This is the first in a series meant to let the Christian tradition speak for itself, the way it has carried Christians through long winters, confusion, and joy for centuries.
The crisis is not merely that people are leaving. The crisis is that we have relinquished what is uniquely Lutheran and deeply needed.
The ethos of the church’s worship is found in poor, needy, and desperate sinners finding solace and relief in the God of their salvation.

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Luther’s famous treatise contains great consolation for Christians struggling with grace, suffering, and hope.
The addict’s condition speaks a hard truth: that we are all beggars before God, every one of us bent toward the grave.
The liturgy ensures that the gospel is never something inward, merely a thought or sentiment of the believer.
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.
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.
What do we do with Katie Luther? What kind of historical character can we paint her to be?
Addiction is the warped fruit of a good tree: a sign that the heart longs for transcendence but has sought it in places too small, too finite to hold such hunger.
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.
By the end of this prayer of wrestling, David finally has the strength to claim victory over his lying enemies.