Jesus offers something infinitely better. He tells us to put down our gavel—not because sin isn't real, but because the only Judge who has the right to condemn is the very One who was condemned for us.
From creative storytelling (see any of Jesus’ parables) to hymn-singing to poetry slams, God’s revelation refuses the confines of any single genre. The world beyond the wardrobe demands some serious attention, and Christians are uniquely qualified to give it just that.
Christ does not replace or erase the history of the Old Testament. He brings it to its fullness. The historical fulfillments demonstrate God's faithfulness in their own time and also bear witness to the greater fulfillment accomplished in Jesus Christ.

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Our value and our values, our life, our everything is from Jesus Christ given to us as a gift.
God is consistently rooting us in reality—both what is seen and unseen—because that is where he is.
Take heart: God is near and he is here for you.
At the heart of The Idiot is Dostoevsky's confession of faith and the confession of all Christians.
Cyril’s fervor for pure explication of the gospel was present throughout his career.
Finding the balance between indifferentism and obsessiveness has never been easy, and it’s especially difficult in our environment.
Sometimes I think we should be more tempted to laugh at the gospel than we are, not in derision but in sheer surprise and awe.
Vilification of the other is married to the justification of the self.
History is the painful realization that we aren’t the ones who can save the world but, rather, we’re the ones who get saved.
In Jesus, the most totalizing summary of the law becomes the gospel of the one made perfect through obedience.
In the place of God, Marx sets the material, autonomous, self-creating man.
Moses is no Jesus but he, like us, is saved by Him. The law cannot enter the promised land, and yet the true and greater promised land is occupied by nothing but lawbreakers.