For 21st century readers, Revelation is a weird book. Armies of genetically modified creatures whose appearance will require a total revision of the Hague Convention; interspecies pandemics that place every animal on the “endangered” list; visual spectacles that make Cirque de Soleil seem as exciting as a tax audit, and insouciant nouveaux riches drinking Bloody Marys made with real blood.

Without understanding anything about the book, the modern reader can easily interpret the first and last sentences, and that’s about all. So there are a lot of weird interpretations of Revelation, particularly to do with the millennium (20:1-6).

To properly interpret the particulars of Revelation, we need to take a look at the big picture, asking the ‘w’ questions; viz. what (type of literature), who (wrote it), where (they were), why (they wrote), when (they wrote), and to whom (they wrote). Once we understand what it meant to them then, we can extrapolate its meaning to us, now.

A Gospel Pageant does this, as one reviewer wrote, in a way that is profoundly simple and is yet simply profound. A small book, it isn’t a commentary as such; it’s like an aerial reconnaissance: using the answers to the ‘w’ questions as a lens, A Gospel Pageant takes a panoramic picture of Revelation; each major section of the apocalypse (the seals, the trumpets et cetera) serving as the frame of each photo.

If I recall my source information correctly, no less an authority than Don Carson described Allan Chapple as the greatest New Testament scholar in the southern hemisphere; though Allan would be profoundly embarrassed by me saying so.

Make like a Hebrew house and buy it.

Gospel Pageant