This book is a revision of a dissertation that studies three texts--Genesis 38; 1 Samuel 25; and 1 Kings 13:11-32 + Kings 12:15-20--in which the author finds examples of the literary device, mise-en-abyme ("placement of the abyss").

From celebrated translator of the Hebrew Bible Robert Alter, the "groundbreaking" (Los Angeles Times) book that explores the Bible as literature, a winner of the National Jewish Book Award. Renowned critic and translator Robert Alter's The Art of Biblical Narrative has radically expanded our view of the Bible by recasting it as a work of literary art deserving studied criticism. In this seminal work, Alter describes how the Hebrew Bible's many authors used innovative literary styles and devices such as parallelism, contrastive dialogue, and narrative tempo to tell one of the most revolutionary stories of all time: the revelation of a single God. In so doing, Alter shows, these writers reshaped not only history, but also the art of storytelling itself.

Narrators of the Hebrew Bible generally allow their stories to proceed while relying on characters and dialogue to provide necessary information. Paris calls attention to when the story teller “breaks frame” to provide information or direct reader understanding, preventing undesirable construals or interpretations of the story. After surveying the phenomenon in the Hebrew Bible and other ancient Near Eastern literature, Paris focuses on the Deuteronomistic History. Paris argues that attention to narrative obtrusion offers an entry point into the world of the narrator and redefines aspects of narrative criticism.

The Hebrew Bible, or Christian Old Testament, contains some of the finest literature that we have. This biblical literature has a place not only in the synagogue or the church but also among the classics of world literature. The stories of Jacob and David, for instance, present the earliest surviving examples of literary characters whose development the reader follows over the length of a lifetime. Elsewhere, as in the books of Esther or Ruth, readers find a snapshot of a particular, fraught moment that will define the character. The Hebrew Bible also provides quite a few high points of lyric poetry, from the praise and lament of the Psalms to the double entendres in the love of poetry of the Song of Songs. In short, the Bible can be celebrated not only as religious literature but, quite simply, as literature. This book offers a thorough and lively introduction to the Bible's two primary literary modes, narrative and poetry, foregrounding the nuances of plot, character, metaphor, structure and design, and intertextual allusions. Tod Linafelt thus gives readers the tools to fully experience and appreciate the Old Testament's literary achievement. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Based on a series of lectures given in Israel, Amit introduces the reader to the subtle ways of the biblical narrators. Covering issues of character, plot development, catchword association, narration, and dialog, she brings the biblical text to life, helping the reader enter the stories from new vantage points.

The recovery of numerous narratives of many types from throughout the Near East has encouraged scholars to compare these texts with those found in scripture. Most such comparisons have set biblical stories up against various Near Eastern mythic-epic poems.

The sacrificial instructions and purity laws in Leviticus have often been seen as later or secondary additions to an originally sparse Priestly narrative. In this volume, Liane M. Feldman argues that the ritual and narrative elements of the Pentateuchal Priestly source are mutually dependent, and that the internal logic and structure of the Priestly narrative makes sense only when they are read together. Bringing together insights from the fields of ritual theory and narratology, the author argues that the ritual materials in Leviticus should be understood and analyzed as literature. At the core of her study is the assertion that these sacrificial instructions and purity laws form the backbone of the Priestly story world, and that when these materials are read within their broader narrative context, the Priestly narrative is first and foremost a story about the origins and purpose of sacrifice.