Wade Johnston, Life Under the Cross: A Biography of the Reformer Matthias Flacius Illyricus, Concordia Publishing House, St. Louis: MO, 2025.
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.

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In the liturgy, Christ is present, self-giving, and ever-addressing his people.
The addict’s condition speaks a hard truth: that we are all beggars before God, every one of us bent toward the grave.
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.
What do we do with Katie Luther? What kind of historical character can we paint her to be?
Jesus, the true Bridegroom, erases that mistake by his own compassionate, saving act. Isn’t this also a picture of the gospel?
Wisdom lurks in the outer places. Rich gratitude sprouts from the impoverished and forgotten.
"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.
It is impossible to live our lives in a way that would convince God of our value because he already knows our value. He is the one who gave it to us.
The love of God is creative, always giving, always reviving.