I preached through Jonah in Advent 2014. It remains one of my favorite series to prepare and preach–unlikely liturgical pairing notwithstanding.
In those days, I read as many Jonah commentaries as I could get my hands on. Kevin J. Youngblood’s rose to the top. Then it was part of a series called Hearing the Message of Scripture. Now it has been released in its second edition, with the series name being changed to the less exciting Zondervan Exegetical Commentary on the Old Testament, to bring OT volumes in line with the NT volumes of the same overall series.
Zondervan was gracious to send me a review copy of the Second Edition.
The changes are minor, and they are really only three:
The re-branded series name
Transliterated Hebrew is replaced with actual Hebrew text (yay!)
The author’s translation and visual layout of the text includes the original Hebrw text now, too
Here, for example, is how that text layout section has changed (the new edition is the one on the bottom):
Otherwise, the text is identical to the first edition. (Even the Bibliography has not been updated, from what I can see.) So if you own the first edition, there’s no need to also get the second. But if you don’t own this commentary, by all means, check it out from a library or purchase it. Even if you don’t know Hebrew, this is an excellent guide to a beautiful and challenging biblical book.
For my full review of the first edition (which all applies to the second edition), see here.
Accordance Bible has put its Göttingen Septuagint on sale, at its lowest price ever. There are 19 volumes, which span 34 Septuagint books. As Brian Davidson notes, Logos has five LXX volumes not in Accordance (Judith; Tobit; 3 Maccabees; Wisdom of Solomon; and Susanna, Daniel, and Bel et Draco), while only Accordance has the 2014 2 Chronicles. Neither has yet digitized the recently released Ecclesiastes volume.
$499 for the in-progress critical edition is not cheap, but serious students of the Septuagint will receive at least that much value from the modules. The Genesis print volume alone retails for about $250. The Accordance versions are morphologically tagged, so you never have to guess at a parsing or translation equivalent. As with all Accordance texts, Göttingen integrates seamlessly with lexicons, parallel texts, and other resources.
Here’s what the recently released 2 Chronicles volume looks like, with its apparatus open at bottom and two English translations of the Septuagint also open:
I’ve noted elsewhere that the critical apparatus in the Göttingen Septuagint is a text criticism workout. I’ve posted here and here about how to understand and use its apparatuses. Accordance hyperlinks all the abbreviations (everything in blue and underlined in the screenshot above is a hyperlink). The expanded abbreviations don’t mitigate the need for Latin and German in understanding the apparatus!
What especially sets Accordance apart from Logos is Accordance’s use of search fields in the apparatus, so that you can select a search field and run a more targeted search. I’ve found this most useful for when I’m trying to get a handle on how a particular manuscript might have treated the text. You can also search the apparatus by Greek content, so could see, for example, all of the Greek words that get treatment in the apparatus.
When I read through LXX Isaiah (mostly using Accordance) a few years ago, I made heavy use of Accordance’s “Compare” and “List Text Differences” features. This way you can see at a glance where Göttingen and Rahlfs or Swete differ on the book you’re looking at.
Do you want to really geek out on using the Septuagint in Accordance? Here‘s a post I wrote for their blog the other day, on using Accordance to generate a list of Greek vocabulary that New Testament readers might want to consider when coming to the Septuagint.
Disclosure: Accordance set me up with the 2 Chronicles volume to review. And I lead Webinars for them. That did not influence the objectivity of this post.
It was fawning interest at first sight and then love at first drink with the Chemex Filter-Drip Coffeemaker.
I love to drink coffee, and the fact that our coffee of choice is Peet’s made me think I was kind of a coffee snob. (Wonderfully, our local grocery store sells Peet’s whole bean by the package, and often on sale.) But deep down inside I knew that my reliance on a standard coffee maker–and only very occasional use of a French press–meant coffee brewing snobbery was still an aspiration.
Chemex scratches that itch, but in a non-pretentious way. I’ve been enjoying regular use of the Ten Cup Glass Handle Chemex for the last couple weeks, which Chemex kindly sent my way for review.
Chemex even included an awesome leather coaster to put the glass on.
