In the world of biblical introductions and survey texts, there are some very clear but unwritten rules about the genre. You typically begin with a history of modern interpretation focusing especially on the key critical theories that have influenced modern understanding of the book, then you progress to a discussion of the organization of the book (perhaps including a discussion of the genre-types), concluding finally with an outline of key themes or motifs. Granted, within these confines, scholars arrive at all sorts of differing conclusions about such matters, but the format really does not alter all that much.

Schnittjer, then, is the “exception” which proves the rule. What he has provided here is truly unique in the world of introductions to the Pentateuch. To be fair, this work would better be described as a survey of the Pentateuch because, by and large, Schnittjer eschews long discussions of critical compositional theory in favor of a literary-theological reading of the text. He makes special use of what he labels the “extended echo effect” (similar to Robert Alter’s concept of a “type scene”) to show unique ways in which stories link to one another, both “echoing” and “foreshadowing” other key narratives. Schnittjer is very careful to distinguish his method from a “typological” reading which flattens the richness of allusion into a simplistic “pointing ahead.” He shows (with great effect, I might add) how these texts simultaneously point in multiple directions and, more importantly, he is able to derive meaning from those allusions. One feature of the book that I really grew to appreciate is that he concluded every chapter with a section entitled “Another Look.” Here, especially, Schnittjer takes the reader outside the Pentateuch—into the Prophets and Writings and even the New Testament (this is an unapologetically Christian reading of the Torah)—to show how these texts are foundational for all of Scripture.

The book succeeds remarkably well. The reader does not leave the text feeling cheated by the lack of a detailed “history of interpretation” because Schnittjer has provided so many other unique insights into the text. I was particularly impressed with his handling of Numbers which many scholars know is probably the most difficult book of the Pentateuch, if not the entire Old Testament. His insight about how the Exodus generation essentially “disappears” from the text after the rebellion at Kadesh is brilliant in its overlooked simplicity and helps set up the very important contrast between the two generations.

The book overall is admirably even, both in the quality and quantity of its content. I can think of few areas where I felt that Schnittjer gave the text “short shrift” (perhaps in his coverage of the Levitical purity laws); when dealing with a text as broad as the Pentateuch, that is no mean feat.

There were several features of the book that I found particularly helpful. First is the generous use of charts, graphs, and tables. Perhaps I appreciated it more because I am a visual learner, but Schnittjer uses them to great effect. Given his focus on “linking” disparate stories and patterns together, such work really becomes crucial to the key points he is making (for example, his argument about the macrostructure of Exodus).
Second, Schnittjer always began with an “overview” chapter on each of the books before entering into more detailed explorations of the various chapters. These were perhaps his best work because he was diligent about revealing the “metanarrative” that ties these books to each other as a “serial narrative” (Schnittjer’s term).
Thirdly, Schnittjer provides helpful review questions, research paper ideas, additional resources, and contemporary applications at the end of every chapter. I must confess that, though I have used this as a textbook in my Pentateuch class, I have not taken full advantage of these resources. However, they are well-done and very helpful.

The book is written from a decidedly Reformed perspective (something made more obvious at the end of the book than at its beginning), which did at points, I admit, rankle my Arminian-Pentecostal self, but the points of agreement still far outweighed the points of disagreement.

The greatest beauty of Schnittjer’s work is the respect that he accords to the written text. It is easy to tell that he is writing about something he deeply loves and with a passion to transmit that love to his readers. Though it is certainly not a perfect work, Schnittjer has set himself apart in a field where there is a tragic dearth of originality. For that alone he is to be highly commended. ( )