The Four Holy Gospels is an exquisitely designed and produced edition of the four canonical Gospels in the English Standard Version, featuring commissioned original paintings by highly-regarded artist Makoto Fujimura.

The publication of the King James version of the Bible, translated between 1603 and 1611, coincided with an extraordinary flowering of English literature and is universally acknowledged as the greatest influence on English-language literature in history. Now, world-class literary writers introduce the book of the King James Bible in a series of beautifully designed, small-format volumes. The introducers' passionate, provocative, and personal engagements with the spirituality and the language of the text make the Bible come alive as a stunning work of literature and remind us of its overwhelming contemporary relevance.

A book of the four Holy Gospels, equally suited for liturgical use and private reading. Whether this small-format Gospel-the first of its kind in English-is found in church or the home prayer corner, it is ideal. It is designed to be as beautiful as it is useful, fitting for the words of Christ our Lord. It features the excellent EOB translation, from the official Patriarchal Text of the Orthodox Church, utilizing Modern English that is both accessible and dignified. Includes four ribbon bookmarks, an extensive lectionary, and Paschal tables through 2100.

In this collection of essays presented at a scholarly symposium held in 1982 in Tubingen, Germany, New Testament exegetes and church historians from several countries uncover lines of convergence in the study of the historical sources and traditions behind the four canonical Gospels.

The EOB New Testament is a new translation of the official Greek Orthodox text called the Patriarchal Text of 1904. It is a scholarly, fully Orthodox, and easy to read version that aims at being the text of reference for personal study, devotions, and even liturgical use within among English-speaking Orthodox Christians. This translation features: - extensive footnotes to variants from other manuscripts and alternative translations - information introductions to the books - over 80 pages of appendices that explore keys texts and theological concepts important to Orthodox readers - many illustrations and tables Unlike the OSB (Orthodox Study Bible New Testament) which is actually the New King James version, the EOB is a fresh and accessible translation created within the Orthodox community. The EOB team of contributors consisted of about 20 individuals, mostly based in the United States.

The New York Times bestselling author of The Prodigal Prophet uncovers the essential message of Jesus, locked inside his most familiar parable. Newsweek called renowned minister Timothy Keller "a C.S. Lewis for the twenty-first century" in a feature on his first book, The Reason for God. In that book, he offered a rational explanation of why we should believe in God. Now, in The Prodigal God, Keller takes his trademark intellectual approach to understanding Christianity and uses the parable of the prodigal son to reveal an unexpected message of hope and salvation. Within that parable Jesus reveals God's prodigal grace toward both the irreligious and the moralistic. This book will challenge both the devout and skeptics to see Christianity in a whole new way.

The earliest of the four Gospels, the book portrays Jesus as an enigmatic figure, struggling with enemies, his inner and external demons, and with his devoted but disconcerted disciples. Unlike other gospels, his parables are obscure, to be explained secretly to his followers. With an introduction by Nick Cave

From a world-renowned painter, an exploration of creativity’s quintessential—and often overlooked—role in the spiritual life “Makoto Fujimura’s art and writings have been a true inspiration to me. In this luminous book, he addresses the question of art and faith and their reconciliation with a quiet and moving eloquence.”—Martin Scorsese “[An] elegant treatise . . . Fujimura’s sensitive, evocative theology will appeal to believers interested in the role religion can play in the creation of art.”—Publishers Weekly Conceived over thirty years of painting and creating in his studio, this book is Makoto Fujimura’s broad and deep exploration of creativity and the spiritual aspects of “making.” What he does in the studio is theological work as much as it is aesthetic work. In between pouring precious, pulverized minerals onto handmade paper to create the prismatic, refractive surfaces of his art, he comes into the quiet space in the studio, in a discipline of awareness, waiting, prayer, and praise. Ranging from the Bible to T. S. Eliot, and from Mark Rothko to Japanese Kintsugi technique, he shows how unless we are making something, we cannot know the depth of God’s being and God’s grace permeating our lives. This poignant and beautiful book offers the perspective of, in Christian Wiman’s words, “an accidental theologian,” one who comes to spiritual questions always through the prism of art.

Anyone who reads the Gospels carefully will notice that there are differences in the manner in which they report the same events. These differences have led many conservative Christians to resort to harmonization efforts that are often quite strained, sometimes to the point of absurdity. Many people have concluded the Gospels are hopelessly contradictory and therefore historically unreliable as accounts of Jesus. The majority of New Testament scholars now hold that most if not all of the Gospels belong to the genre of Greco-Roman biography and that this genre permitted some flexibility in the way in which historical events were narrated. However, few scholars have undertaken a robust discussion of how this plays out in Gospel pericopes (self-contained passages). Why Are There Differences in the Gospels? provides a fresh approach to the question by examining the works of Plutarch, a Greek essayist who lived in the first and second centuries CE. Michael R. Licona discovers three-dozen pericopes narrated two or more times in Plutarch's Lives, identifies differences between the accounts, and analyzes these differences in light of compositional devices identified by classical scholars as commonly employed by ancient authors. The book then applies the same approach to nineteen pericopes that are narrated in two or more Gospels, demonstrating that the major differences found there likely result from the same compositional devices employed by Plutarch. Showing both the strained harmonizations and the hasty dismissals of the Gospels as reliable accounts to be misguided, Licona invites readers to approach them in light of their biographical genre and in that way to gain a clearer understanding of why they differ.