In chapter 4, Onyumbe Wenyi considers the historical context of Nahum, particularly in light of the iconographic evidence of the fall of Lachish. Additionally, he establishes that Nahum consists of lyric poetry-a conclusion that undergirds his work in chapters 5 and 6 (80). In chapter three, Onyumbe Wenyi suggests that Nahum is not only an Oracle against a nation but also a “modified city lament” (49). Onyumbe Wenyi then shifts from investigating his context to investigating the text using generic, form, and poetic analyses. In his second chapter, Onyumbe Wenyi examines his context through endo-ethnography, as he outlines the modern political history of the DRC and conducts interviews with survivors of war trauma in the DRC. In the first, Onyumbe Wenyi explicates his “Tripolar Biblical Hermeneutics of Reconciliation,” which extends the methodology of Jonathan Draper and Gerald West (1). The rest of the text consists of seven chapters. Piles of Slain begins with a foreword from Ellen Davis, which helps to frame the text for American readers or those outside an African context. In doing so, the book of Nahum recreates an experience of war, which modern survivors can appropriate and “integrate into their common life” to “interpret” and construct a “new identity” (178). evoke the memory of war and destruction at the hands of the Assyrians” for Nahum’s “seventh-century BCE Judahite audiences” (xviii). Using endo-ethnography, trauma studies, iconography, and poetic analysis, Onyumbe Wenyi asserts that “Nahum’s description of God and its depiction of war. That is, Nahum should not be set aside, as often happens in liturgical contexts, because its study creates the possibility of healing and reconciliation among traumatized peoples (xvii). In Piles of Slain, Heaps of Corpses: Reading Prophetic Poetry and Violence in African Context, Jacob Onyumbe Wenyi reads the book of Nahum from and for his context, the Democratic Republic of the Congo (DRC), ultimately arguing that the book’s study is “essential.
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