How should we approach the Bible? Andrew Judd’s Modern Genre Theory provides readers with the literary tools to approach the Bible well. In my ministry with university students, it’s not uncommon for students to approach the Bible as a holy and mystical book. What, after all, should we expect from a book that conveys spiritual wisdom in words from the Spirit and requires the Spirit for discernment (as 1 Cor 2:13–14 shows us)? That said, the words that God has given us are human words, written by human authors to other humans. They certainly wrote carried along by the Spirit (2 Peter 1:21). But they spoke in their own language, culture and moment. The way that the Spirit communicates the message is through normal human cognition, though of course it is a work of the Spirit that enables the reader to respond that Jesus is Lord (1 Cor 12:3). For those who believe, we read with a sense of reverence and privilege because these are the words of God himself, and yet such is the condescension of our God: he speaks to us in normal human language with all its normal human aspects. Therefore, the work of translating and even interpreting the Bible should look a little different to the interpretation of any other text. One key aspect of understanding any text is determining its genre, and this is the subject of Modern Genre Theory.
Following on from the work he put into his doctoral studies, Judd reviews some of the ways that genre has been viewed historically in the academic world (both in theological and non-theological circles). He carefully lays out 12 tenets of modern genre theory and then applies them on a full sweep of Biblical literature.
This book offers students in biblical studies an accessible but comprehensive introduction to modern genre theory, providing access to literary tools for understanding how writers and readers use genre to make meaning.
Modern Genre Theory describes the current state of biblical genre theory (as well as the meaning of form criticism and why it needs to die). Scholar of biblical hermeneutics Andrew Judd then presents a better alternative of interpretation based on the best developments in secular literary theory, linguistics, and rhetorical studies.
Scholarly and Readable
For the scholarly minded, Judd shows enough of his working to provide paths to follow up. He is careful and nuanced critique of differing views. While this could make some feel that he could be more emphatic at points, I certainly appreciated it, especially for a volume that could easily be a set text for first-year hermeneutics in a theology degree.
While I’m sure not everyone will agree, I found his book eminently readable. The early part of the book, which lays out the history and theory of genre, is likely the hardest part to work through. But Judd’s use of illustrations (from a parking ticket to his experiments with home-brewing) give the reader some amusement and relatability to the content. Indeed, I was able to listen to the audio book while installing insulation in my roof during my summer holiday (but perhaps I’m a little strange).
Genre is Everywhere
Judd’s book helps us by showing us what we often do implicitly all the time. That is, we’re constantly making decisions about genre of texts around us and it affects our interpretation and response.
We might interpret the note left on our windshield as an infringement notice (and so respond with payment) or indeed as a sarcastic appreciation of our parking (and so respond with our own!). When we go to watch a rom-com film we expect the inevitable “meet-cute” (and appreciate if there’s a deviation from the norm), in a horror film we wait for the jump-scare (and get frustrated if it’s over used). When we’re reading English poetry we might expect (though not demand) rhyming of sounds. When we read Hebrew poetry we might however expect a kind of rhyming of ideas. Moreover, we seamlessly navigate mixed genres in a single text: A TV-drama can be interrupted by ads and then interrupted by a news update; or within a wider narrative, a prophet can tell a parable, interpret events and then make a prediction (2 Sam 12).
By helping us understand these kinds of interpretative decisions we are making all the time for any text, including the Scriptures, Judd’s work helps us examine the frames of refence we are using. This can help us be more awake to God showing us something we don’t yet know or perhaps need to know better, or something that what we already knew but now can be more certain of. For seasoned exegetes, it helps us discern the glasses you’re already wearing—though there will no doubt be some fresh food for thought along away! For those starting out or looking for a way to understand the Bible better, this book offers what the sub-title describes: it gives an introduction for biblical studies through modern genre theory.
Putting Genre Thinking to Work in Judges 19
To exemplify why I think Judd’s book is so helpful in its discussion of genre I want to share how he looks at Judges 19. This passage gets extended treatment twice within the book. Judges 19 is one of the most confronting stories in the Old Testament. It’s the kind of text that should come with multiple trigger warnings. It is so awful that I’m not going to retell the content here knowing that I can’t do justice to it in a side point in a book review (therefore, if you are not familiar with it then please have a read before you continue here).
How are we supposed to read a text like this? Is it something of a cautionary tale about the likely outcome for those who commit adultery? Perhaps, like a modern horror film, it is designed specifically to make us squirm and shrink away from it. Or perhaps it is better understood as being a piece of wisdom literature with complex truths about life under the sun being conveyed through narrative. Or, would we better understanding it as another data point exemplifying for us the decline of the Jewish tribes during the period of the judges as they await a king? Or is it some mix of all of things?
If such questions challenge you, then Judd’s book will help you, if not find the right answers, then at least ask the right questions. In the end that’s why I think this book is excellent. While there are points where I might quibble with some of Judd’s specific landing points in his case studies, I’m convinced he’s helping readers of the Bible ask really good questions.
Modern Genre Theory has been shortlisted for the SparkLit Christian Book of the Year for 2025.
