We can bring our troubles, griefs, sorrows, and sins to Jesus, who meets us smack dab in the middle of our messy mob.
Confession isn’t a detour in the liturgy. It’s the doorway.
American religion did not become optional because the gospel failed. It became optional because religion slowly redefined itself around usefulness.

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The doctrine of the Trinity is not so much the story of a “who-dunnit” as it is the story of the “who-is-it.”
They were still praying, trusting, and hoping. Why? Because they knew who was with them and who was for them: the risen Christ.
When Jesus ascends, he does so, bearing gifts for you.
The Church needs mystics again. Not fringe figures, but saints ablaze with love.
The women at the tomb were surprised by Easter. Amazed and filled with wonder at Jesus' Easter eucatastrophe. And so are we.
The Psalm now is this: as Christ suffered and then was exalted, so we are also in him.
Sometimes the old story is the one we need to hear again and again.
In the liturgy, Christ is present, self-giving, and ever-addressing his people.
The story being told in the film is not Bonhoeffer’s story. It’s not the Confession Church’s story. Nor is it the story of the German resistance against Hitler. It is a completely fictional story of Hollywood.
There is no one — not now, not ever — who cannot be included in the family of God through the efficacy of Christ’s saving power.
Jesus, the true Bridegroom, erases that mistake by his own compassionate, saving act. Isn’t this also a picture of the gospel?
By the end of this prayer of wrestling, David finally has the strength to claim victory over his lying enemies.