The book of Isaiah is one of the longest and strangest books of the Hebrew Bible, composed over several centuries and traversing the catastrophe that befell the two kingdoms of Israel and Judah in the 8th and 6th centuries BCE. Francis Landy's book tells the story of the poetic response to catastrophe, and the hope for a new and perfect world on the other side. The study traces two parallel developments: the displacement of the Davidic promise onto the Persian Empire, Israel, and the prophet himself; and the transition from exclusively male images of the deity to the matching of male and female prototypes, whereby YHWH takes the place of the warrior goddess. Utopia, Catastrophe, and Poetry in the Book of Isaiah consists of close readings of individual passages in Isaiah, commencing with Chapter One and the problems of beginning, and ending with Deutero-Isaiah, composed subsequent to the Babylonian exile. The volume is arranged thematically as well as sequentially: the first chapter following the introduction concerns gender, the second death, the third the Oracles about the Nations. At the centre there is what Landy calls 'the constitutive enigma', Isaiah's commission in his vision to speak so that people will not understand. This renders the entire book potentially incomprehensible; the more we try to understand it, the greater the difficulty. For Landy, this creates a model of reading and writing, the challenge and the risk of going up blind alleys, of trying to make sense of a disastrous world. Isaiah's commission pervades the book. Throughout there is a promise of an age of clarity as well as social and political transformation, which is always deferred beyond the horizon. Hence it is a book without an ending, or with multiple endings. In the final chapters, the author turns to the central Chapter Thirty-Three, a mise-en-abyme of the book and a prayer for deliverance, and the issues of exile and the possibility of return. Like every poetic work, particularly in an era of cultural collapse, it is a critique of the past and a hope for a new humanity.

This practical, "how-to" literary introduction to Isaiah as a poem is based upon the English text and focuses upon parallelism, figurative language, and the use of imagery.

"Come, let us walk in the light of the Lord!" Isaiah's words are deeply loved by many who attend Sunday services. But how many can say that they have actually read this book? This commentary invites you to read Isaiah from the era when it reached its sixty-six-chapter form and came to be part of Israel's sacred writings. Three memories helped to give shape to the Isaiah scroll. The first memory is of the destruction of Jerusalem in 587 BCE. How could God have allowed that to happen? The opening section of the scroll addresses that question. The second memory involves the fall of Babylon after 562 BCE. People, nations, and even empires rise and fall. The second section of the scroll addresses war and the sorrows of war. The third memory is of Cyrus of Persia, who allowed the exiles to return home after 539 BCE. His actions are presupposed, not just in the joyful poetry of the latter chapters of the scroll, but also in the confidence in God's love that runs through the entire scroll. God is the Lord of all nations and of all creation. Isaiah is a theological interpretation of past history. It is a passionate call for people to live with integrity, compassion, and hope.

Using a pragmatic, reader-orientated approach and informed by contemporary theory of metaphor and related topics, Katheryn Darr examines the meaning and functions of child and female imagery for sequential readers of the Isaiah scroll in its entirety. Having identified the associated commonplaces surrounding such tropes--a necessary task if one is to construe the figurative language of another society and culture competently--she turns specifically to rebellious child and personified city (and nation) imagery. The Literary Currents in Biblical Interpretation series explores current trends within the discipline of biblical interpretation by dealing with the literary qualities of the Bible: the play of its language, the coherence of its final form, and the relationships between text and readers. Biblical interpreters are being challenged to take responsibility for the theological, social, and ethical implications of their readings. This series encourages original readings that breach the confines of traditional biblical criticism.

The word rûaḥ (commonly translated as breath, wind, spirit, or Spirit) occurs in the Old Testament 378 times--more frequently than torah, shalom, or Sabbath. In this volume, a popular Old Testament scholar, whose previous books have received wide acclaim, cracks open the challenging and provocative world of the Spirit in the Old Testament, offering readers cogent yet comprehensive insights. Grounded in scholarship yet accessible and inviting, this book unlocks the world of the Spirit, plunging readers into an imaginative realm of fresh senses, sounds, and skills. The book gives readers the opportunity to recapture Israel's tenacious sense of the Spirit's energy as it was expressed by a series of vibrant verbs: blowing, breathing, coming, resting, passing, pouring, filling, cleansing, standing, and guiding. Readers will encounter in these pages all of the Old Testament expressions of the Spirit--passages that will challenge the conventional, confront the commonplace, and transport them to a world of wisdom, work, and wonder.