Leaven Volume 3 Article 19 Issue 1 Galatians

1-1-1995 "Tender Mercies" a Movie Review Michael D. Gose [email protected]

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Recommended Citation Gose, Michael D. (1995) ""Tender Mercies" a Movie Review," Leaven: Vol. 3: Iss. 1, Article 19. Available at: http://digitalcommons.pepperdine.edu/leaven/vol3/iss1/19

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Book Reviews

Elizabeth Achtemeier, The Old Testa- continues, "is not that it has merely abandoned the ment and the Proclamation of the Old Testament and living on the basis of the New. GospelCPhiladelphia: Westminster, 1973). The present dilemma of the church is that it is attempting to carry on its life apart from the totality of its Scripture" (44). Although many might place the Churches of The inseparability of the testaments for Christ outside the mainstream of American Protes- Achtemeier is based exclusively on Gerhard von tantism on the strength of our "traditions" and con- Rad's promise-fulfillment schema. This logic is the gregational autonomy, certainly we have not escaped presupposition for her prescriptive approach to the homiletical crisis identified by Elizabeth preaching. Therefore, to faithfully preach an Old Achtemeier twenty years ago. In general, preaching Testament text, the preacher must pair it with a New from the Bible has probably been a more secure Testament one. Unfortunately, Achtemeier claims practice within the Restoration Movement than in that "In every sermon rising out ofan Old Testament some mainstream denominations but, more specifi- text there must be reference to the New Testament cally, preaching from the Old Testament is always in outcome ofthe Old Testament's word" (142). It seems need of fresh encouragement and sound models. to me that she has overstated the homiletical useful- Until the book on preaching the Old Testament is ness of von Rad's promise-fulfillment paradigm for written, Achtemeier's classic, long out of print, re- Old Testament theology. Many scholars have been mains the essential handbook for aspiring young critical ofthis approach because it tends to ignore the preachers and for those masters who want to rethink Psalms and Wisdom literature. By casting the Old the enterprise of Old Testament preaching. Testament in such a rigid way and by moving so Beyond simply naming and tracing the roots readily from it to the New Testament and Jesus, a of the church's loss of the Old Testament for its life sermon reduces the value of the Old Testament's and nurture, Achtemeier delineates the results of witness to God's character and obscures the particu- th-at loss. She states that the New Testament's view larity and integrity ofeach Old Testament text on its of Jesus Christ and of the church is based on the own. The preacher should not be required to Chris- saving activity of God in the Old Testament. As the tianize Amos or Isaiah by matching their message church gradually abandoned the Old Testament, "it with a New Testament text in order for the church to lost the Bible- and the Christian faith - as a whole" hear the word ofGod. Although Achtemeier cautions (44). "The present dilemma of the church," she the reader against reductionism in the pairing ofthe