Now, it’s time to make the coffee. Pretty simple (and there was an instruction sheet included):
Grind the beans, medium coarse
Put them in the filter on top of the glass brewer
Boil the water (Chemex has this sweet looking thing, but I just used my tea kettle)
Pour the water over the beans and let them “bloom” for 30 seconds (Chemex tells me the bloom is “escaping gas that has been trapped in the beans during the roasting process”
Pour water over the beans, so that it goes almost to the top of the glass
This is the smoothest cup of coffee I’ve ever had at home. There’s not an ounce of sludge, anywhere in sight. Even the pour from the Chemex to mug is perfectly clear and clean. Here’s an image of the drip brewing:
Drinking coffee from the regular coffee maker the next day was a serious step down. (Don’t get me wrong; I’m grateful for coffee in all its forms!) I had no idea what I was missing.
The design is awesome. The glass is strong. The filters are easy to use and don’t leak. The handle makes pouring easy. Maybe the only thing I’d add is some kind of cozy or heat cover. You can put this on the stove on low heat (if gas or glass stove top), but then I’d have to remember it’s there! (I.e., no auto-off.) But I put the brewed coffee right into a Thermos, so that works out well.
Learn more about the Chemex at its product page here. Two thumbs (or in this case, mugs) up!
Just a short “in the mail” post today to share five reviews you can expect to read here in the coming weeks and months:
First Raise a Flag: How South Sudan Won the Longest War but Lost the Peace (Oxford University Press)
This book just arrived in the mail yesterday. Some years ago I read a few books on the Rwandan genocide, and have had occasional interest in African history. Time to reactivate that interest and learn more about what’s been happening in Sudan. (LINK)
We’re continuing to enjoy the recipes from Run Fast. Cook Fast. Eat Slow. by Shalane Flanagan and Elyse Kopecky (publisher page / Amazon). (And we still use its predecessor, Run Fast. Eat Slow.) I think it’s safe to say that recently the majority of prepared foods in our house has used one of those two cookbooks.
Two more yummy ones to show in this post. First, the ultra-healthy Grain Salad, for which you can use quinoa or any other grain you have in the house.
That salad was dee-lish-us.
I was eager to try the cardamom granola recipe, however aged our cardamom might be! I tripled the recipe so that we’d have some to share.
It came out great. If anything, the recipe could have called for more cardamom; its taste wasn’t very pronounced, but that could be because some of my spice had lost its flavor over time.
Oh, and have I mentioned the superhero muffins? If you loved them from the first cookbook, this follow-up offers more variations. Lots of great grab-and-go (but healthy and nourishing) snack ideas here.
I’ve barely even gotten into the book’s racing tips and overarching eating/kitchen strategies; we’ve been so eager to just go the the recipes. But it’s got some really useful big picture stuff, too, like a compelling section on why the book doesn’t include calorie counts. And there are chapters devoted to things like “Jump-Start Your Kitchen” (chapter two) and some of Shalane’s training routine (the third chapter, “Rise & Run”).
This cookbook/guidebook is definitely a worthy sequel, and has a prominent place among our cookbooks. You can check out the Run Fast. Eat Slow. website here.
Thanks to the publisher for sending a copy of Run Fast. Cook Fast. Eat Slow., sent so I could review it, but with no expectation as to the nature or content of my review.
Yesterday in the mail I received a review copy of Run Fast. Cook Fast. Eat Slow. by Shalane Flanagan and Elyse Kopecky (publisher page / Amazon). We’ve loved its predecessor, Run Fast. Eat Slow. This new volume says you can “cook the recipes that Shalane Flanagan ate while training for her 2017 TCS New York City Marathon historic win!”
Last night I wasn’t thinking about marathons; just how to make a good dinner for the family. As yesterday was Shrove Tuesday, I went right to the index to see if there were any pancake recipes. Lo and behold, I found one for oatmeal banana pancakes:
I did not have oatmeal flour on hand, but had some organic rolled oats, which I could easily grind up in a food processor. My wife and I went to work: she mixed the wet ingredients; I mixed the dry ones (there were hungry mouths waiting). Before long, this:
They were tasty!
Between the previous cookbook and now this newer one, we have yet to find a dud of a recipe. (Although I’m not sure I’ll repeat the first cookbook’s blueberry scones made with corn meal.)
