John of Patmos’s Revelation is esoteric and strange. It has inspired hope and dread, beautiful art and Christian kitsch, good poetry and bad fiction. Michael Straus, a retired lawyer with a graduate degree from Cambridge in Ancient Greek, has produced a new ‘literary’ translation of Revelation. Beyond the woodenly literal translations of most New Testament translation (e.g. NRSV, ESV, NASB), Straus weaves together Handel’s Messiah, with English, Spanish (Spanglish?), French, Italian and Greek words and phrases. The effect is that certain words and phrases catch readers familiar with Revelation off guard and allow for a fresh hearing. Also, the global intercultural aspect of revelation is emphasized. For the most part, however, Straus follows closely the Greek text in his translation with some added whimsical flourishes. Headings, chapters and versification has been removed, so that readers can read the text in a less atomized way.
Pairing Straus’s translation, are illustrations from Jennifer May Reiland, a New York City based artist who has been awarded residencies at the Sharpe-Walentas Studio Program, the Foundation des Etats-Unis as a Hale Woolley Scholar and the Drawing Center’s Open Sessions program. Her artwork adds another interpretative lens to Revelation. Her illustrations combine the apocalyptic debauchery of Hieronymus Bosch with the cartoonish busyness of a Where’s Waldo (if Waldo worked in the porn industry). She combines the grotesque and strange imagery of beasts, dragons and horsemen with explicit images of sex, violence and sexual violence. The result is a dramatic depiction of the war between evil and good.
Reiland’s illustrations are not appropriate for a children’s Bible and I didn’t let my own kids (4-11) read this take of John’s revelation, but I didn’t think the imagery was gratuitous either. The words and images depict a world in chaos awaiting it’s renewal and coming judgment
However, the closing chapters of Revelation also image a new heaven and new earth, a new Jerusalem come down and a new state of affairs where there is no more crying or pain or suffering. There are no images that depict this (only judgment). I wish that Reiland applied her skill to imaging this aspect of the eschaton (Straus, of course translated it).
On the whole, I found this a pretty interesting take (not kid friendly, but then neither is a lot of Revelation anyway). I give this four stars.
|Note: I got a copy of this book via SpeakEasy and have provided|
my honest review.