This reading of Hosea explores the book from a feminist, psychoanalytical and poetic perspective. What is God doing with a prostitute? How does the theme of prostitution relate to the abjection of the woman as the other, and the fantasy of sexual ecstasy, precisely because she escapes patriarchal order? Where is the prophet situated in the dialectic of rage and desire that both seduces and condemns Israel? His voice is both masculine and feminine, and poetically embodies the sensuality of wayward Israel. The ambiguity of voice is also that of the prophet's role, which is both to nurture Israel, as on its Exodus from Egypt, and to be the trap that destroys it. The problematic of voice and prophetic function is evident in the vivid dissection of Israel's social institutions, whose disintegration is inversely related to the centrality of the discussion in the structure of the book, and in the violent swings from despair to impossible hope. The focus on immediate and uncontrollable entropy, manifest in extended tangled metaphors, that occupies the centre of the book, is framed in the outer chapters by intertextual references to Israel's primordial vision, and the romantic distantiation of the Song of Songs, in which the erotic and poetic contradictions of the book find their perhaps ironic resolution.

Key essays linked by the metaphorical techniques of psychoanalysis, and focussing on the ambiguity, subversiveness and enigmatic beauty of biblical texts, notably the Song of Songs and the prophets. This book is a collection of Landy's studies on the poetics of the Hebrew Bible. The Song of Songs is featured alongside the prophetic voices of Amos. Hosea and Isaiah, and essays on the Binding of Isaac and on the book of Ruth. Throughout, the emphasis throughout is on the subversiveness, richness and ambiguity of the text, but above all its (often enigmatic) beauty. The thread of psychoanalysis and its metaphorical technique draws together this collection from one of the Bible's most sensitive and distinctive literary critics.

This reading of Hosea explores the book from a feminist, psychoanalytical and poetic perspective. What is God doing with a prostitute? How does the theme of prostitution relate to the abjection of the woman as the other, and the fantasy of sexual ecstasy, precisely because she escapes patriarchal order? Where is the prophet situated in the dialectic of rage and desire that both seduces and condemns Israel? His voice is both masculine and feminine, and poetically embodies the sensuality of wayward Israel. The ambiguity of voice is also that of the prophet's role, which is both to nurture Israel, as on its Exodus from Egypt, and to be the trap that destroys it. The problematic of voice and prophetic function is evident in the vivid dissection of Israel's social institutions, whose disintegration is inversely related to the centrality of the discussion in the structure of the book, and in the violent swings from despair to impossible hope. The focus on immediate and uncontrollable entropy, manifest in extended tangled metaphors, that occupies the centre of the book, is framed in the outer chapters by intertextual references to Israel's primordial vision, and the romantic distantiation of the Song of Songs, in which the erotic and poetic contradictions of the book find their perhaps ironic resolution.>

The book of Isaiah is one of the longest and strangest books of the Hebrew Bible, composed over several centuries and traversing the catastrophe that befell the two kingdoms of Israel and Judah in the 8th and 6th centuries BCE. Francis Landy's book tells the story of the poetic response to catastrophe, and the hope for a new and perfect world on the other side. The study traces two parallel developments: the displacement of the Davidic promise onto the Persian Empire, Israel, and the prophet himself; and the transition from exclusively male images of the deity to the matching of male and female prototypes, whereby YHWH takes the place of the warrior goddess. Utopia, Catastrophe, and Poetry in the Book of Isaiah consists of close readings of individual passages in Isaiah, commencing with Chapter One and the problems of beginning, and ending with Deutero-Isaiah, composed subsequent to the Babylonian exile. The volume is arranged thematically as well as sequentially: the first chapter following the introduction concerns gender, the second death, the third the Oracles about the Nations. At the centre there is what Landy calls 'the constitutive enigma', Isaiah's commission in his vision to speak so that people will not understand. This renders the entire book potentially incomprehensible; the more we try to understand it, the greater the difficulty. For Landy, this creates a model of reading and writing, the challenge and the risk of going up blind alleys, of trying to make sense of a disastrous world. Isaiah's commission pervades the book. Throughout there is a promise of an age of clarity as well as social and political transformation, which is always deferred beyond the horizon. Hence it is a book without an ending, or with multiple endings. In the final chapters, the author turns to the central Chapter Thirty-Three, a mise-en-abyme of the book and a prayer for deliverance, and the issues of exile and the possibility of return. Like every poetic work, particularly in an era of cultural collapse, it is a critique of the past and a hope for a new humanity.

This reading of Hosea explores the book from a feminist, psychoanalytical and poetic perspective. What is God doing with a prostitute? How does the theme of prostitution relate to the abjection of the woman as the other, and the fantasy of sexual ecstasy, precisely because she escapes patriarchal order? Where is the prophet situated in the dialectic of rage and desire that both seduces and condemns Israel? His voice is both masculine and feminine, and poetically embodies the sensuality of wayward Israel. The ambiguity of voice is also that of the prophet's role, which is both to nurture Israel, as on its Exodus from Egypt, and to be the trap that destroys it. The problematic of voice and prophetic function is evident in the vivid dissection of Israel's social institutions, whose disintegration is inversely related to the centrality of the discussion in the structure of the book, and in the violent swings from despair to impossible hope. The focus on immediate and uncontrollable entropy, manifest in extended tangled metaphors, that occupies the centre of the book, is framed in the outer chapters by intertextual references to Israel's primordial vision, and the romantic distantiation of the Song of Songs, in which the erotic and poetic contradictions of the book find their perhaps ironic resolution.

Rabbi Akiba is famously reported to have said, 'Heaven forbid that any one in Israel ever disputed that the Song of Songs is holy, for the whole world is not worth the day on which the Song of Songs was given to Israel, for all the writings are holy, but the Song of Songs is the Holy of Holies'. This book is an extended elaboration of Rabbi Akiba's statement. It argues that the Song is a Hellenistic composition, drawing on the resources of ancient Near Eastern erotic poetry and characterized by a complex though fragile unity. Through the metaphors, the lovers progressively see themselves reflected in each other, as well as in the world about them and the poetry of love. The poem celebrates the land of Israel in spring, an ideal humanity, and a perfected language. It culminates in the contestation of love and death, and the assertion that only love survives the exigencies of time. The pervasive ambiguity of the Song, in which one never quite knows what happens, is related to the ambivalence of beauty, which is closely related to ugliness. Hence the surrealist imagery of the Song verges upon the grotesque and stretches the resources of our imagination. Through a detailed comparison with the Garden of Eden story, Landy argues that the Song is a vision of paradise seen from the outside, through the ironic poetic gaze, in a world potentially hostile or indifferent.