There are also racing tips and bigger picture eating strategies in Run Fast. Cook Fast. Eat Slow. So far it looks like a worthy follow-up to our current go-to cookbook. More to follow!
First thing I did when it arrived: I emptied out my pockets and satchel pouches and put my EDC into this suave, all-grown-up version of a Trapper Keeper.
There are more compartments than I have been able to use this first week of owning it, but I think that is sort of the point here: maximum versatility.
Here it is from the front. You can see at the left that it’s got a collapsable carry handle, and a front pocket for a phone or notebook that you want to regularly reference.
The construction is careful:
The logo on the back is subtle and done well:
Here’s a closer look at some of the lines and zippers:
It’s got a pretty slim profile. It measures 8 x 11 inches and weighs 1.4 pounds—not light, but pretty compact for all it does. It’s easy to throw into a satchel or carry around on its own.
So far there are two things I find wanting:
There are tons of loops for pens or cords, but most of them are too big for just one pen or pencil to securely stay put.
There are lots of little pockets (and the mesh insert pictured above is awesome), but just one big pocket for an iPad or larger notebook. One more large pocket would help.
However, the “modular case” is “built to solve the needs of those that carry tech and other small gear,” so perhaps it’s best conceived as one part tech Dopp kit, one part notebook/writing utensil holder.
Where it really excels is in its versatility in helping the user stay organized… plus it looks and feels really good. The leather pictured above (“Rhum”) comes from South America. And it’s full grain!
The Mod Tablet 5 isn’t cheap: $385. In that sense I’d consider it a luxury item.
It’s been a lot of fun to use this first week—I’ll post more after further use. The color of the Mod shown above is “Rhum,” a beautiful, dark, rich brown.
You can read more about it and find purchase information here.
Thanks to This Is Ground for the review sample, sent without expectation as to the content of my review. See our other This Is Ground reviews here and here. Cross-posted also at Words on the Goods.
This summer we played with PlaSmart’s Watermelon Ball JR, a water toy I thought the kids might play with for a couple minutes and then get bored. But we all found it really fun!
As you can see, it floats! Here the predator stalks its prey:
But it also moves underwater really well. Whether at the beach or (better) in a swimming pool, we had lots of fun passing it to each other and playing keep away by pushing it through the water. Even though it pops up to the surface to float, you can move it around pretty easily underwater.
The ball comes with a mechanism to easily fill it with water from a hose—we filled it to probably about 2/3 full, which ended up working just fine. It hasn’t leaked at all.
Here are a couple of more images from PlaSmart.
The Watermelon Ball is so named because it is:
Designed to look, feel, and behave like a watermelon in water. Real watermelons are nearly neutrally buoyant: first sinking to the bottom then slowly rising to the top, making them ideal for all kinds of water games.
It probably would have been pretty fun to be among the group of people testing out real watermelons to discover that they are “nearly neutrally buoyant” (probably a pool party accident). I didn’t cross-test this toy against a watermelon, so can’t speak to the similarities, but the toy definitely does what it promises.
I made the mistake of not checking the van stereo’s volume before pressing play on “Letting Go,” the first track on Wild Nothing’s new LP Indigo (released August 31 on Captured Tracks). The kids and I all nearly jumped out of our seats at the opening sixteenth note hits on the snare. The keyboard, bass, and interlocking guitars join in to make it a great opening track (the album’s first single).
“Oscillation” is next, which—without taking away from its originality—sounds something like if members of The Cure and James and Amusement Parks on Fire formed a supergroup… in 1982.
The rest of the album maintains a (glorious) 80s vibe, complete with ethereal keyboard riffs and attention-demanding lead guitar lines. I kept thinking: this is what Prince would sound like if he covered early 80s CCM classics! (That’s praise, not a complaint.) The album’s saxophones fit perfectly, even if their first entrance on the album was a surprise.
I took great pleasure in having a traveling companion/listening partner try to guess what year the album came out. “2018” was not the expected answer!
The production is excellent on the album, the melodies are catchy, and all the instrument parts are interesting. It’s got a sweet vibe. I still like 2012’s Nocturne better—it feels a little more effortless—but Indigo is still a great record.
