Fakes, Forgeries, and Fictions examines the possible motivations behind the production of apocryphal Christian texts. Did the authors of Christian apocrypha intend to deceive others about the true origins of their writings? Did they do so in a way that is distinctly different from New Testament scriptural writings? What would phrases like "intended to deceive" or "true origins" even mean in various historical and cultural contexts? The papers in this volume, presented in September 2015 at York University in Toronto, discuss texts from as early as second-century papyrus fragments to modern apocrypha such as tales of Jesus in India in the nineteenth-century Life of Saint Issa. The highlights of the collection include a keynote address by Bart Ehrman ("Apocryphal Forgeries: The Logic of Literary Deceit") and a panel discussion on the Gospel of Jesus' Wife, reflecting on what reactions to this particular text--primarily on biblioblogs--can tell us about the creation, transmission, and reception of apocryphal Christian literature. The eye-opening papers presented at the panel caution and enlighten readers about the ethics of studying unprovenanced texts, the challenges facing female scholars both in the academy and online, and the shifting dynamics between online and traditional print scholarship.

What can contemporary media fandoms, like Anne Rice, Star Wars, Batman, or Sherlock Holmes, tell us about ancient Christianity? Tom de Bruin demonstrates how fandom and fan fiction are both analogous and incongruous with Christian derivative works. The often-disparaging terms applied to Christian apocrypha and pseudepigrapha, such as fakes, forgeries or corruptions, are not sufficient to capture the production, consumption, and value of these writings. De Bruin reimagines a range of early Christian works as fan practices. Exploring these ancient texts in new ways, he takes the reader on a journey from the 'fix-it fic' endings of the Gospel of Mark to the subversive fan fictions of the Testaments of the Twelve Patriarchs, and from the densely populated storyworld of early Christian art to the gatekeeping of Christian orthodoxy. Using theory developed in fan studies, De Bruin revisits fundamental questions about ancient derivative texts: Why where they written? How do they interact with more established texts? In what ways does the consumption of derivative works influence the reception of existing traditions? And how does the community react to these works? This book sheds exciting and new light on ancient Christian literary production, consumption and transmission.

How many layers of artifice can one artwork contain? How does forgery unsettle our notions of originality and creativity? Looking at both the literary and art worlds, Fake It investigates a set of fictional forgeries and hoaxes alongside their real-life inspirations and parallels. Mark Osteen shows how any forgery or hoax is only as good as its authenticating story—and demonstrates how forgeries foster fresh authorial identities while being deeply intertextual and frequently quite original. From fakes of the late eighteenth century, such as Thomas Chatterton’s Rowley poems and the notorious "Shakespearean" documents fabricated by William-Henry Ireland, to hoaxes of the modern period, such as Clifford Irving’s fake autobiography of Howard Hughes, the infamous Ern Malley forgeries, and the audacious authorial masquerades of Percival Everett, Osteen lays bare provocative truths about the conflicts between aesthetic and economic value. In doing so he illuminates the process of artistic creation, which emerges as collaborative and imitative rather than individual and inspired, revealing that authorship is, to some degree, always forged.

Our nation's founding document, the Declaration of Independence, confidently declares, "These truths we hold to be self-evident" And yet, America today seems mired in a truth crisis. Postmodern relativism has cast doubt on the Enlightenment notion of shared, self-evident truths held by all; technologies have made the swift proliferation of untruths commonplace; political sensibilities have become so partisan as to tolerate public personalities who brazenly lie. Many Americans, Jews among them, are understandably concerned for the future of truth as we once knew it. With this book, These Truths We Hold: Judaism in an Age of Truthiness, the editors and HUC-JIR have demonstrated a commitment to full engagement in the contemporary moment as well as to our Jewish heritage as a repository of complex and deep truths. We have assembled an impressive list of contributors who address the subject of truth in Jewish tradition and in contemporary Jewish life from several important perspectives: biblical, talmudic, liturgical, scientific, philosophical, satirical, pluralistic, and poetic. The articles are meant to shore up faith and to serve as a bank of resources to orient readers to Judaism's rich, multi-faceted and morally edifying teachings about truth.

