1. Michael James Williams, Deception in Genesis: An Investigation into the Morality of a Unique Biblical Phenomenon. Studies in Biblical Literature 32; New York: Peter Lang, 2001.
I am unquestionably indebted to Alter not merely for his methodological programme put forward in this classic volume, but also for the many illustrations from the Jacob cycle he employs. Alter has, in my mind, wholly revolutionzed the study of the Hebrew Bible, and while this work comes some six years after Fokkelman's Narrative Art in Genesis (see post below), Alter has arguably set the agenda for subsequent literary readings of biblical texts (I would venture Alter to me a much 'tamer' version of Fokkelman). He has successfully demonstrated the highly literary quality of the Hebrew narratives--his work on Hebrew poetry, I feel, is less adequate, although still insightful--and his views cogently wed modern literary understandings with a careful, close, and sympathetic reading of the biblical text.
Niditch's study interprets the biblical text--specifically the three wife-sister stories in Gen 12, 20, 26; Jacob and Joseph; and Esther--against the background of broad, cross-cultural sensibilities regarding the underdog and trickster. Viewing these narratives as a product of oral tradition, Niditch notes how they inform an Israelite worldview and identity. Seminal to her conception of the trickster is that this irascible figure serves the purpose of cementing group identity, which I take to be a helpful starting place for deciphering the function of these narratives within a postexilic (Persian) context. I further appreciate her work as a modern attempt to continue Gunkel's work with folklore, which sees many parallels with the texts of deception in Genesis. Niditch and I are also one of only a few who interpret the extortion of the firstborn scene (Gen 25:27-34) as an episode of deception.Lipton's volume is perhaps little known, which is unfortunate given that its content is replete with great insight and depth. She treats five dream texts in Genesis--Abimelech's dream (Gen 20); Jacob's Bethel dream (Gen 28); Jacob's dream about the spotted and speckled sheep (Gen 31); Laban's dream (Gen 31); and the covenant of the pieces (Gen 15)--in the attempt to demonstrate how these dreams seek to revise the reader's understanding of events. I have yet to finish the entire volume, but her analysis of Jacob's dream in 30:10-13 coheres very well with what I argue to be the relationship between the seemingly incompatible chapters 29 and 30 (see my forthcoming article in PRSt). Given also my view of these dream texts as ultimately 'theophanic' texts and thus of decisive importance for interpretation of the Jacob cycle as a whole--more particularly YHWH's role within the cycle--I am appreciative for Lipton's sustained treatment of these narratives in a single volume.
I would contend that next to Brueggemann's commentary on Genesis in the Interpretation series (see below), very few books on Genesis focus on issues of theology or of the divine. Humphreys goes one step further, reading God as a literary character in the book of Genesis. The opening chapters offer a helpful orientation into matters of literary characterization, and Humphreys' ensuing, synchronic treatment of the Genesis text highlights God's characterization from two sources: the narrator's own statements about God and what other characters have to say about God. Against this backdrop, the diversity and ever-changing role(s) of God are discussed: designer, destroyer, patron, parent, etc. And, as has perhaps become the norm in all of these volumes discussed here, while I do not agree with Humphreys' characterization of God in relation to the texts of deception, his careful attention to the non-static roles God plays throughout the text make this work an important one with which all students of Genesis should be acquainted. I will be posting a more thorough review of Humphreys in the next few weeks. 
David M. Carr, Reading the Fractures of Genesis: Historical and Literary Approaches. Louisville: Westminster John Knox, 1996.









