Faith, for Peter, is not suspended in religious abstraction. It is tied to something that happened in time and space.
Baptism does not promise us chocolates or flowers, but something far greater: life in Christ.
The Promised Land invites us to laugh at how relatable it is to be exhausted and exasperated by all the people, and the egos and opinions they bring with them, that come with living.

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The ethos of the church’s worship is found in poor, needy, and desperate sinners finding solace and relief in the God of their salvation.
Wake Up Dead Man is not ultimately a story about mystery, exposure, or even justice. It is a story about what happens when mercy speaks to death—and death listens.
Christmas is not only about a cradle in Bethlehem, it’s also about a cross outside Jerusalem where salvation was won for us.
Christmas is not for remembering, thinking, pondering, trying to make sure you are really celebrating it properly, or for wondering whether you truly have faith.
To know the cure is not to become immune to sorrow.
It is death that deserves derision, not the disciple who reaches through sorrow for his Lord.
The unity of God’s people is grounded not in lineage nor land but in the promise of the coming Christ.
Thanksgiving, then, is not just about plenty. It is about redemption.
“The well that washes what it shows” captures the essence of Linebaugh’s project, which aims to give the paradigmatic law-gospel hermeneutic a colloquial and visual language.
Why would David write this psalm for all to read when he was no longer God’s greatest king, but rather God’s greatest sinner?
Every age has its emergencies, and the church must never ignore them. Yet, our response cannot be one of panic or propaganda.
It is by his perfect surrender that our true Exodus was accomplished.