Amos: The Prophet is my favorite of all of Francine Rivers’ Bible studies/biblical fiction novellas. Maybe it’s the low expectations set by the rest of the books, my enjoyment of Amos as a biblical character, the lack of other biblical fiction on Amos to compare it with, or something else, but, for me, this is the only one of the Sons of Encouragement or Lineage of Grace books worth reading.
Rivers begins a bit out of the bounds of the Biblical narrative, portraying Amos’s family as shepherds who are indebted to and work for the priests in Jerusalem. Every year, when Passover lambs are brought to Jerusalem to the Temple for slaughter, the priests thoroughly inspect each lamb to ensure they are without blemish. If there’s a blemish, no worries, the priests have their own pre-vetted lambs—for a fee, of course. This exchange system is well-documented in the day of Jesus and Rivers transposes that to the time of Amos.
Young Amos learns very quickly of the priests’ racket and his faith in God becomes shaken. How can he follow a God whose priests are so corrupt? He grows up, his family pays off their debt, and Amos tries to live a life separate from Jerusalem out in the fields of Tekoa. It’s there that God calls Amos to be a prophet.
By setting up this earlier fictionalized confrontation, Rivers is able to bring nuance to Amos’s biblical confrontations with the religious elite. Initially, the crowds love Amos’s messages, as he presents his oracles to the nations and prophesies their destruction. However, it’s all a trick as God closes in on the nation of Israel and excoriates them for their sin.
Amos’s prophetic confrontation with Israel and her priests are told in a bold, straightforward manner. The formal tone that characterizes this series fits the narrative of Amos better than the other stories. Rivers does have a habit of having Amos quote Jesus, which, I get why she does it—it’s a bit of an Easter egg that’ll provoke discussion in the small group—but I actually think it detracts from talking about Amos message and contemporary applications of it.
Overall, this ends up being the best installment in the series not because Rivers does anything differently or exceptionally—she just doesn’t commit any unforced errors. Oddly, from the Goodreads ratings, this is the lowest rated in the series, which is maybe just further proof that the antithesis of Rivers’ intended audience for these books.