Luther felt the reform of the church could not simply remain a matter of aesthetics and practice. Something much deeper needed to be rooted out.
While God can, and often does, appear to people face to face, he also often employs the use of several types of messengers.
The “further up and further in” we go, the table keeps getting bigger, the guest list keeps getting longer, and the grace keeps on flowing.

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The baptized do not celebrate sin—they grieve it.
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.
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.
Luther’s famous treatise contains great consolation for Christians struggling with grace, suffering, and hope.
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.
I realized that no matter where I call "home," I won't be able to shake the feeling of homesickness.
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.