Formed in 2003 on the request of the federal government, the National Preparedness Leadership Initiative at Harvard's Kennedy School of Government has trained political leaders, government officials, members of the armed forces and senior leaders all over the world on how to handle crisis situations. Managing crisis well is at the very heart of good leadership. Here, the NPLI team draws on a deep well of research as well as their experience working with leaders to respond to crisis events of all kinds, from the COVID-19 pandemic and the Boston Marathon bombings, to more everyday crises like a product recall or media controversy that can hit corporate operations, risking terrible PR and outrage from customers. You're It distills the wisdom the NPLI have gained from observing the way the most effective leaders take charge of situations with real authority, marshal and connect different networks together, and bring their organizations, cities and countries out through the other side of crisis into recovery. It outlines their theories of crisis leadership-as well as lessons on how to apply them every day so you're prepared when the unexpected happens. Filled with true life stories of danger and risk, You're It is an essential book for anyone potentially facing a crisis or a wrenching change.

Joe Henderson offers a critique of the assumption that poetic form in the book of Jeremiah indicates authenticity. This assumption undergirds Bernhard Duhm's reconstructions (1901) of the prophet's biography and the book's composition, the basic components of the dominant paradigm for twentieth-century Jeremiah scholarship. Henderson argues that Duhm's model is best understood as an attempt to bring the book into conformity with nineteenth-century systems of aesthetics, historiography, and theology-and with the Grafian reconstruction of the history of Israel's religion. The accord between these systems and Duhm's assumption about poetic form has less to do with their common grasp of the historical reality of Hebrew prophecy than with their common roots in the Romantic theory of prophetic and poetic inspiration-a theory forged by Robert Lowth in his exposition (1752) of the poetry he found in the prophetic books. Henderson contends that continued adherence to Duhm's foundational assumption has held back recent attempts to "move beyond Duhm" and overcome the fragmentation of the book entailed by his model. Rhetorical critics, who maintain that Jeremiah 2-10 is unified by the structural devices of the historical prophet, and redaction critics, who maintain that Jeremiah 11-20 is unified by the theological agenda of Deuteronomistic editors, both rely on the assumed authenticity of the poetry. Henderson observes that although these scholars have uncovered evidence of dramatic presentation in Jeremiah 2-20, they have failed to see that the dramatic nature of these chapters undermines their use for Duhm's historical-critical projects and reveals what actually unifies them-narrative progression.

Joe Henderson offers a critique of the assumption that poetic form in the book of Jeremiah indicates authenticity. This assumption undergirds Bernhard Duhm's reconstructions (1901) of the prophet's biography and the book's composition, the basic components of the dominant paradigm for twentieth-century Jeremiah scholarship. Henderson argues that Duhm's model is best understood as an attempt to bring the book into conformity with nineteenth-century systems of aesthetics, historiography, and theology-and with the Grafian reconstruction of the history of Israel's religion. The accord between these systems and Duhm's assumption about poetic form has less to do with their common grasp of the historical reality of Hebrew prophecy than with their common roots in the Romantic theory of prophetic and poetic inspiration-a theory forged by Robert Lowth in his exposition (1752) of the poetry he found in the prophetic books. Henderson contends that continued adherence to Duhm's foundational assumption has held back recent attempts to "move beyond Duhm" and overcome the fragmentation of the book entailed by his model. Rhetorical critics, who maintain that Jeremiah 2-10 is unified by the structural devices of the historical prophet, and redaction critics, who maintain that Jeremiah 11-20 is unified by the theological agenda of Deuteronomistic editors, both rely on the assumed authenticity of the poetry. Henderson observes that although these scholars have uncovered evidence of dramatic presentation in Jeremiah 2-20, they have failed to see that the dramatic nature of these chapters undermines their use for Duhm's historical-critical projects and reveals what actually unifies them-narrative progression.