From Deborah To Esther

The Hebrew Bible's fascinating narratives about women have occasioned some of the most important biblical scholarship of the last generation. Lillian Klein contributes to that wealth with her absorbing studies of key figures in the narrative material: Deborah, Jephtha's daughter, Delilah, Jael, the whore of Gaza, Kaleb's daughter Achsah, Hannah, Esther, the wife of Job, David's wife Michal, and Bathsheba. With a marvelous eye for the telling detail -- or its absence -- Klein examines the biblical portraits, often unfortunately brief, of these women and the dynamics of gender, power, and honor at work in their stories. A remarkably lucid and careful scholar, Klein has surfaced the underlying and ironic ideals of womanhood in a society that both honored and marginalized women in stories of seduction and rivalry, deviation and obedience, public shame and private power.

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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.

A summer party and a thunderstorm bring relationships into focus, as three women must decide how to move forward in this humorous and dramatic tale of intersecting lives. Eleanor is bored with her two sons and a husband who ignores her when she reconnects with Phil, a man she knew in high school. Phil's wife is leaving him because of his philandering, most recently with the younger Sarayu. Eleanor's friend Kaye doesn't approve of Phil, but she has her own problems: too much drinking and a fraught relationship with her husband and daughter, who are building a boat together. Poignant and acutely observed, We Have Everything Before Us is unsparing yet sympathetic as it details the unsettling junction of illusions and reality.

This is the first book-length attempt to focus on female biblical figures in the ancient rabbinic writings of midrash and Talmud. Primary rabbinic sources employed by the author bring new life and insight into the stories of Eve, Deborah, Hannah, Serah bat Asher, and others. As women and men today attempt to reevaluate past historical models, it serves us well to understand the values and inner workings of rabbinic thinking. The examination of what the sources actually say, and not what others would like them to have said, enable reinterpretation of women's role to proceed on an honest and authentic basis. Biblical women, reclaimed with contemporary midrash, can become paradigms for our modern lives.