The Song of Solomon is a wily book, consistently evading any considerable agreement on its interpretation throughout church history. The purpose of the Song of Solomon volume in the Matthias Bible Guides series is not to bring the centuries of discussion to a conclusion. Rather, it, along with other Matthias Bible Guides, aims to be a high-level starting point “that’s informed by serious scholarship yet accessible to all” (p. 3). To this end, Kamina Wüst has produced a guide that balances the many perspectives of the song’s poetic style, undefined voices, and sudden movements. The hope is that the reader will be informed enough to begin a journey towards their own interpretation.

In chapters 1–4 Wüst lays a foundation for approaching the Song of Solomon. In chapter 1, she suggests the core of the song’s message is best understood by following a trail of verses in which the protagonist, the woman, repeatedly warns the hearer to be careful in awakening love—a common interpretational approach. In chapter 2, she explores what is known and what is speculated in matters of provenance and covers a brief history of the song’s genre classification over time, providing a helpful vantage point for interpretation. In chapter 3, she explores the characters of the song, paying special attention to the (potential) character of Solomon and the Daughters of Jerusalem, both of whom are foundational to her understanding of the function of the song for contemporary readers. Wüst wrote her doctoral thesis on the function of Solomon and the Daughters of Jerusalem, and much of that work has made its way into this book in a very readable format. In chapter 4, she covers some key locations and settings in the song, both named places and place imagery. This group of chapters lays a necessary foundation for the theological interpretation that follows.

In chapters 5–8, Wüst explores various intra-biblical allusions. In chapter 5, she considers possible connections to other major biblical themes, such as the Garden of Eden and a potential reversal of the curse. The breadth of connections she draws are interesting for their variety as well as their obviousness—at least once the connection has been made. In chapter 6, she touches on the hot topics of our day: sex and the body, marriage, gender relations, and covenant fidelity. The length and aim of the book leave her little space to explore these topics in detail, but she provides fine starting points for anyone wanting to explore these topics through the lens of the Song of Solomon. In chapter 7, she explores a selection of words that are important for her interpretation of the song. Where helpful, she covers the Hebrew background of these words and draws fascinating and relevant connections to help enrich the reader’s interpretation of the song. In chapter 8, a very short chapter, she stretches a few possible allusions to the song in the New Testament, acknowledging the consensus that there are no clear allusions in the New Testament. This group of chapters make it clear that the Song of Solomon is not a book isolated from the rest of the corpus of Scripture but is as deeply integrated as any other canonical book.

In chapters 9–13, Wüst takes the reader through a basic interpretation of the song. In chapter 9, she examines the major debates surrounding the Song of Solomon. There are so many key issues surrounding this book, and they so heavily influence its interpretation that, by necessity, this is the longest chapter in the book—even longer than her commentary notes on the text. She lays out her perspective on each issue but is fair in presenting opposing views. In chapter 10, Wüst argues that, while some books shout the name of Jesus, the Song of Solomon whispers it (p. 87). She encourages the reader to allow the song to draw connections to Jesus in its own unique way and to avoid conflation with themes in other biblical books. In chapter 11, she observes repeated structural elements across the song and uses them as signposts for what she sees as the five main sections of the song, laying the groundwork for the commentary. In chapter 12, she begins her commentary of the text. The commentary itself is quite light, as per the purpose of this book, but she provides helpful reflection questions at the end of each section to prompt the reader to develop their own understanding. If engaged with thoughtfully, this is perhaps the most valuable component of the whole book. In chapter 13, she closes off the book with three sets of suggested teaching outlines that can be used for talks or studies. This group of chapters provide an excellent high-level overview of the text itself and the interpretational complexities surrounding it.

Wüst has done an exceptional job presenting extensive research even-handedly within a concise format. Any lack of depth or coverage can reasonably be attributed to its goal of being a high-level starting point for further exploration. She also provides a rare contribution to the literature, especially at the popular level, in her exploration of Solomon as a negative character in the song. It is something which is often acknowledged but seldom given time.

If you are unfamiliar with the Song of Solomon and are wanting a definitive interpretation, this is not it. But if you are looking for a starting point to wade your way through the ambiguity intrinsic to the Song of Solomon and eventually come to your own conclusion, then there is no reason to not start with this impressively compact guide.