Check out the artist site here, the label site here, and the album at Amazon here.
Thanks to Wild Nothing’s PR team for early access to the album so we could review it.
The gap between the last two Innocence Mission albums was five years. Now, a mere three years after releasing Hello I Feel the Same (reviewed here), The Innocence Mission has put out Sun on the Square (Badman Recording Co).
The album begins with two measures of a nylon string guitar arpeggiating a major chord, which quickly turns minor as the vocals enter, instantly evoking a yearning for connection. This first track, “Records from Your Room,” uses piano sparingly and gorgeously. The haunting high-register melody perfectly compliments the lyrics: “I meet you there out in the air // I’m listening.” It’s a compelling way to link this album to ones before it, setting the stage for something new but familiar.
The second track, “Green Bus,” offers an exquisite interplay of guitars—soft and understated, but precise and tight. “I cannot find a thing beautiful enough for you again,” Peris sings. The song’s strings are beautiful, expressing more ineffable longing.
In “Look Out From Your Window” (featuring a Peris kid on viola!) Peris still wants to listen: “All I cannot say I hope you know // All you cannot say I hope I can hear.” There is a theme of disconnect mingled with hope, acknowledging the reality that we cannot achieve ultimate communion with one another, even asbut that we hold out hope that one day we will. It is on this track that there is (at last!) some percussion.
“Shadow of the Pines” is an instant classic, and easily a top 10 Innocence Mission song. The muted piano is as if they decided to use toy instruments and coaxed all the beauty they could out them. The song is like stepping out of the Metro in Paris on a spring afternoon, encountering a fantasy made real. The instrumental closing of the track gives the listener layers of melodic, moving riffs, which—were this any other band—could have built for another five minutes. (The song is a modest 4:01.)
The spare use of electric guitar on “Buildings in Flower” is a nice touch. Don Peris’s guitar is tastefully employed and never over-shimmery (if that’s even possible!). More drums! (But only for the last quarter of the song.) If “And it’s hard to know, now, where we should go” is the call, the response (in question form) is, “Will the lifting of a window let the Spirit in, and then we begin to vividly live?”
The sixth and title track, “Sun on the Square” is probably the most complex song on the album and maybe one of their most ambitious compositions ever. Loads of string swells as the rhythmic song goes on, which is a great sound for the band. “Let there be more kindness in the world,” Peris sings.
If the next track “Light of Winter” sounds familiar, it’s because a previous version (called “From the Trains”) appeared on a sweet EP called “the snow on pi day.” It could be a Radiohead song. The first version—which we like a little better—had a little more backbone to it—bass and drums where there is piano now. The songs are different enough that renaming it made sense. The new version is still great. The theme of light–and seeing it–continues.
Track 8, “Star of Land and Sea,” is practically brutal in its child-like expression of hope in a dark world. There are echoes of the same two-note, high-pitched guitar riff from the previous track, which ties them together nicely.
The second to last song is “An Idea of Canoeing,” the chords and mood of which are reminiscent of Lakes of Canada. Where else are you going to find a melodica? More wondering: “Will I cross the street to you / in the traffic breaks / in the light of this / in the light of this love / here and now?”
“Galvanic” is a nice way to end the album. She sings in hope, “I believe we are going to see, things will come right this time.”
Overall, this is a very good album (can the band create otherwise?) with a lot to dig into, both lyrically and aurally. The band seemed to write and record this album with a soft touch, not risking too much. But you’ll only find gratitude here for the ways this record returns to the lush notes and tones of My Room in the Trees and Befriended.
As with all their albums there is an undeniable authenticity that comes through in their music. Amazingly, the band’s songs could produce the same emotional response in the listener, whether or not they produce them with multiple instruments. Karen’s voice and heart-rending lyrics come through with every composition. Also amazing is her ability to write so skillfully (and for such a long time now) about such universally human themes as loneliness, disconnect, hope, light, and vision. The hope is uniquely Christian, or at least one that looks up. It’s this—and the unique and always moving music—that keeps us coming back to them.
Check out the album here at Badman or here at Bandcamp.
Thanks to Badman for early access to the album so we could review it.