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testaments, she appears with several examples to do Walter Brueggemann, Finally Comes the this herself (e.g., motifs common to the old and new Poet: Daring Speech for Proclamation testaments which become generalized under the themes of the church calendar). (Minneapolis: Fortress Press, 1989). One of the most valuable sections for the preacher is the suggested sequence for sermon "The gospel is thus a truth widely held, but a preparation under the heading "Understanding the truth greatly reduced" (1). This observation is the text" (144-46). After pointing out the common mis- premise of Brueggemann's book. Believers (and takes made by many of us who have attempted to their preachers) have "flattened, trivialized, and preach fromthe OldTestament regularly, Achtemeier rendered inane" the gospel. Thus, the one place emphasizes "that the preacher must listen to the text where people could come to hear bold speech and in its fullness, not ending his study ofthe passage as allow them to enter into a new existence is instead a soon as a sermon idea presents itself, but analyzing place of intellectual curiosity at most and mere tra- and pondering the whole passage, until all its inner ditionalism without substance at worst. "Reduced and outer relationships and thrust become clear. speech leads to reduced lives" (3). Such an exercise takes time and meditation and Brueggemann's solution is a call for poetic wrestling .with the text on the part of the preacher, speech in a prose world. By 'prose' he means a but only If a clergyman engages in it will he ad- formulaic setting in which our prayers and sermons equately prepare himself to mediate the word ofGod sound like business correspondence. By 'poetic' he to his people, and, after all, the clergyman has no does not mean rhyme and meter, but rather speech other reason forhis office"(146).Without this rigorous that ~... breaks open old worlds with surprise, ministerial discipline the congregation hears the abrasion, and pace" (3). He rejects preaching that theology ofthe preacher rather than the word ofGod moralizes, solvesproblems, delineates doctrine, gives mediated by the text and spoken through him. 'goodadvice' or is soothing goodhumor. Instead, bold, In addition, Achtemeier points out a problem poeticspeechis that whichbreaks oldwaysofthinking, frequently overlooked or avoided in graduate theo- foregone conclusions and mindless traditions - this logicaltraining, but one that preachers often commit: is what the gospel can do when the power of God's "the error of talking about the text rather than pro- word is unleashed. There are four elements in this claiming it" (156). If one of the goals of the preacher speech. The first is the text itself. The listeners are is to allow the word of God in the text to recreate a vaguely familiar with it, but in a reduced way. Poetic new situation in which divine communication and speech can bring it refreshingly back to meet the transformation are experienced by the community of listeners where they live. The second element is the faith, he must enter the text to proclaim it. baptized believer. This person has understood the The usefulness of Achtemeier's critique of texts in some way, but is unclear of its authority. sermon outlines and analysis ofmodel sermons rests Third, there is a specific occasion for this poetic on the reader's acceptance ofher promise-fulfillment speech. "It is an artistic moment in which the words approach to linking Old and New Testament texts. are concrete but open, closeto our life but moving out Her more recent book, Preaching from the Old to new angles of reality" (9). Finally, the fourth Testament (Louisville,KY:Westminster/John Knox element is revelation that takes place outside tradi- 1989), was also written on this premise. One need tional religion and comfortable social and political not, however, accept her presuppositions to benefit ideologies.When this ha ppens, the text is larger than from her experience, wisdom and guidance. For the speaker or the hearers, larger than the world - further reading on this topic I suggest: John C. and healing begins to take place. Holbert, Preaching Old Testament: Proclama- The remaining chapters deal with prose- tion and Narrative in the Hebrew Bible (Nash- reduction and what Brueggemann sees as solutions. ville: Abingdon, 1991);Thomas G. Long, Preaching The preacher must disclose the power of guilt and the Literary Forms of the Bible (Philadelphia: healing, then lead the hearers to healing which the Fortress, 1989); and, Dennis T. Olson, "Rediscover- gospel can bring by overcoming that guilt. He can do ing Lost Treasure: Forgotten Preaching Texts ofthe this by revealing the reality of the destructiveness Old Testament," Journal for Preachers 13 (1990) that guilt brings. Then he can disclose the alterna- 2-10. tives presented in the biblical texts: reconciliation, forgiveness, and restoration. The preacher must do Reviewed by Craig Bowman who teaches in the this in a way that shows how "God moves for us and Religion Division ofSeaver College,Pepperdine Uni- with us from one world to the other, a move wrought versity, Malibu, California. in love and faithfulness, but also wrought in grief and

