"Pardes deftly demonstrates how the biblical past can furnish us with a common storehouse of images, to be rediscovered or recast."
-Benjamin Balint, Wall Street Journal "The volume is to be commended . . . Pardes engages empathetically with the concerns of the readers in each chapter, seeking to explain why and how they read the Song as they did."
Reading Religion
"Take this chance to refamiliarize yourself with one of the great curiosities of biblical exegesis. Ilana Pardes, a professor at the Hebrew University of Jerusalem, frames the issue thus in the opening pages: 'Why was a daringly sensual poem of love with no reference whatsoever to God or national history included in the Bible.'"
-Robert Erickson, New Criterion "Pardes’s training as both biblicist and scholar of comparative literature gives her a much broader perch from which to survey the Song than the typical and tired history-of-exegesis overviews, which too often account only for learned commentaries by theologians and exegetes both Jewish and Christian. . . . I recommend this book for both academic and general readers. Pardes brings her reader into the heart of this textual garden, showing them how to eat of its choicest fruits."
-Jonathan Homrighausen, Englewood Review of Books "Pardes deftly weaves her way through the interpretive transition from the allegorical to the literal and then shows how they are intertwined and inseparable. Pardes’ work is erudite and academic yet highly readable. She does not attach herself to any specific agenda and does not attempt to sway the reader to any definitive conclusion. Rather, she presents the Song’s interpretations through the millennia inside a well-crafted, historical overview."
-Brad Pruitt, Christian Chronicle "Pardes does a wonderful job of shining a light into the many manifestations and understandings of this poem, while the clear expressive language of love and passion is not diminished in any way . . . it is a great pleasure to read."
-The JC, Rabbi Sylvia Rothschild "Pardes . . . skillfully guides readers through the many twists and turns in the Songs of Songs’ reception history. The most brilliant moments come when she challenges us to redraw the frontiers of allegory, metaphor, and conventional sense. ‘Are breasts innately more similar to fawns than to Moses and Aaron?"
-Shai Secunda, Jewish Review of Books "Pardes is able to travel through history, bringing diverse texts to the attention of a general readership who might otherwise not encounter texts of medieval Jewish mysticism and nineteenth-century biblical criticism at all, let alone in conversation with one another."
-Elsie R. Stern, Review of Biblical Literature