “Don’t close this book,” she writes, “and turn on a PBS documentary about ferrets: what I’m about to tell you is way more interesting.” She follows that with a grammar lesson on indicative and subjunctive moods in Hebrew verb forms. Terms for figures of speech abound, and appended at length are translations with transliterations of Hebrew and Greek with their linguistic peculiarities intact; it will surely be unhelpful to acolytes, while experts will ignore the linguistic detours. Ruden finds hidden meaning in the intricate arrangement of the ancient vocabularies, poetics, and lifestyles, and therein lies the fun. The book is often a master class in translation and Bible studies, though casual readers will decide if her “giant crowd” is more felicitous than “great multitude.”
No version of the Bible is the last word, as this text for grammarians, seminarians, and savants demonstrates—simultaneously didactic and entertaining, academic and easygoing.Pub Date: March 28, 2017
ISBN: 978-0-307-90856-8
Page Count: 288
Publisher: Pantheon
Review Posted Online: Jan. 22, 2017
Kirkus Reviews Issue: Feb. 1, 2017
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by Robert Greene ‧ RELEASE DATE: Sept. 1, 1998
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.
The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.
Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.Pub Date: Sept. 1, 1998
ISBN: 0-670-88146-5
Page Count: 430
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1998
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BOOK TO SCREEN
by R. Crumb ; illustrated by R. Crumb ‧ RELEASE DATE: Oct. 19, 2009
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
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