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humiliation" (14). Much of the problem is that our Nebuchadnezzar, his fall, and his renewal. This speech has been reduced to docile chatter, commit- parallels the question of human personhood that ting nothing, and thus it loses the real meaning of Brueggemannn has been exploring. Through God's communion. Such worship may be upbeat, happy and word, our imagined autonomy is demolished, and we positive, but it is dishonest and destructive. It is a are reduced to humiliated silence. Then, like great denial of the "covenantal, mutual, risking, Nebuchadnezzar, we can lift our eyes to heaven and demanding, surprising, frightening, and unsettling" give our life over to God. A new power is given and (44) character of true communion. transformation takes place; identity is liberated. Therefore, Brueggemann sees new, bold Brueggemann concludes the book with a speech taking place in three movements. The first summary. Prose-reductionism is responsible for the takes the form ofbiblical cries such as the protests of lack ofpower ofthe gospel in the world and has led to Job and the Psalms oflament. Next comes the poetic numbness, ache, alienation, rage, restlessness and speech of God, such as the powerful, intervening greed. In this setting, the preacher must speak "what response to Israel's cry while in Egypt. Yahweh is already believed, but so little understood, so little heard them. The third dimension is speech of the embraced, so little trusted, so little practiced" (141). worshipper-in praise and worship. The preacher is He must speak in a new language - not a language to articulate these three dimensions in the sermon. of negativity and assault, but the language of the Brueggemann shows that this is the pattern Israel biblical texts: bold, poetic, healing and life-giving. followed.He givesmany biblical examples and modern "Such new possibility is offered in daring speech. preaching applications for these texts. Without this Each time that happens, 'finally comes the poet' - kind of bold speech, conversation stops, because finally" (142). "there is no one to whom to speak (alienation), or Brueggemann has such a creative and com- because there is nothing we dare say (muted rage) .. pelling way of discussing scripture, theology and ." (74). Therefore, the preacher must speak for the ministry that he inspires the reader. He cuts through community, and then speak for God. "Aswe find our the ideology and rationalism that surrounds much of tongues, we find our identity. Our lives are given modern discussion of preaching and lays bare the back to us in the oddness of praise" (77). heart ofthe problem. Importantly, he is creative, not Brueggemann also criticizes human expec- just in his evaluation and solution of the preaching tations in a secular culture. The world is organized challenge but in his use ofscripture, while remaining against serious and authoritative speech, and thus true to the meaning of the text. Few scholars reach against serious listening and ardent discourse. He this level of reality and relevance. says the preacher must speak against such expecta- This book is helpful to the preacher on many tions - but not in terms of"ought,""must" or "should." levels. It gives a definite task for preaching: to speak People do not need more advice or information, but for the congregation and to speak for God. It en- encouragement and strength to act out what they courages creativity while remaining true to the text, have already learned in the gospel. Again, the sermon to use 'poetic speech' in order to cut through the is not normally a place for moral admonition, because reduced world and word. And it gives the preacher that divides and distorts, instead of "feeding the specific examples of what Brueggemann means imagination" (88). Instead, by pointing back to the (especially in his treatment ofthe Daniel texts). This believer's baptism, the preacher can "affirm that the is one ofthose rare books that deals in the theoretical entire world is now safely held in the promise ofGod" and the practical at a depth that respects both. (85). This can give the believer permission and Brueggemann's interpretations of scripture are ex- boldness that encourages obedience. cellent, even if one does not agree with the political The last chapter discusses the evangelical agenda he occasionally purports. Overall, this is an character of human personhood. He uses two texts excellent and creative work that should be read by all from Daniel because they stress hope and sustenance who preach as well as members oftheir congregations. in the face of persecution (the apocalyptic genre It will inspire and encourage as well as convict and allows a daring, imaginative, poetic character). Daniel even disturb. And that is a plus of Brueggemann's 1 shows how Daniel did not follow the easy and writing - it does not only inform; it makes one expected route ofsuccess through conformity. Rather, uncomfortable at times and forcesone to think through he chose another path; he resisted the empire. God uncomfortable presuppositions. It has the same effect responded and became involved. However, the theme of bold, poetic speech. is not nonconformity, but "the freedom, energy, and courage of an alternative identity" (124). Daniel 4 Reviewed by Markus McDowell who is the then focuses on the arrogant power of Youth Minister of the Camarillo Church of Christ, Camarillo, California.

