The church today has more than an image problem; it has an attitude problem. The attitude turns judgmental too often and too quickly. Sure, truth must be spoken. God invites us to judge and to help correct wrongs from a place of understanding. In Slow to Judge : Sometimes It’s OK to Listen, scholar David B. Capes urges his readers to listen more, talk less. You may learn something important. Don’t label other people or try to fit them into nice, neat little boxes. Don’t pretend you have all the answers. Put yourself in the other’s place. Be authentic. Recognize when you are trying to push your agenda on others. Be a true with no other motives.
King Solomon asked God for a listening heart. Jesus’ teaching says that the prerequisite for judging another is humility. Capes spends a lot of time on interfaith and intercultural dialogue. Without discomfort and fundamental disagreement, there can be no such thing as tolerance. And the reason for ‘sometimes okay to listen’? There are some ideas that are not worth your time and certain people to whom you need not listen. It takes wisdom to know the difference. Both the interesting perspectives of Fethullah Güllen and C.S. Lewis may teach you valuable lessons.
Various themes from Scripture are explored next to wisdom and a listening heart. Correction in the church is necessary. Judging by appearances is dangerous. Respect, love, and forgiveness are core to establish meaningful and lasting relationships. Hospitality, practicing an open soul, and authentic tolerance fuel the church’s mission.
Each chapter ends with questions to discuss in small groups.
About the author
David B. Capes is the Thomas Nelson Research Professor at Houston Baptist University. He is a noted Pauline scholar, and he served as the senior Bible scholar for The Voice Bible translation. He is the author and editor of several books, including The Last Eyewitness: The Final Week, The Voice of Hebrews, Rediscovering Paul, Rediscovering Jesus, and Thriving in Babylon. Refraction books speak to the most troubling issues we face today in a candid dialog that interacts with our culture through a biblical lens, utilizing a holistic approach of intellectual engagement, emotional vulnerability, and spiritual challenge for the next generation.
Travel helps separate what is real from what is not. Travel is education without agenda, and the person who completes a journey can depend on being improved over the one who set out. Welcome to Walter Rhein, the Reckless Traveler, an American who traveled to Lima, Peru as a tourist, and ended up living there for another decade. The book’s a collection of travelogue and memoir, short stories about his adventures abroad. From teaching English in local Puruvian schools, learning Spanish and making all kinds of mistakes while practicing. Walter wrestled with kidney stones, met several medicine men and women, and learned to know a beautiful woman by pretending not to understand her compliments and desires spoken in Spanish. Discover the pleasure of being robbed, visit Machu Picchu to list a few, or feel the blisters popping up in a multi day hike on ancient Inca paths through the mountains. Rhein takes you to Chile and Venezuela, bus trips, bureaucrats, parties and local population. Reckless Traveler is fast-paced, well-written, a pleasure to read.
About the author
Walter Rhein was born in Wisconsin, but moved to Lima, Peru in his twenties. There, he supported himself by writing, teaching, translating and editing. He currently splits his time between Wisconsin and Peru. Be sure to check out his blog at www.swordreaver.com.
The author provided me a free review copy in exchange of my unbiased, personal review.
In 2015 kwam Older uit van de Franse zangeres van Joodse en Tunesische ouders, Yael Naim (1978), Older, heeft allerlei vrolijke en speelse momenten. Zoals het wervelende Make a Child of de uitvoering van single Coward door ‘ons’Metropole Orkest (gedirigeerd door Jules Buckley). Op de Revisited editie van Older zijn remixes en alternatieve uitvoeringen van een aantal tracks verzameld.
Extra percussie in de David Donatien (1970) mix van I Walk Until, een chillwave versie van Circle Square, of een vleugje world music aangebracht door Arandel. Van Walk Walk is een lekkere remix van 20syl uit Frankrijk opgenomen. De percussie in Take Me Down heeft door Rag and Bones een extraatje gekregen.
Maar liefst 4 mixen van Coward (Rone (één van de beste mixen op dit album!), Brad Mehldau, de uitvoering met het Metropole Orkest en de Franse hiphop / minimal / electronica maestro Thylacine remix zijn meegekomen. De samenwerking met de Franse Quatuor Debussy in Trapped is gebleven. De Belgische DJ / producer Jim Henderson nam Older, waarop Flo Morrissey (1984) meedoet, onderhanden. Als afsluiter vind je de General Elektriks mix van Make a Child en het onbewerkte If You Could See.
Van klassieke piano, een orkest tot hypnotiserende beats. Older (Revisted) vraagt om flexibel kunnen meebewegen. Complimenten aan Yael Naim te durven haar publiek dit aan te reiken.
How would local Arkansas residents respond to a fully unknown politician? One, who’s pretending to be someone else? How can the masses be prepared to believe in the future envisioned by this middle-aged billionaire Chairman Obelis? Another story is featured in Beast Machine. 20-something Gora seeks revenge for scientists all over the U.S. who screwed her career and life. She uses a novel machine and photographs to create half-humans, half-beasts: HitBear (mixing Adolf Hitler and a bear), OwlBert (Albert Einstein as an owl), and Tubman (made from Harriet Tubman‘s picture). Both stories start to intermingle. Discover who’s in control of mankind. Will the beasts take over? What’s the role of the Flagship, and doctor Silva’s operations in a former mine?
Beast Machine contains many conversations, lengthy descriptions of sounds, as you would expect in a script for a play instead of a novel. Pages full of ‘Ding-a-dong’, ‘buzzzt’, footsteps and groans. The pace in the stories is rather slow, while the violence used at the revenge missions of Gora and her beasts is graphic and cruel. As a reader you wonder where this will lead to. Brad McKinniss leaves the end open, able to write a sequel.