This ancient “tale of two mothers” concerns far more than theological semantics—it is the difference between a God who sends and a God who comes.
This story points us from our unlikely heroes to the even more unlikely, and joyous, good news that Jesus’ birth for us was just as unlikely and unexpected.
Was Jesus ambitious or unambitious? We have to say that the answer is…yes.

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The Church needs mystics again. Not fringe figures, but saints ablaze with love.
“The fear of the Lord” is our heart’s awakening to and recognition of God’s outrageous goodness.
The women at the tomb were surprised by Easter. Amazed and filled with wonder at Jesus' Easter eucatastrophe. And so are we.
Three Lenten songs express the same astonishing wonder of a Lord who willingly suffers and dies.
News of Kilmer's death hit me like a freight train because his Doc Holliday stirred something in me about friendship—both the earthly kind and the divine.
Sometimes the old story is the one we need to hear again and again.
The great lie of addiction is that suffering must be fled, must be numbed, must be drowned out by any means necessary.
To be happy is to be the object of God’s love in Christ and to love God and others with the love of Christ.
In the liturgy, Christ is present, self-giving, and ever-addressing his people.
The wrong god means love remains frail, fickle, or a fiction. The right God means love is the most reliable thing in all the world.
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.