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James Davison Hunter, Before the but his book is written from an academic, perspec- Shooting Begins: Searching for Democ- tive. It is not simply addressed to a Christian racy in America's Culture War (New audience, nor is it a defense of the orthodox, Judeo- Christian position in the culture war. But in many York: The Free Press, 1994). ways it is a profoundly Christian book that every Christian concerned about our society and the di- Professor James Hunter is a sociologist at rections in which it is going should read. God calls us the University ofVirginia . His current book,Before to be lights and salt in this world, and to be a positive the Shooting Begins, is a follow-up to his earlier, influence. This means, I am convinced, taking a well known book, Culture Wars. Both books deal stand in today's culture war on the side of conserva- with a fundamental division in American society on tive biblical beliefs and perspectives. But we must do social, cultural issues such as abortion, gay rights soin a way that advances civil, democratic discourse, and moral education in the schools. On these and not simply to savage the other side and to score points other similar issues, Americans tend to divide into at its expense (or to pump up the coffers of our own mutually antagonistic camps, the secularly-oriented Christian political action group). progressives and the religiously-oriented conserva- For the Christian the bottom line is that we tives. must love our neighbors, even as we disagree with In his new book,being reviewed here, Hunter them. To disagree lovingly with those who are, for suggests that the culture war today is often carried example, pro-gay rights, pro-choice on abortion or on by both sides in deceptive manners that are likely who would remove all references to God and values to lead to greater and greater antagonism and bit- from the local public school means that in our dis- terness - and that are very unlikely to lead to any agreements we should speak the truth, truly listen to resolution ofthe differences. His book is a documen- what the other side is saying and use language tation ofthe bitterness ofthe current cultural debate designed to lead and persuade, not condemn and and ofthe improper way both sides are now engaged ridicule. in it. In addition, he suggests how in a democratic Hunter does not use this exact language of system such debates about our deepest differences Christian love, since he is not writing primarily for a should be carried out. The recent murders of two Christian audience. But his own Christian faith no abortion doctors indicate that, if we do not learn to doubt has played a significant role in his speaking live with and discuss our deepest differences, shooting the language ofdiscussion and conciliation, as well as may indeed begin. the language oftruth. We can learn much from him. At many points in the book Hunter uses the abortion controversy to illustrate the key points he is Reviewed by Stephen V. Monsma who teaches making. He argues that both sides really do not in the Social Science Division of Seaver College, engage the arguments and problems that are salient, Pepperdine University, Malibu, California. but tend to use rhetoric to "kill" the other side - to score debaters' points - not to understand and to search for common ground. Both sides fail "to see in Thorn S. Rainer, The Book of Church their own rhetoric the same kinds ofdistortions they Growth: History, Theology and Prin- decry in that of their opposition" (63). ciples (Nashville: Broadman Press, 1993). The need, according to Hunter, is to recognize our deepest differences for what they are - basic, Thorn S. Rainer is Senior Pastor ofthe 1700- fundamental differences on important issues of the member GreenValleyBaptist Church in Birmingham, day rooted in different religiously based worldviews. Alabama. Rainer holds the Ph.D. in evangelism from If this would be acknowledged, we would be in a Southern Baptist Theological Seminary in Louisville position to figure out how, in a democratic system, we and is an adjunct professor in church growth and can discuss and hopefully resolve them. He suggests evangelism at Beeson Divinity School of Samford a three-fold strategy: first, broadening the public University. that is involved in the debate to include more than Among hundreds of books in the relatively those who are politically involved; second, recover young field ofchurch growth, I believe Thorn Rainer's the use of language rooted in morality and commu- book is unique for two important reasons. First, in nity; and third, develop the ability to engage in the preface C.Peter Wagner, the Donald A.McGavran reasoned persuasion that involves listening as well professor of church growth, calls Rainer's book "a as speaking. true textbook for teaching church growth." That is Hunter is himself an evangelical Christian, quite a complement for a book written by a third-

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generation church growth advocate who never knew spiritual warfare and signs and wonders especially Donald McGavran personally, and never took a course interesting. at Fuller Theological Seminary! It is also unique Obviously a book that endeavors to be as because although the author made the church growth comprehensive as The Book of Church Growth movement the subject ofhis Ph.D. dissertation and is will be lacking in detail, which is precisely what an himself a church growth practitioner, he conveys the informed reader will notice. However, the student or objectivity of an informed "outsider" of the largely church leader unfamiliar with church growth history, Pasadena-based movement. theology, principles and literature would do well to This landmark volume, the first compre- read this book first, even before reading McGavran's hensive textbook in its field, is divided into three "magnum opus" Understanding Church Growth. major sections: history, theology and principles. In the first ofthe three major sections, Dr. Rainer traces Reviewed by Daniel A. Rodriquez, Irvine Fellow the history ofthe church growth movement through and member ofthe Religion Division, Seaver College, three generations of church growth advocates, the Pepperdine University, Malibu, California. most notable being Donald A. McGavran, the pioneer of the Church Growth Movement, and his disciple C. Peter Wagner, its most eminent spokesperson. The significance of landm~rk publications such as Madeleine L'Engle, The Summer of the McGavran's Bridges of God published in 1955 and Great-Grandmother (New York: Farrar, Understanding Church Growth first published Strauss, 1974). in 1970 is also highlighted in the first section, as is the establishment of important church growth or- ... her mind has been like a summer ganizations such as the Institute of Church Growth sky with small white clouds occa- and the School of World Mission at Fuller Seminary sionally moving across and blotting in 1965. out the light of the sun. Each year Dr. Rainer's objectivity as a third-generation the sky has become cloudier; there outside advocate is nowhere more evident than in his have been fewer periods of sunlight. sampling and insightful discussion of the frequent, This summer [the summer after her intense and often justified criticisms of the church ninetieth birthday) the sunlight in growth movement during the seventies. the sky ofmy mother's mind, when it The second section is dedicated to a modest shines at all, glimmers through examination ofchurch growth theology. Early critics clouds. of the movement reacted against a church-growth approach that was perceived to be primarily concerned In an attempt to understand and accept her with strategies that insured the best numerical mother's senility and death, Madeleine L'Engle growth. Here, Rainer voices the concern of many (pronounced "Lengel") re-creates events and memo- third-generation church growth advocates when he ries from her mother's life in The Summer of the states that "a potential danger ofthe enthusiasm and Great-Grandmother. The book is the second in the pragmatism of church growth is the elucidating of "Crosswicks Trilogy"; the other two, The Circle of principles without scriptural foundation" (87). Quiet and The Irrational Season also deal with The third section of Thom Rainer's book is life at the family home, Crosswicks. All of L'Engle's dedicated to showing how fundamental principles of writings, from her children's book, A Wrinkle in church growth such as pragmatism, accountability, Time, to her religious writings, stress the constant receptivity and the homogenous unit principle, among themes offamily love and moral responsibility. This many others have been formulated, tested and book is no different. modified in the States and abroad in different cultures The story opens with Great-Grandmother during the last three decades. Other significant Madeleine (there has been a Madeleine for at least factors related to church growth are also discussed four generations) coming from the South for her and illustrated such as the importance ofprayer, the annual summer visit to her daughter's home in rural role of church leaders, evangelism and church Connecticut. This summer, however, is different planting, corporate worship and the importance of because Great-Gran needs round-the-clock care as planning and goal setting. she slips away from her family, herself and this Readers unfamiliar with modern develop- world. Fortunately L'Engle and her husband (suc- ments within the movement will find Rainer's dis- cessful actor Hugh Franklin) are able with the help cussion ofnew hypotheses such as power evangelism, offamily and young women from the neighborhood to

