This collection of essays considers the Book of Esther from a literary and sociological perspective. In part one, Else Holt outlines the main questions of historical-critical research in the Book of Esther. She also discusses the theological meaning of a biblical book without God, and examines how the book was transmitted through the last centuries BCE. She also explores how the Hebrew and Greek variants of the Book of Esther picture its main character, Esther, the Jewish queen of Persia. In part two, Holt offers deconstructive reading of themes hidden under the surface-levels of the book. Chapters include discussions of Esther's initiation into her role as Persian queen; the inter-textual conversation with two much later texts, The Arabian Nights and The Story of O; and the relationship between Mordecai, the Jew, and his opponent Haman, the Agagite, as a matter of mimetic doublings. The last part of the book introduces the sociological concept of ethnicity-construction as the backdrop for perceiving the instigation of the Jewish festival Purim and the violence connected to it, and looks at the Book of Esther as an example of trauma literature. The concluding chapter analyses the moral quality of the book of Esther, asking the question: Is it a bedtime story?

Using narrative devices such as allusions and free associations, multivalent expressions, and irony, the author of Esther wrote a story that is about a Jewish woman, Esther, during the time of the Persian exile of Yehudites, and the Persian king, Ahasuerus, who was in power at the time. At various junctures, the author also used secret writing, or we could say that he conveys mixed messages: one is a surface message, but another, often conflicting message lies beneath the surface. For instance, the outer portrayal of the king as one of the main protagonists is an ironic strategy used by the author to highlight the king's impotent, indecisive, "antihero" status. He may wield authority-as symbolized by his twice-delegated signet ring-but he remains powerless. Among all the concealments in the story, the concealment of God stands out as the most prominent and influential example. A growing number of scholars regard the book of Esther as a "comic diversion," the function and intention of which are to entertain the reader. However, Grossman is more convinced by Mikhail Bakhtin's approach, and he labels his application of this approach to the reading of Esther as "theological carnivalesque." Bakhtin viewed the carnival (or the carnivalesque genre) as a challenge by the masses to the governing establishment and to accepted social conventions. He described the carnival as an eruption of ever-present but suppressed popular sentiments. The connection between the story of Esther and Bakhtin's characterization of the carnivalesque in narrative is evident especially in the book of Esther's use of the motifs of "reversal" and "transformation." For example, the young girl Esther is transformed from an exiled Jewess into a queen in one of the turnabouts that characterize the narrative. Many more examples are provided in this analysis of one of the Bible's most fascinating books.

Using narrative devices such as allusions and free associations, multivalent expressions, and irony, the author of Esther wrote a story that is about a Jewish woman, Esther, during the time of the Persian exile of Yehudites, and the Persian king, Ahasuerus, who was in power at the time. At various junctures, the author also used secret writing, or we could say that he conveys mixed messages: one is a surface message, but another, often conflicting message lies beneath the surface. For instance, the outer portrayal of the king as one of the main protagonists is an ironic strategy used by the author to highlight the king’s impotent, indecisive, “antihero” status. He may wield authority—as symbolized by his twice-delegated signet ring—but he remains powerless. Among all the concealments in the story, the concealment of God stands out as the most prominent and influential example. A growing number of scholars regard the book of Esther as a “comic diversion,” the function and intention of which are to entertain the reader. However, Grossman is more convinced by Mikhail Bakhtin’s approach, and he labels his application of this approach to the reading of Esther as “theological carnivalesque.” Bakhtin viewed the carnival (or the carnivalesque genre) as a challenge by the masses to the governing establishment and to accepted social conventions. He described the carnival as an eruption of ever-present but suppressed popular sentiments. The connection between the story of Esther and Bakhtin’s characterization of the carnivalesque in narrative is evident especially in the book of Esther’s use of the motifs of “reversal” and “transformation.” For example, the young girl Esther is transformed from an exiled Jewess into a queen in one of the turnabouts that characterize the narrative. Many more examples are provided in this analysis of one of the Bible’s most fascinating books.

Thomas Wetzel offers a new way to understand the violence and religious absence long emphasized in readings of the Hebrew version of the Esther story. By tracing the vestiges of Jewish liturgical activity described in the story as well as the story's reliance on the tradition of the Divine Combat myth, the author uncovers a profound, yet intentionally hidden, religious sensibility within the story's narrative world. These connections link the Esther story to the great acts of deliverance in the larger biblical tradition, but also bring into sharp focus the biblical view that Israel's survival and sometimes violent deliverance remain the definitive sign of the Lord's ongoing and active presence in creation. The author's conclusion suggests that this understanding has profound implications for Jewish-Christian dialogue and for the future existence and practice of the two communities.

Hidden in Plain Sight explores the potential contours of reading biblical narrative. The Old Testament book of Esther is used to advance a prospective shape for this reading method, and proposes a profile for curriculum design. This work demonstrates that the text of Scripture itself proposes a reading method. Esther is an underestimated heroine in her story world. Her character is informed by the silent actions of Vashti and by the intentionality of Mordecai. She is confronted with a writing that challenges her with few options, each of which is deconstructed and focused in community dialogue. At a pivotal stage in the narrative, she acts in solidarity with those under a death threat, emerging as an agent of life. Esther's actions and speeches are traced as one entry into a story world, proposing a means for students of Scripture to gain appreciable reading skills via sensitivity to the general components of Old Testament narrative. This reading informs a study method enabling directengagement with a text and appreciation for the art of literary crafting. The approach is suitable for Christian education and biblical study settings at the academic level, and for use in local church ministries.