The book of Genesis portrays the character Jacob as a brazen trickster who deceives members of his own family: his father Isaac, brother Esau, and uncle Laban. At the same time, Genesis depicts Jacob as YHWH’s chosen, from whom the entire people Israel derive and for whom they are named. These two notices produce a latent tension in the text: Jacob is concurrently an unabashed trickster and YHWH’s preference. How is one to address this tension? Scholars have long focused on the implications for the character and characterization of Jacob. The very question, however, at its core raises an issue that is theological in nature. The Jacob cycle (Gen 25–36) is just as much, if not more, a text about God as it is about Jacob, a point startlingly absent in a great deal of Genesis scholarship. Anderson argues for the presence of what he has dubbed a theology of deception in the Jacob cycle: YHWH operates as a divine trickster who both uses and engages in deception for the perpetuation of the ancestral promise (Gen 12:1–3). Through a literary hermeneutic, emphasizing the symbiotic relationship between how the text means and what the text means, and a keen eye to the larger task of Old Testament theology as literally “a word about God,” Anderson examines the various manifestations of YHWH as trickster in the Jacob cycle. The phenomenon of divine deception at every turn is intimately tethered in diverse ways to YHWH’s unique concern for the protection and advancement of the ancestral promise, which has cosmic implications. Attention is given to the ways that the multiple deceptions—some previously unnoticed—evoke, advance, and at times fulfill the ancestral promise. Anderson’s careful and thoughtful interweaving of trickster texts and traditions in the interest of theology is a unique contribution of this important volume. Oftentimes, scholars who are interested in the trickster are unconcerned with the theological ramifications of the presence of material of this sort in the biblical text, while theologians have often neglected the vibrant and pervasive presence of the trickster in the biblical text. Equally vital is the necessity of viewing the Old Testament’s image of God as also comprising dynamic, subversive, and unsettling elements. Attempts to whitewash or sanitize the biblical God fail to recognize and appreciate the complex and intricate ways that YHWH interacts with his chosen people. This witness to YHWH’s engagement in deception stands alongside and paradoxically informs the biblical text’s portrait of YHWH as trustworthy and a God who does not lie. Anderson’s Jacob and the Divine Trickster stands as a stimulating and provocative investigation into the most interesting and challenging character in the Bible, God, and marks the first true comprehensive treatment of YHWH as divine trickster. Anderson has set the stage to continue the conversation and investigation into a theology of deception in the Hebrew Bible.

Revised version of the author's thesis (Ph.D.)--Baylor University, 2010.

The Cambridge Companion to the Hebrew Bible and Ethics offers an engaging and informative response to a wide range of ethical issues. Drawing connections between ancient and contemporary ethical problems, the essays address a variety of topics, including student loan debt, criminal justice reform, ethnicity and inclusion, family systems, and military violence. The volume emphasizes the contextual nature of ethical reflection, stressing the importance of historical knowledge and understanding in illuminating the concerns, the logic, and the intentions of the biblical texts. Twenty essays, all specially commissioned for this volume, address the texts' historical and literary contexts and identify key social, political, and cultural factors affecting their ethical ideas. They also explore how these texts can contribute to contemporary ethical discussions. The Cambridge Companion to the Hebrew Bible and Ethics is suitable for use in undergraduate and graduate courses in liberal arts colleges and universities, as well as seminaries.

Themelios is an international, evangelical, peer-reviewed theological journal that expounds and defends the historic Christian faith. Themelios is published three times a year online at The Gospel Coalition (http://thegospelcoalition.org/themelios/) and in print by Wipf and Stock. Its primary audience is theological students and pastors, though scholars read it as well. Themelios began in 1975 and was operated by RTSF/UCCF in the UK, and it became a digital journal operated by The Gospel Coalition in 2008. The editorial team draws participants from across the globe as editors, essayists, and reviewers. General Editor: D. A. Carson, Trinity Evangelical Divinity School Managing Editor: Brian Tabb, Bethlehem College and Seminary Consulting Editor: Michael J. Ovey, Oak Hill Theological College Administrator: Andrew David Naselli, Bethlehem College and Seminary Book Review Editors: Jerry Hwang, Singapore Bible College; Alan Thompson, Sydney Missionary & Bible College; Nathan A. Finn, Southeastern Baptist Theological Seminary; Hans Madueme, Covenant College; Dane Ortlund, Crossway; Jason Sexton, Golden Gate Baptist Seminary Editorial Board: Gerald Bray, Beeson Divinity School Lee Gatiss, Wales Evangelical School of Theology Paul Helseth, University of Northwestern, St. Paul Paul House, Beeson Divinity School Ken Magnuson, The Southern Baptist Theological Seminary Jonathan Pennington, The Southern Baptist Theological Seminary James Robson, Wycliffe Hall Mark D. Thompson, Moore Theological College Paul Williamson, Moore Theological College Stephen Witmer, Pepperell Christian Fellowship Robert Yarbrough, Covenant Seminary

The obvious riddles and difficulties in Exod 3:13–15 and Exod 6:2–8 have attracted an overwhelming amount of attention and comment. These texts make important theological statements about the divine name YHWH and the contours of the divine character. From the enigmatic statements in Exod 3:13–15, most scholars reconstruct the original form of the name as “Yahweh,” which is thought to describe YHWH’s creative power or self-existence. Similarly, Exod 6:3 has become a classic proof-text for the Documentary Hypothesis and an indication of different aspects of God’s character as shown in history. Despite their seeming importance for “defining” the divine name, these texts are ancillary to and preparatory for the true revelation of the divine name in the book of Exodus. This book attempts to move beyond atomistic readings of individual texts and etymological studies of the divine name toward a holistic reading of the book of Exodus. Surls centers his argument around in-depth analyses of Exod 3:13–15, 6:2–8 and Exod 33:12–23 and 34:5–8. Consequently, the definitive proclamation of YHWH’s character is not given at the burning bush but in response to Moses’ later intercession (Exod 33:12–23). YHWH proclaimed his name in a formulaic manner that Israel could appropriate (Exod 34:6–7), and the Hebrew Bible quotes or alludes to this text in many genres. This demonstrates the centrality of Exod 34:6–7 to Old Testament Theology. The character of God cannot be discerned from an etymological analysis of the word yhwh but from a close study of YHWH’s deliberate ascriptions made progressively in the book of Exodus.