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supply the needed assistance. The family is also offers comfort by demonstrating that we are not fortunate because the young women know, respect alone. Her narrative is sensitively and compassion- and love all of the family. atelywritten. Some readers might find it depressing, We all know that change is a basic law oflife but The Summer of the Great-Grandmother will and that we shall all grow older. But change is not be appreciated by readers of faith who are experi- automatically good;it can be for the worse as well as encing or have experienced similar situations. for the better. If L'Engle needed any proof that all change is not good, all it took was five minutes with Reviewed by Nancy Hutchinson who teaches in the her mother. Having her mother in her home is Communication Division of Seaver College, bittersweet. Madeleine L'Engle sees on a daily basis Pepperdine University, Malibu, California. her mother's mental decline. She writes, "Allofus at Crosswicks this summer see a different person when we look at my mother. She used to be a witty con- versationalist. . .. Not so this summer. She talks very little. It is all turned in, and it goes nowhere. ''Tender Mercies" She is trapped in a lonely, fearful present." a Movie Review The entire family and all the caregivers, but especially Madeleine, her daughter, experience Dietrich Bonhoeffer argued that we must firsthand the rage that often accompanies senility. learn to speak of God in a secular fashion. Of course Her mother had been known for her gentility and the obvious precedent for such a thought was Jesus graciousness, but these qualities were not to be found who often taught in parables in which he spoke ofGod that summer. She tried to break and throw things, in a secular way. In writing movie reviews for a fought against moving anywhere and cried, "No, no, publication on ministry I think that at least selected no no"over and over. It took time for all to understand movies can be used to talk about God in a parabolic that her atypical rage was an instinctive rebellion to way. To those with ears, let them hear. control what was going on in the arteries ofher brain. Myall-time favorite religious movieis "Tender But that did not stop L'Engle from showing anger. In Mercies." I am also aware that most people did not fact, she wrote that "my boiling point seems to get recognize this as a religious movie. I suspect many of lower day-by-day, and itis small, unimportant things you will agree with me if you rewatch that film after which cause the volcano to erupt." having read this review. Madeleine L'Engle tells the story of her "Tender Mercies" is a 1983 film, directed by mother's and her family's battle with arteriosclerosis Bruce Beresford (who also directed, for example, (a hardening of the arteries to the brain, thus di- "The Black Robe" and "Driving Miss Daisy"), minishing the blood supply to it) in a real way. The screenplay by Horton Foote (who also did the problems are not glossed over, the readers feel her screenplay for "To Kill a Mockingbird"), starring anguish and that of her mother's. At one point she Robert Duvall as Mac Sledge and Tess Harper as writes, "Her loss ofmemory is the loss ofher self, her Rosa Lee. The film begins with Mac Sledge, a uniqueness, and this frightens me, for myself, as well formerly successful country-western singer, bot- as for her. And I cry out offear for myself. Will I ever toming out in his alcoholism in a run-down Texas be like that, a travesty of a person? I do not want motel operated by the widow-with-son Rosa Lee. She power over my mother. I am her child; I want to be hires Sledge to work for room and board and a little her child. Instead, I have to be the mother." cash and under her influence Mac starts to put his life Music has been important in both of the back together. A critical moment in this redemption Madeleines' lives. Towards the end ofthe book after is Mac's baptism at the church where Rosa Lee and the great-grandmother's death - peacefully in her her son, Sonny, attend. (This is the only baptism by bed at Crosswicks- her daughter in musical language immersion that I can think of in a feature film.) writes, "The pattern has shifted; we have changed Mac's new life is not without heartbreak. place in the dance. I am no longer anybody's child. I There is a tragedy, and Mac has no pat answers. He have become the Grandmother. It is going to take a suffers perhaps more deeply because of the changes while to get used to this unfamiliar role. . .. The that have occurred in his life and asks God, "Why rhythm of the fugue alters, the themes cross and have you done this to me?" If you were only to listen recross. The melody seems unfamiliar to me, but I to the dialogue, you might miss noticing what a will learn it." religious film this movie is. You must listen to the As many of us baby boomers watch our par- soundtrack. Byplacing the movie's theme on a sound ents or other loved ones in such a battle, this book track, "Tender Mercies" avoids being preachy, and I

