The Trick of Observing Genre

Gordon Fee and Douglas Stuart wrote, “There is a real difference between a psalm, on the one hand, and an epistle on the other. Our concern is to help the reader to read and study the psalms as poems, and the epistles as letters…These differences are vital and should affect both the way one reads them and how one is to understand their message for today.”[1] Since genre influences our entire approach to a text, Fee and Stuart’s bestselling book on Bible interpretation focuses there. Make sure to observe genre.

Genre is normally simple in its identification. The two primary genres are poetry and prose; every text fits in one of those two categories. Within prose, we find narrative, law, letters, and apocalyptic literature (symbolic visions). Within poetry, we find psalms, songs, and proverbs. Some genres, like prophecies and wisdom literature, are written in either poetry or prose (for example, see Ecclesiastes and Ezekiel, which frequently alternate). In addition, the Bible has many sub-genres like speeches, genealogies, parables, dialogue, fables, diatribes, instructions, and epics.

Genre is also complex in its ramifications. Once we identify the genre, the real trick is to read it accurately. For example, consider the moment of Jesus’ birth. Luke says it occurred outside of hospital or inn and that it captured the attention of only a few shepherds (Luke 2:6-16), but Revelation says there were great signs in the heavens and a cosmic conflict with a devouring dragon (Rev 12:1-6). The differing genres of these two books help us to make sense of the differing accounts.

Since I can’t cover all the ramifications of genre in this short post, I commend Fee and Stuart’s How to Read the Bible for All Its Worth for further study. I’ll simply illustrate observation of genre with Genesis 1:1-2:3 (which I’ll call simply “Genesis 1”).

The primary observation is straightforward: This text, like most of Genesis, presents itself as historical narrative. The author reports events through the use of characters, setting, plot, climax, and resolution. He tells a story with a setting and a matter-of-fact style (“God said…God created…It was so.”). Thus Genesis 1, like all biblical narratives, tells a story of true events.

Now many interpretations of Genesis 1 hinge on the observation of genre. Some interpreters use Genesis 1 to explain Christianity’s compatibility with scientific evidence of origins. Others observe that Genesis 1 isn’t a science textbook. Either way, the argument is basically centered on the text’s genre.

Because Genesis 1 was written in the genre of historical narrative, we can conclude the narrator believed the act of creation really happened. Though Genesis 1 speaks of seemingly implausible things like light (Gen 1:3) without a sun (Gen 1:14-15), plants (Gen 1:11) without pollinating insects (Gen 1:24), a good-but-initially-unfinished earth (Gen 1:2), and an eternal, almighty God whose words held it together (Gen 1:1, 3, 6, etc.), the author presents them all as neither fable nor fairy tale.

However, we must not read historical narratives too strictly. Sometimes the chronology is all mixed up (for example, compare the order of events in the four Gospels). Biblical narratives are beautifully written and intentionally structured because every narrator has an agenda, and that agenda is more important than anything.

But that agenda doesn’t contradict the narrative’s factuality.

Many biblical witnesses confirm the factuality of Genesis 1. Moses thought this act of creation really happened (Ex 20:11). So did Isaiah (Is 42:5, 45:18). So did Jonah (Jonah 1:9), Nehemiah (Neh 9:6), Paul (2 Cor 4:6), and Peter (2 Pet 3:5). So did Jesus (Mark 10:6).

Thus, as we read Genesis 1, we must avoid either pushing the details too far or ignoring their historicity altogether. Observing the narrative genre prepares us for this task.