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632 pages, Paperback
First published October 15, 2009
The Pentateuch may be compared to a Rembrandt painting of real persons or events. We do not understand a Rembrandt painting by taking a photography of the “thing” that Rembrandt painted and comparing it with the painting itself. That may help us understand the “thing” that Rembrandt painted, his subject matter, but it will not help us understand the painting itself. To understand Rembrandt’s painting, we must look at it and see its colors, shapes and textures. In the same way, to understand the Pentateuch, one must look at its colors, contours and textures. (pg. 19)
…an evangelical compositional approach to biblical authorship identifies Moses as the author of the Pentateuch and seeks to uncover his strategy in putting the book together…. As far as we know, the Mosaic Pentateuch is identical with the canonical Pentateuch with only few exceptions…. Two notable examples are the account of the death of Moses in Deuteronomy 34 and Moses’ final words in Deuteronomy 33. Such comments, though possibly spoken by Moses, were added late in Israel’s history, likely as part of a “new edition” of the Pentateuch (“Pentateuch 2.0,” in the lingo of today’s computer world). Contrary to the prevailing view of biblical authorship, both critical and evangelical, the compositional approach suggests that the Pentateuch was not the product of a long and complicated process of literary growth, but comes to us more or less as an updated edition of a single earlier Mosaic composition. The present canonical Pentateuch is thus an updated version of the Mosaic Pentateuch produced, perhaps, by the “author” of the OT as a whole (Tanak). (pg. 48)
They are intended as commentary, although, being poetry, what they add to the narrative is not merely commentary, but also the opportunity of thoughtful reflection. The poems, as such, slow readers down and challenge them to reflect on the narrative through the eyes of a poet. Ultimately, the reader is left not with a narrative meaning, but with a poetic one. The reader joins the narrator in filling in the sense of the story. Although this may challenge the patience of modern readers, it adds an essential feature to the meaning of biblical narrative. (pg. 319)