• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Book Review: Killing Jesus

Fr. David Friel · April 20, 2014

DMITTEDLY, I am a little late to throw my hat in the ring. Nevertheless, I would like to share my thoughts about one of the best-selling books of the last year, since one of my Lenten projects was to read it. Co-authored by Bill O’Reilly and Martin Dugard, Killing Jesus: A History is an exploration of the Person of Jesus and a view into the experience of life in ancient times.

[DISCLAIMER: I don’t like television; I seldom watch television; I don’t even own a television. As such, my reasons for reading this book and blogging about it have nothing to do with Bill O’Reilly, his politics (about which I know little), or his news show (which I understand draws sharply divided responses from the general populace). My interest is Jesus and what this book has to say about Him.]

With its concise subtitle, this book claims to be “A History.” What is meant by that would be difficult to intuit without reading the book. Categorizing this text in the history genre, to me, seems at once accurate and inaccurate. If the purpose of the subtitle is to dissuade potential readers from expecting a devotional work, then the term “history” works well. The book includes more than a few imaginative sections, however, wherein historical events are told in narrative format, and at these times the term “history” appears misapplied. A librarian could have real difficulty assigning a Dewey Decimal System number to this volume, but arguments could be made for the 200’s, the 900’s, or even the 92 biography section.

What I enjoyed most about this book was its presentation of major characters in the life and times of Jesus. These characters include Herod & Pompey the Great, John the Baptist & Mary Magdalene, Caiaphas & Pontius Pilate. So often, these can become mere names confined to the pages of history texts, rather than dynamic persons who shaped history. In developing these characters and others, the authors obviously utilized extra-Biblical sources. The book also describes in great detail for readers several important locations, such as Sepphoris, Jerusalem, and the Kidron Valley. In general, the sketches of both characters and places were helpful in establishing the wider context of Biblical life & times.

Another aspect of the work that I enjoyed is the authors’ decision not to divide the supposed “historical Jesus” from the “Christian God.” Since the advent of the historical critical method, it has become vogue to separate the “Jesus of history” from the “Christ of faith,” but O’Reilly and Dugard seem content to address matters factually and leave it to the reader to determine whether Jesus constitutes a divide or a unity.

Many reviewers have criticized the authors’ tendency to take the Gospels at face value, rather than treating them with the trenchant skepticism that is more acceptable in modern academia. For my own part, as a believing Christian who accepts wholeheartedly the canon of Sacred Scripture, I do not question the historicity of the Gospels. Actually, I rather appreciate the matter-of-fact acceptance of what the Evangelists have written. What other sources exist that are more worthy of trust?

Most of the “inaccuracies” highlighted by other reviewers are not so much true historical inaccuracies as points of squabble among the authors’ adversaries. For instance, was Paul a “former Pharisee who became a convert to Christianity,” as the authors describe him? Presuming that by “Christian,” one means a follower of Christ, this seems like a perfectly true statement.

I possess no faculties to grant an imprimatur, but for those who are concerned about issues of orthodoxy or scandal, I found nothing questionable in Killing Jesus. What I found was an eminently readable portrait of Jesus of Nazareth that has helped me to see His life in fuller context and to recognize some of the many factors that precipitated His death.

Is this book the definitive account of Jesus’ life? No, we still have the four Gospels for that. But is it a worthwhile companion that might spark new ideas, perspectives, and questions in the heart and mind of a believer? I believe so.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“These French offices represent a new case of the old tendency towards local modification—which the Council of Trent had meant to repress. They are commonly attributed to Gallican ideas and are supposed to be not free from Jansenist venom. Some of these local French uses survived almost to our own time. They were supplanted by the Roman books in the 19th century, chiefly by the exertions of Dom Prosper Guéranger (d. 1875).”

— Dr. Adrian Fortescue (d. 1923)

Recent Posts

  • 2-Voice Arr. • “Creator of the Starry Height”
  • PDF Download • Christmas Piece (SATB) — “Angels We Have Heard on High” with Text in Latin
  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.