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would argue art forms must avoid being conspicu- the theme song carrying the message of the movie. ously didactic, indeed must speak of God in a secular The message is that God sends his love, as fashion. the song says, "on the wings of a dove." God does not The movie plays out its theme through its protect his children from the inevitable pains and music. Throughout most ofthe movie, Mac sings the sufferings oflife, but he knowingly sends the "tender songs of his past - country western songs of mercies" that somehow make life worth living "champagne ladies" and "broken dreams" - with a nonetheless. As Mac Sledge answers Sonny's ques- recurring refrain, "It hurts so much to face reality." tions regarding death and grief, he says, "I don't But he is haunted by the faint memory of a forgotten know." The message is that he does know, but will melody. Through Rosa, who knows tragedies of her not trivialize his grief through hollow words. I own, new themes are introduced. She sings her believe this is a profoundly powerful film. It is as songs, "Jesus Savior Pilot Me" and "Jesus Saves," religious a film as has ever been produced, and it and tells Mac, "Each night when I say my prayers I clearly speaks of God even though in an unusually thank God for his tender mercies." Finally, when secular way. Mac loses his daughter through a tragic accident, he allows himself to sing the haunting refrain buried Reviewed by Michael D. Gose who teaches educa- deep within his memory, "On the wings of a snow tion and offers a class on the genre of films at Seaver white dove, God sends his pure, sweet love," which is College, Pepperdine University, Malibu, California.

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Notes from "Life in the Spirit. .• " cesses ofthe people, past and future-to His maintain- ing of the covenant with the patriarchs (e.g., Deut 4:31; 7:8; 10:12-22). ous ministerial capacities among Churches of Christ 3 Similarly, the eternality of God's "compassion in Southern California. and grace," the certainty of His "love and faithful- 1 For a discussion on this see Edward ness," is highlighted in Psalm 103. Schillebeeckx, Christ: The Experience of Jesus as Lord (New York: Crossroad Publishing, 1980) Notes from "Galatians Reader's 123. 2 Ibid. Guide" 3 Paul Tillich, The New Being, (New York: Malibu, California. Charles Scribner's Sons, 1955) 16. 4 Schillebeeckx, 126. 1 The article by C. H. Turner, "Greek Patristic 5 Notice the Greek verb Paul uses - Commentaries on the Pauline Epistles," in Dictio- metamorphous the - from which we derive our word nary of the Bible, Volume V, edited by James metamorphosis. Arndt and Gingrich specifically Hastings, lists the major commentaries from the note that this verb is used in the passive sense in Rom ancient period. James Moffatt, Introduction to the 12:2 - "Let yourselves be transformed." Literature of the New Testament (1922), lists the Notes from" A God of Mercy. .. " major commentaries throughout Christian history on each book of the New Testament. 2 The same point is briefly made in Thomas H. 1 G.W. Bromiley, "God," The International Standard Bible Encyclopedia, Fully Revised, Vol. Olbricht, "An Aristotelian Rhetorical Analysis of I 2 (Grand Rapids: Eerdmans, 1982) 500-0l. Thessalonians," in Greeks, Romans, and Chris- tians: Essays in Honor of Abraham J. Malherbe, 2 There are several passages in Deuteronomy where Moses links God's mercy- shown in the sue- edited by David Balch, Everett Ferguson, and Wayne Meeks, 1990, p. 221.

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