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a musical first in the use of the tempo marking ‘Hopeful’. Writen for three voice parts – soprano, alto and men – it also subtly recognizes the gender imbalance prevalent in all too many Church choirs. Te RSCM’s continuing work, and in particular this musical contribution to the anniversary year, should be commended.

Christian Stobbs musi c

NOBODY’S CHILD A Unique Glimpse into the Sounds of Zimbabwe Today

Available from Mirfield Publications or from Fr Nicolas Stebbing cr at <>; £10

THIS BEAUTIFUL CD, performed by and sold in aid of the orphans of the Shearly Cripps Children’s Home and the Tariro Tabarana Youth Group in Zimbabwe, offers forty-five minutes of beautiful African hymn-singing. Most of the hymns are in fact well-known English favourites (‘Onward Christian Soldiers’, ‘O Jesus I Have Promised’) sung to unfamiliar (but powerful and very catchy) tunes and sung in Shona, with one hymn in KiRwandan and one in English. Te sudden emergence

of English in the middle of the CD – in the hymn ‘O Lord my God’ – comes as a surprise, not least because everything else about the track sounds completely at one with the rest of the album: the pulsating

rhythms, the

beautiful voices, and the stunning harmony are common to this track and all the rest. Tere is also a rousing rendition

of an ‘Anglican’ Gloria, which is presumably used liturgically there. Te album was produced in Harare; for those of us who know that place primarily through news reports of the suppression, violence and poverty there, the quality of the recording will come as a wonderful surprise. Indeed, the whole album bursts with a vitality and an enthusiasm which should put many Western Christians to shame:

24 ■ newdirections ■ April 2011

but then one susects that that is true of the Zimbabwean Church as a whole.

Peter Westfield b ook s

THE HOLY BIBLE Quatercentenary Edition

Introduction by Gordon Campbell Oxford University Press, 1552pp, hbk 978 0199557608, £50.00

THIS 400TH ann- iversary edition of the King James Bible claims to be the ‘most authentic’ version since the first edition of 1611. Devotees of authentic seventeenth-century Bibles or modern collector’s


may well disagree. For a start this is no facsimile as the black-leter (or Gothic) typeface has been replaced by a more straightforward roman font, though the page layout still follows the original. Te result is certainly easier to follow but has all the charm of a Victorian Farming Manual and seems somewhat out of place alongside the atracive wood-cut capital leters that begin each new chapter. While several internet reviews have

described ‘disappointing the

quality of the binding as ‘handsome at first glance’ but


closer insection’, at £50 few will quibble about value for money. In spite of these

setbacks, the authentic seventeenth- century sellings and occasional typographical


have been retained. While this does much to promote a sense of authenticity, it does leave the reader with one or two challenges in actually following the text. For instance, ‘v’ appears as ‘u’ and ‘u’ as a ‘v’ (hence ‘vnto’ and ‘euer’) while ‘j’ is rendered as ‘i’ (e.g. ‘Iudea’, ‘Ierusalem’ and ‘Iesus’). Tese aside, the 1611 edition contains relatively few errors compared with later editions and no real ‘clangers’ to seak of. Tose familiar with the story


of the so-called ‘naughty version’ of 1631 where the printer missed out the ‘not’ from ‘thou shalt not commit adultery’ can rest easy as the seventh commandment appears here intact. As with all Bibles of this period, the

Apocrypha is included in full though not integrated into the Old Testament. While opinion was divided at the time as to its canonical status, most agreed that it should be read as an example of godly living but not ‘to establish any doctrine’

(Article VI).

Te preliminary pages include introductory material

(preserved in

the original black-leter type) together with the Calendar, Psalms and Office Lectionary for Matins and Evensong. Clearly, this new translation was intended not for private reading but for ecclesiastical use. Indeed, the title page the qualification ‘appointed

(meaning ‘set out’) to be read in churches’ and this is where the real value of this anniversary edition lies. Even with the occasional typographical stumbling-block, one cannot fail to appreciate the rhythm and flow of a text that has stood the test of time and influenced the spiritual

lives of

countless English-seaking Christians. Tis quatercentenary KJV has much

to recommend it (including Gordon Campbell’s informative ‘Anniversary Essay’). While

the debate over

‘authenticity’ vs. ‘accessibility’ will no doubt continue, collectors may wish to wait and see if interest in this 400th anniversary year is enough to warrant a full facsimile edition.

Edward Martin

NEW MONASTICISM AS FRESH EXPRESSION OF CHURCH: ANCIENT FAITH, FUTURE MISSION Edited by Graham Cray, Ian Mobsby and Aaron Kennedy Canterbury Press, 155pp, pbk 978 781848250444, £14.99

THIS BOOK begins by making some important observations. ‘Christian faith is essentially corporate rather than individual.’ Te corporate

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