Welcome to CBE’s Library

Tip: to find an exact phrase or title, enclose it in quotation marks.

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“Mr. President, how long must women wait for liberty?”

This was the question stretched across banners in front of the White House, distributed on pamphlets, and spoken all over the country in the 1910s. Inez Milholland, an icon of the women’s suffrage movement, first uttered them. They were her last words before she collapsed, and soon died, while campaigning for women’s suffrage through the western United States. This is also the question that pervaded my mind as I watched the film Iron Jawed Angels.

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Unwarranted criticisms by evangelical scholars of Deborah’s leadership in Judg 4–5 continue to devalue her work as “abnormal,” “wrong,” something done only in private or even in subservience to Barak. Some rabbinical scholars go so far as to brand her an arrogant woman who deserves God’s punishment. In contrast, this paper argues that a close reading of her story and song reveals an ’eshet hayil, a “woman of valor” (cf. Ruth 3:11, Prov 12:4, 31:10). This is evident not only in the direct references to her, but also in the narratives regarding her associates Barak and Jael.

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The Song of Songs stands alone among the books of the Jewish and Christian canons as an unabashed exploration of sensual human love. 

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King-James-Only advocates have taken a personal preference, elevated it to a theological absolute, and used it to divide liberals from conservatives, believers from unbelievers, servants of God from minions of Satan. Critics of inclusive language in Bible translation are doing the very same thing with their reckless, blanket denunciations of the TNIV.

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Now Deborah, a prophetess, the wife of Lappidoth, was judging Israel at that time. She used to sit under the palm tree of Deborah between Ramah and Bethel in the hill country of Ephraim; and the sons of Israel came to her for judgment. (Judges 4:4–5, NASB)

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