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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This is the first installment in our series, From Eden to Easter: Life and Death in the Garden. Each day throughout Holy Week, we will take a special look at the gardens and wildernesses of Scripture, and in particular, these scenes' connections to Christ's redemption won for us on the cross.
Every earthly kingdom meets its end. All empires crumble and fall. But from the beginning, the kingdom of God, which Christ would rule, was said to be eternal.
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.
"When God has his say, have confidence that his Word and sacraments bestow precisely what he says."
The gospel gives us faith, hope, and love, all of which proceed from Christ’s death and resurrection.
Ambrose's preaching continues to ring out in churches around the world, especially during Advent when we sing his magnificent, proclamatory hymn, "Savior of the Nations, Come."