Elias—An Epic of the Ages: A Critical Edition, edited by Reid L. Neilson and published by Greg Kofford Books, is an important effort to preserve and present a landmark text in the literary history of Latter-day Saints. Orson F. Whitney, a Church leader and gifted writer at the turn of the twentieth century, sought to craft an epic poem for Mormonism in the style of Milton’s Paradise Lost. The result was Elias, a sweeping narrative that blends theology, history, and mythic imagery to recount the Latter-day Saint story. Like the Norton Critical Edition of Paradise Lost, Neilson enriches the volume by including extensive supplementary materials—biographical sketches of Whitney, contemporary reviews of the poem, Whitney’s own writings on literature and oratory, and contextual histories of the text’s production and reception.

The critical edition is structured around two main contributions: Whitney’s poem itself and Neilson’s careful editorial work. The poem remains the heart of the book, and encountering it in full provides modern readers with a rare opportunity to engage a work long admired but seldom read. As poetry, Elias demands attention and reflection. Its dense allusions and theological depth invite rereading, rewarding those willing to work through its Miltonic cadences. Whitney’s explanatory notes from the 1912 edition, reprinted here, are particularly helpful in clarifying obscure references and sometimes even provide theological insights that anticipate later Latter-day Saint leaders like Dallin H. Oaks, such as his nuanced treatment of Adam and Eve’s fall.

At the same time, portions of Whitney’s poem have not aged well. His adoption of racialized interpretations of scripture, antisemitic tropes about global finance, a Protestant-influenced narrative of apostasy, and speculative geographical claims about the Book of Mormon all reflect assumptions common in his era but discordant with the modern Church’s teachings. While these aspects may trouble today’s readers, they also serve as valuable historical artifacts, shedding light on how Latter-day Saints once conceptualized their past and their place in the world. For readers interested in the intellectual history of Mormonism, this alone makes the work worth engaging.

Neilson’s editorial approach is largely curatorial rather than interpretive. After a brief preface, he allows the historical documents to speak for themselves. This restraint provides readers with a wide range of perspectives on Whitney and his poem, from hagiographic sketches to critical appraisals. It also highlights how Elias was received and reinterpreted over decades, often through recycled narratives and biographical tropes. Although one might wish for more of Neilson’s own analysis, the documentary richness of the edition more than compensates. The careful production by Greg Kofford Books further enhances the reading experience, offering elegant typesetting and a polished presentation befitting the significance of the work.

In conclusion, Elias—An Epic of the Ages: A Critical Edition stands as both a preservation of an ambitious but imperfect Latter-day Saint literary achievement and a window into the cultural and theological world of its author. Whitney’s poem, though flawed by outdated assumptions, remains a remarkable attempt to enshrine Mormonism within the tradition of epic poetry. Neilson’s editorial work ensures that readers not only experience the poem itself but also understand its broader historical and cultural significance. The result is a volume that is both scholarly and accessible, offering lasting value to students of Mormon studies, literature, and theology. For general readers, it provides a challenging yet rewarding glimpse into the intersection of faith, art, and history at the dawn of the twentieth century.