Treating Old Testament stories as the product of an oral traditional world, A Prelude to Biblical Folklore sets biblical narrative in a broad cross-cultural context and reveals much about the richness and complexity of the ancient Israelite civilization that produced it. Using a unique combination of biblical scholarship and folklore methodology, Susan Niditch tracks stories of biblical characters who become heroes against the odds, either through trickery or through native wisdom, physical prowess, and the help of human or divine agents. In this volume, originally published as Underdogs and Tricksters, Niditch examines three cross-sections of the Old Testament in detail: stories in Genesis in which patriarchs pretend that their wives are really their sisters; the contrasting stories of two younger sons, the trickster Jacob and the earnest underdog Joseph; and the story of Esther as a paradigm of feminine wisdom pitted against unjust authority. Linking these Old Testament heroes to the legendary tricksters and underdogs of other cultures, Niditch shows how the Israelites' worldview and self-image are reflected in the way biblical authors tell their stories. Through a thoughtful analysis of style, content, narrative choices, and attitudes to issues of gender and political authority in biblical narrative, A Prelude to Biblical Folklore draws persuasive conclusions about the identity, location, and provenance of the stories' authors and their audiences.

The stories of Scripture are for everyone. No exceptions. Emmy Kegler has a complicated relationship with the Bible. As a queer woman who grew up in both conservative Evangelical and progressive Protestant churches, she knows too well how Scripture can be used to wound and exclude. And yet, the stories of Scripture continue to captivate and inspire her--both as a person of faith and as a pastor to a congregation. So she set out to fall in love with the Bible, wrestling with the stories inside, where she met a God who continues to seek us out--appearing again and again as a voice, a presence, and a promise. Whenever we are pushed to the edges, our voices silenced, or our stories dismissed, God goes out after us--seeking us until we are found again. And God is seeking out those whose voices we too quickly silence and dismiss, too. Because God's story is a story of welcome and acceptance for everyone--no exceptions. Kegler shows us that even when we feel like lost and dusty coins--rusted from others' indifference, misspent and misused--God picks up a broom and sweeps every corner of creation to find us.

Biblical scholar Walter Brueggemann has always excelled at making the Bible approachable and engaging. Drawn from a series of public conversations with Brueggemann and his former student and longtime friend Clover Reuter Beal, An On-Going Imagination explores Brueggemann’s most influential biblical-theological concepts and methods: Why should we still bother with the Bible today? What is the purpose of prayer, and what can it do for our lives? How is keeping the Sabbath countercultural? What does it mean to say that the God in the Bible is “a God in recovery”? Intimate, provocative, and challenging, An On-Going Imagination offers an enlightening introduction to Brueggemann’s work for readers who want to learn more and a way back into the Bible for people who feel alienated from it by those on the right and the left who claim to have it all figured out. Brueggemann and Beal reawaken us to the fascinating strangeness of biblical tradition and its incredible power to help us imagine new ways of seeing and being in the world.

How are the resurrection appearances of Luke’s Gospel shaped to offer a climax to the narrative? How does this narrative conclusion compare to the wider ancient literary milieu? Recognition and the Resurrection Appearances of Luke 24 proposes that the ancient literary technique of recognition offers a compelling lens through which to understand the climatic role of the resurrection appearances of Jesus as depicted in Luke 24. After presenting the development of recognition in ancient Jewish and Greco-Roman literature, Thompson demonstrates how Luke 24 deploys the recognition tradition to shape the form and function of the resurrection appearances. The ancient recognition tradition not only casts light on various literary and theological features of the chapter but also shapes the way the appearances function in the wider narrative. By utilizing recognition, Luke 24 generates cognitive, affective, commissive, and hermeneutical functions for the characters internal to the narrative and for the audience. The result is a compelling climax to Luke’s Gospel that resonates with Luke’s wider literary and theological themes. This work offers a compelling analysis of the Luke’s Gospel in the ancient literary context in light of the ancient technique of recognition that will appeal to those interested in narrative approaches to the New Testament or the interpretation of the New Testament in the wider literary milieu.

Flannery O’Connor and Stylistic Asceticism explores the impact style has not only on a story’s meaning, but on the reading experience. O’Connor’s sparingly wrought stories, particularly in their climactic moments of divine disclosure, invite characters and readers alike into invitations of graced encounters that often wound even as they bless. Flannery O’Connor and Stylistic Asceticism draws out the force and vulnerability in reading spare stories of graced encounters by identifying a kinship with a much older form of storytelling: biblical Hebrew narrative. Focusing on the climactic scenes of O’Connor’s Wise Blood and Genesis 32’s account of Jacob’s nighttime wrestling, Rachel Toombs offers a fresh take on the theological impact of spare narration. These stories invite readers into a posture akin to prayer where in an uncluttered space we see ourselves as we truly are and there meet God.