I recently finished a first reading of Michael Horton's Covenant and Eschatology. I enjoyed the book, and I look forward to rereading this work more methodically in the future. I might post a blog-appropriate review soon. Until then, here is a portion of the introduction to a review I wrote a couple days ago:
Michael Horton’s Covenant and Eschatology: the Divine Drama (2002 Westminster John Knox Press) seeks to present, or perhaps re-present a theological method deeply rooted in theology itself. This presentation stands in contrast to prolegomena rooted in an extra-biblical system (i.e. modernity). Horton’s central argument is that theology should be “done” in a redemptive-historical method, following an analogical mode, with a dramatic (characters, plot, etc.) model, all centered in a covenantal context (5-19). The author pursues this thesis by looking at divine communication, both acting and speaking. He spends a decent amount of time examining the literature leading up to Covenant and Eschatology’s proposal, though Horton mostly draws negative conclusions from said literature. After arriving at his desired end, Horton briefly applies his new prolegomena to both the Christian personally and the church. The scope of this work appeals most clearly to the academic community (exampled in both the language and general tone), however, the author surprisingly concludes this work with a distinct scent of pastoral care—concern for and provision made for the local church.
