From Publishers Weekly
In this inventive retelling of the Abraham and Sarah story, Diski (Skating to Antarctica) offers up a vain, "testy" God, who has created humanity in the hope of gaining insight into Himself. Instead, He feels shut out by his creations which is a pity, since they might benefit from his attention. Abram and Sarai, half-siblings married by their dynasty-conscious father, have trouble playing the roles they are allotted. The whole family is prone to fruitless soul-searching and spend their time grappling with the idea of death, occasionally sacrificing a lamb or defacing an idol to pass the time. The tale is mostly buildup, set during the period before the all-important birth of Isaac, and indeed is primarily meditation: Sarai thinks about love, Abram worries about the continuation of his lineage and God, who narrates half the book, broods on the disobedient inventiveness of His creations. When major events do occur (fueled by dialogue direct from the Bible), they progress at breakneck speed, as though the characters were in a hurry to return to their dreary contemplation of the human state. While billed as a "divine comedy," the novel lacks the raised eyebrow that makes other approaches to biblical stories Kierkegaard's, for example so successful. There are humorous moments, as when God grouses about humans taking "my exhortation to be fruitful and multiply to their hearts. Rather, to their loins." And the novel gives Sarai much more airtime than the Bible does, offering a refreshing, feminine perspective. As God and Sarai battle for Abram's affection, readers will inevitably take her side; the affectionate though fallible human is, unsurprisingly, much more appealing than the distant, irritable deity.
Copyright 2001 Cahners Business Information, Inc.
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The love triangle has been mined countless times for comedic gold. Diski's inventive, compelling novel does it again, a little differently. One of the corners in this triangle of love and longing is God. After the failures of Adam (apple eating) and Noah (post-ark drunkenness) as messengers, the Lord has decided upon a final, perfect vessel--Abram. Unfortunately, he's taken, and the novel is the story of the tug-of-war between his love of God and his love of family. There are two narrators, an omniscient third person and one of the triangle's sides, God. Unfortunately, thanks to God-as-narrator, the novel tends to unravel into schticky jokes about his bumbling omnipotence, undermining both the comedy and the seriousness of Diski's theology. Still, Diski has found a wonderful device for explicating the baffling and powerful stories of Abram, and the realization of Sarai as an empowered woman adds depth and texture to one of the oldest stories in the book.
John GreenCopyright © American Library Association. All rights reserved
--This text refers to an out of print or unavailable edition of this title.