Jonathan's Loves, David's Laments uses early modern musical interpretations of David's Lament over Saul and Jonathan to deepen the historicist foundations of contemporary feminist and gay relational theologies. After laying out how gay theologian Gary David Comstock connects the story of David and Jonathan to the theology of lesbian theologian Carter Heyward, the argument interrogates both theological and exegetical problems in making those connections, which include contradictory theological stances with regard to modernity and history as well as the indeterminacy of the biblical text. Early modern musical interpretations of the text allow for a double move of engaging the texts through a sensual medium, thus reinforcing queer possibilities for meaning-making from the biblical text, and staying attuned to the fact that the history of interpretation reinforces the indeterminacy of the text, thus keeping queer interpretations aware of the relativizing function of historical difference.

In this thoughtful exploration of a sensitive issue, Tom Horner considers all the references to homosexuality in the Bible--the stories of Sodom and Gibeah, David and Jonathan, Ruth and Naomi, and passages from Deuteronomy, Leviticus, Romans, I Corinthians, and I Timothy. He includes an important discussion of the words and actions of Christ in their biblical and historical context, to determine what conclusions can validly be inferred about Jesus and sexuality. This book contains suggestions for further reading and a complete list of biblical references to homosexuality. Teachers, students, and anyone open to reconsidering homosexuality in the light of the Scriptures will profit from this clearly written work.

Jonathan's Loves, David's Laments uses early modern musical interpretations of David's Lament over Saul and Jonathan to deepen the historicist foundations of contemporary feminist and gay relational theologies. After laying out how gay theologian Gary David Comstock connects the story of David and Jonathan to the theology of lesbian theologian Carter Heyward, the argument interrogates both theological and exegetical problems in making those connections, which include contradictory theological stances with regard to modernity and history as well as the indeterminacy of the biblical text. Early modern musical interpretations of the text allow for a double move of engaging the texts through a sensual medium, thus reinforcing queer possibilities for meaning-making from the biblical text, and staying attuned to the fact that the history of interpretation reinforces the indeterminacy of the text, thus keeping queer interpretations aware of the relativizing function of historical difference.

From award-winning comedian, director, writer, and producer David Steinberg comes the totally original, utterly blasphemous, and hysterically funny memoir of a young man who emerged from a traditional Jewish childhood to become an international star—all because, it seems, he kept God in stitches. David Steinberg was raised in Winnipeg, Canada, by parents who expected little from him. And no wonder. Instead of studying Talmud in order to become a rabbi, he chose to major in Martin and Lewis with a minor in basketball. As David imagines the story of his life (since his success otherwise makes no sense), God one day spotted him on the playground and decided that this young man with no ambition could go far with His help. Sure enough, God soon had David on network TV and Broadway, and selling out nightclubs across the country—as well as being pursued by hot starlets. The Book of David is David Steinberg's hilarious trip down memory lane, assuming that the lane has a biblical address. This wild riff on the Old Testament is guaranteed laughter.

"A masterpiece of contemporary Bible translation and commentary."—Los Angeles Times Book Review, Best Books of 1999 Acclaimed for its masterful new translation and insightful commentary, The David Story is a fresh, vivid rendition of one of the great works in Western literature. Robert Alter's brilliant translation gives us David, the beautiful, musical hero who slays Goliath and, through his struggles with Saul, advances to the kingship of Israel. But this David is also fully human: an ambitious, calculating man who navigates his life's course with a flawed moral vision. The consequences for him, his family, and his nation are tragic and bloody. Historical personage and full-blooded imagining, David is the creation of a literary artist comparable to the Shakespeare of the history plays.

The last book published before Henri Nouwen's death in 1996, Can You Drink the Cup? has been translated into ten languages and sold more than 140,000 copies. Exploring the deep spiritual impact of the question Jesus asked his friends James and John, Nouwen reflects upon the metaphor of the cup, using the images of holding, lifting, and drinking to articulate the basics of the spiritual life. Written with the profound insight and clarity characteristic of his numerous best-selling books, Nouwen's deeply perceptive exploration of Jesus' challenging question has the power to pierce your heart, expand your spiritual horizons, and radically change your life.

The Life Of David is a message of meditation based on the Bible and written by Arthur Walkington Pink was born in Nottingham, England, to a corn merchant, a devout non-conformist of uncertain denomination, though probably a Congregationalist. Otherwise, almost nothing is known of Pink's childhood or education except that he had some ability and training in music. As a young man, Pink joined the Theosophical Society and apparently rose to enough prominence within its ranks that Annie Besant, its head, offered to admit him to its leadership circle. In 1908 he renounced Theosophy for evangelical Christianity. Desiring to become a minister but unwilling to attend a liberal theological college in England, Pink very briefly studied at Moody Bible Institute in Chicago in 1910 before taking the pastorate of the Congregational church in Silverton, Colorado. In 1912 Pink left Silverton, probably for California, and then took a joint pastorate of churches in rural Burkesville and Albany, Kentucky. In 1916, he married Vera E. Russell (1893–1962), who had been reared in Bowling Green, Kentucky. Pink's next pastorate seems to have been in Scottsville. Then the newlyweds moved in 1917 to Spartanburg, South Carolina, where Pink became pastor of Northside Baptist Church. By this time Pink had become acquainted with prominent dispensationalist Fundamentalists, such as Harry Ironside and Arno C. Gaebelein, and his first two books, published in 1917 and 1918, were in agreement with that theological position. Yet Pink's views were changing, and during these years he also wrote the first edition of The Sovereignty of God (1918), which argued that God did not love sinners and had deliberately created "unto damnation" those who would not accept Christ. Whether because of his Calvinistic views, his nearly incredible studiousness, his weakened health, or his lack of sociability, Pink left Spartanburg in 1919 believing that God would "have me give myself to writing." But Pink then seems next to have taught the Bible with some success in California for a tent evangelist named Thompson while continuing his intense study of Puritan writings.