God Meets is the rare cancer book (and as above, I use that term advisedly) that addresses both the judgment God places on human creatures in the Garden (death) and the hard road anyone walks toward that end (100% of us).
The testimony of the apostles is not an escapist message in which Christians are redeemed by leaving bodily life behind.
In spite of the pain, Sasse exudes a peace from above that is quite literally impossible to explain apart from the assurance he has in Christ.

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God is a judge, but unlike you, God is just!
In the liturgy, Christ is present, self-giving, and ever-addressing his people.
The liturgy ensures that the gospel is never something inward, merely a thought or sentiment of the believer.
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?
"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.
In Simeon's hands and Anna's gaze, we are reminded of God's promise—not distant, not fading, but alive.
Longstanding tradition must be bolstered by something outside of ourselves that also lies outside of the traditions of men.
The Lord did for Hannah what he loves to do: he shifted everything into reverse, making the bottom the top and the top the bottom.