By Harold Bloom

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Synopsis:
A debatable nationwide most sensible vendor upon its preliminary book, The publication of J is an audacious paintings of literary recovery revealing one of many nice narratives of all time and unveiling its mysterious writer. J is the identify that students ascribe to the anonymous author they think is liable for the textual content, written among 950 and 900 BCE, on which Genesis, Exodus, and Numbers relies. within the e-book of J, accompanying David Rosenberg's translation, Harold Bloom persuasively argues that J used to be a woman—very most probably a lady of the royal residence at King Solomon's court—and a author of the stature of Homer, Shakespeare, and Tolstoy. Rosenberg's translations from the Hebrew convey J's tales to lifestyles and demonstrate her towering originality and snatch of humanity. Bloom argues in different essays that "J" was once no longer a spiritual author yet a fierce ironist. He additionally deals old context, a dialogue of the speculation of the way different texts got here jointly to create the Bible, and translation notes.

Contents:
Acknowledgments
THE writer J / Harold Bloom
Preface on Names and Terms
Chronology
Introduction
Enfolding an Author
Imagining an writer
David: J and the court docket Historian
Translating J

THE ebook OF J / Translated by way of David Rosenberg

COMMENTARY / Harold Bloom
Eden and After
Abram
Jacob
Tamar
Joseph
Moses
In the Wilderness

AFTER remark/ Harold Bloom
The booklet of J and Torah
The illustration of Yahweh
The Psychology of Yahweh
The Blessing: Exiles, barriers, Jealousies
Conclusion: The Greatness of J

TRANSLA TOR'S APPENDIXES / David Rosenberg
A. Notes at the Translation
B. Biblical assets

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74:12—17) 3 0 Thou rulest the raging of the sea: when the waves thereof arise, thou stillest them. Thou hast broken Rahab in pieces, as one that is slain; thou hast scattered thine enemies with thy strong arm. (Ps. 89:9-10) Awake, awake, put on strength, 0 arm of the Lord; awake, as in the ancient days, in the generations of old. Art thou not it that hath cut Rahab, and wounded the dragon? Art thou not it which hath dried the sea, the waters of the great deep; that hath made the depths of the sea a way for the ransomed to pass over?

Can we recover J's true opening, assuming that my surmise as to its exclusion by the Redactor is accurate? Shrewd arguments on the composite artistry of the Creation accounts in Genesis as it has come down to us have been made by Alter and others, and yet the contrasts between P's cosmological fantasy and J's earthbound irony are quite overwhelming. I would suggest that what is now Genesis 1—2:4a was deliberately composed to replace a rather outrageous Yahwistic vision of a very combative cosmological Creation, so that the Redactor merely followed a pious tradition in preluding J's story of Eden with P's hymn to divine order.

I would suggest that what is now Genesis 1—2:4a was deliberately composed to replace a rather outrageous Yahwistic vision of a very combative cosmological Creation, so that the Redactor merely followed a pious tradition in preluding J's story of Eden with P's hymn to divine order. It is crucial to realize that P did not care to give us a rival narrative of the creation of Adam, perhaps because an archaic Judaism, now largely lost to us, began with an even more grotesque version of Adam's making.

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