Jesus and the Manuscripts, by popular author and Bible scholar Craig A. Evans, introduces readers to the diversity and complexity of the ancient literature that records the words and deeds of Jesus. This diverse literature includes the familiar Gospels of the New Testament, the much less familiar literature of the Rabbis and of the Qur’an, and the extracanonical narratives and brief snippets of material found in fragments and inscriptions. This book critically analyzes important texts and quotations in their original languages and engages the current scholarly discussion. Evans argues that the Gospel of Thomas is not early or independent of the New Testament Gospels but that it should be dated to the late second century. He also argues that Secret Mark, like the recently published Gospel of Jesus’ Wife, is probably a modern forgery. Of special interest is the question of how long the autographs of New Testament writings remained in circulation. Evans argues that the evidence suggests that most of these autographs remained available for copying and study for more than one hundred years and thus stabilized the text. Key points and features:Written by popular author and Bible scholar Craig A. EvansIncludes 20+ pages of high-quality color photosWalks readers through the various works of ancient literature, both biblical and non-biblical, that mention JesusCritically analyzes important texts and quotations in their original languages and engages the current scholarly discussion

It is commonly asserted that heresy is a Christian invention that emerged in late antiquity as Christianity distinguished itself from Judaism. Heresy, Forgery, Novelty probes ancient Jewish disputes regarding religious innovation and argues that Christianity's heresiological impulse is in fact indebted to Jewish precedents. In this book, Jonathan Klawans demonstrates that ancient Jewish literature displays a profound unease regarding religious innovation. The historian Josephus condemned religious innovation outright, and later rabbis valorize the antiquity of their traditions. The Dead Sea sectarians spoke occasionally-and perhaps secretly-of a "new covenant," but more frequently masked newer ideas in rhetorics of renewal or recovery. Other ancient Jews engaged in pseudepigraphy-the false attribution of recent works to prophets of old. The flourishing of such religious forgeries further underscores the dangers associated with religious innovation. As Christianity emerged, the discourse surrounding religious novelty shifted dramatically. On the one hand, Christians came to believe that Jesus had inaugurated a "new covenant," replacing what came prior. On the other hand, Christian writers followed their Jewish predecessors in condemning heretics as dangerous innovators, and concealing new works in pseudepigraphic garb. In its open, unabashed embrace of new things, Christianity parts from Judaism. Christianity's heresiological condemnation of novelty, however, displays continuity with prior Jewish traditions. Heresy, Forgery, Novelty reconsiders and offers a new interpretation of the dynamics of the split between Judaism and Christianity.

Conspiratorial fears and desires about biblical discoveries are amplified and contained within the covers of a formulaic fiction genre.

Art, History, and Postwar Fiction explores the ways in which twenty-century novelists responded to visual art and how writing about art was often a means of commenting on historical developments of the period.

Fakes, Forgeries, and Fictions examines the possible motivations behind the production of apocryphal Christian texts. Did the authors of Christian apocrypha intend to deceive others about the true origins of their writings? Did they do so in a way that is distinctly different from New Testament scriptural writings? What would phrases like "intended to deceive" or "true origins" even mean in various historical and cultural contexts? The papers in this volume, presented in September 2015 at York University in Toronto, discuss texts from as early as second-century papyrus fragments to modern apocrypha such as tales of Jesus in India in the nineteenth-century Life of Saint Issa. The highlights of the collection include a keynote address by Bart Ehrman ("Apocryphal Forgeries: The Logic of Literary Deceit") and a panel discussion on the Gospel of Jesus' Wife, reflecting on what reactions to this particular text--primarily on biblioblogs--can tell us about the creation, transmission, and reception of apocryphal Christian literature. The eye-opening papers presented at the panel caution and enlighten readers about the ethics of studying unprovenanced texts, the challenges facing female scholars both in the academy and online, and the shifting dynamics between online and traditional print scholarship.

Julian Barnes's work has been marked by great variety, ranging not only from conventional fiction to postmodernist experimentation in such well-known novels as Flaubert's Parrot (1984) and A History of the World in 10 1⁄2 Chapters (1989), but also from witty essays to deeply touching short stories. The responses of readers and critics have likewise varied, from enthusiasm to scepticism, as the substantial volume of critical analysis demonstrates. This Readers' Guide provides a comprehensive and accessible overview of the essential criticism on Barnes's work, drawing from a selection of reviews, interviews, essays and books. Through the presentation and assessment of key critical interpretations, Vanessa Guignery provides the most wide-ranging examination of his fiction and non-fiction so far, considering key issues such as his use of language, his treatment of history, obsession, love, and the relationship between fact and fiction. Covering all of the novels to date, from Metroland (1981) to Arthur and George (2005), this is an invaluable introduction to the work of one of Britain's most exciting and popular contemporary writers.