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| To the Reader | |
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| Acknowledgements | |
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| Abbreviations and Sigla | |
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| Illustrations | |
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| Introduction | |
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| Texts and Versions | |
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| Hebrew | |
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| Masoretic Text | |
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| Qumran Hebrew Texts | |
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| Greek | |
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| OG and the Asterisked Materials | |
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| New Greek Translations | |
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| Vulgate | |
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| Aramaic | |
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| Qumran Aramaic Texts | |
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| Rabbinic Targum | |
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| Syriac | |
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| Language | |
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| Orthography | |
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| Vocabulary and Forms | |
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| Late Biblical Hebrew | |
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| Integrity | |
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| Prose Framework, Poetic Middle | |
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| The Third Cycle and Chapter 28 | |
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| The Elihu Speeches | |
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| YHWH's Response | |
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| Provenance | |
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| Setting | |
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| Genre(s) | |
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| Drama | |
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| Epic | |
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| Didactic Narrative | |
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| Exemplary-Sufferer Texts | |
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| Dialogue | |
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| Lament | |
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| Lawsuit | |
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| Broader Categories | |
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| Structure | |
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| Prologue (1:1-2:13) | |
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| Dialogue (3:1-31:40) | |
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| Mediated Revelation (32:1-37:24) | |
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| Unmediated Revelation (38:1-42:6) | |
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| Epilogue (42:7-17) | |
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| Artistry | |
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| Prosody | |
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| Closures | |
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| Parallelism | |
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| Wordplays | |
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| Alliteration | |
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| Irony | |
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| Parody | |
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| Imagery | |
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| Personification | |
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| Theology | |
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| Job | |
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| The Friends | |
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| Elihu | |
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| YHWH | |
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| The Narrator | |
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| History of Consequences | |
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| Jewish Consequences | |
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| Second Temple Period | |
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| Old Greek (OG) | |
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| Aristeas the Historian | |
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| Tobit | |
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| Ben Sira | |
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| Qumran | |
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| Testament of Job | |
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| Early Rabbinic Period | |
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| Tannaim and Amoraim | |
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| Targum | |
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| Art and Liturgy | |
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| Medieval Period | |
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| The Islamic East | |
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| Northern Africa and Southern Europe | |
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| Northern Europe | |
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| Literature | |
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| Visual Arts | |
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| Music | |
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| Modern Period | |
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| From Spinoza to the Haskalah | |
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| From the Haskalah to the Holocaust | |
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| Post-Holocaust Interpretation | |
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| Literature | |
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| Visual Arts | |
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| Music | |
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| Christian Consequences | |
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| Early Period | |
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| NT | |
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| Greek Interpreters | |
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| Syriac Interpreters | |
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| Latin Interpreters | |
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| Liturgy | |
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| Visual Arts | |
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| Literature | |
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| Medieval Period | |
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| Dominance of Gregory's Moralia | |
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| Dominican and Franciscan Exegetes | |
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| Liturgy | |
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| Visual Arts | |
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| Music | |
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| Literature | |
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| Reformation and the Rise of Biblical Criticism | |
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| Exegesis | |
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| Biblical Criticism | |
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| Translations and Paraphrases | |
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| Literature | |
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| Visual Arts | |
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| Music | |
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| The Enlightenment and Romanticism | |
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| Biblical Criticism | |
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| Philosophers | |
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| Literature | |
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| Visual Arts | |
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| Music | |
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| The Twentieth Century and the Present | |
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| Biblical Criticism and Beyond | |
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| Literature | |
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| Visual Arts | |
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| Music | |
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| Muslim Consequences | |
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| Qur'an | |
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| Stories of the Prophets | |
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| Ibn al-'Arabi | |
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| Modern Islam | |
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| Commentary | |
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| Prologue: The First Test (1:1-22) | |
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| Prologue: The Second Test (2:1-13) | |
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| Job: "Perish the Day!" (3:1-26) | |
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| Eliphaz: All Humans Fall Short (4:1-21) | |
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| Eliphaz: Proper Response to Suffering (5:1-27) | |
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| Job: Unpalatable Stuff (6:1-30) | |
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| Job: The Human Condition (7:1-21) | |
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| Bildad: A Parable of Two Plants (8:1-22) | |
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| Job: An Impossible Scenario (9:1-35) | |
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| Job: Complaining with Abandon (10:1-22) | |
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| Zophar: Divine Transcendence and Human Hope (11:1-20) | |
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| Job: Equal but Different (12:1-25) | |
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| Job: Effecting Right "To His Face" (13:1-28) | |
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| Job: The Fragility and Resilience of Hope (14:1-22) | |
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| Eliphaz: The Fate of the Wicked (15:1-35) | |
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| Job: "O Earth, Do Not Cover My Blood!" (16:1-22) | |
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| Job: "My Spirit Is Destroyed" (17:1-16) | |
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| Bildad: The Place of the Wicked (18:1-21) | |
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| Job: "I Know My Redeemer Lives" (19:1-29) | |
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| Zophar: The Designated Lot of the Wicked (20:1-29) | |
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| Job: Acts and Outcomes Are Unrelated (21:1-34) | |
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| Subject Index | |
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| Author Index | |
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| Scripture Index | |
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| Ancient Sources Index | |