Unto Us - Aaron Shust

Add this to the seasonal recordings that have brought out the best in an artist.

Unto Us

Artist: Aaron Shust (www.aaronshust.com)

Label: Centricity Music

Length: 10 tracks/41:05 minutes

Followers of Christ should be able to appreciate that Christmas recordings can be more than just a throw-away offering from an artist. In commemorating this season, people like Jeff Johnson, Amy Grant, Michael W. Smith and many others have done some of their best work. You can add Unto Us by Aaron Shust as one of the fine efforts in this category.

The wide spectrum of sounds and the careful crafting make it obvious that a lot of time and skill went into making this something grand. Regardless of the style on each track, this is marked by regal form and dignity.

“Gloria” is a fine example. It sounds like a procession, beginning with a boy’s choir singing in Latin. Shust joins in, eventually adding, “Let there be peace on earth.” An adult choir and orchestration become part of the mix as the song marches toward a crescendo. It then fades peacefully into the distance.

This seamlessly alternates, sometimes in the same track, between the ancient and modern. “God Has Come to Earth,” works in the chorus, “O Come Let Us Adore Him.” The opening strumming, the winsome melody, the majestic lyrics make it an outstanding new Christmas song.

This is followed by the serene “Sanctuary.” Piano, orchestration and choir combine to create something truly gorgeous. A boy soloist makes the opening lines sound sublime, “Peace is here/Fear is gone/Love has come/Hope has dawned.” Shust then repeats this promise, before the choir joins the chorus, “He will be our sanctuary/Let our hearts not be afraid/Dwelling here with us forever/Jesus Christ is born today.”    

The opening “Star of Wonder (Overture)” is two-thirds instrumental, and the brief “Keep Silent” is completely so. Both serve well to set the mood for what follows.

In the latter case, “Bethlehem,” is an adaptation of “O Little Town of Bethlehem.” It comes with a new melody that like the original is gentle and beautiful.

“Rejoice” is an adaptation of “Good Christian Men, Rejoice.” An added chorus makes it follow a more modern song structure. A full complement of voices and instruments make this powerful.

Finally, “Go Tell It,” is a soulful, rollicking version of “Go Tell on the Mountain.” What sounds like a Hammond B3 organ is all over this track. It’s a celebratory way to end a recording that captures all the various moods of the season. 

Could this be the best album of Shust’s career? I don’t have the background to answer that definitively, but this has enough truth, beauty and wonder to make it a contender for that honor.

This shows that Christmas recordings can be far more than something disposable and good for just one season of the year. Why don’t we listen to Christmas recordings more often? It includes some of the greatest music ever composed, performed and recorded. The inspiration for much of it, as here, is Christ’s birth. Without His coming, dying and being raised, there would be no hope. This is worth remembering all year long.   

John: A Misunderstood Messiah - Michael Card

Card’s reflections on the life of Christ never get old

John: A Misunderstood Messiah

Artist: Michael Card

Label: Covenant Artists

Length: 10 songs/39:08

                                                      

A banjo playing a traditional Irish melody is the first sound on Michael Card’s John: A Misunderstood Messiah. This is soon augmented by Bill Verdier’s fiddle. Together they set the stage for Card’s rumination on Jesus being “The Bread, The Light, The Life.”

The incarnation, the life of Christ, have been constant themes in Card’s career. It makes the gospels ideal subject matter for his recordings.

This is the last of four recordings covering Matthew, Mark, Luke and John, one for each book.

On this, and the prior releases, Card once again leans more toward a stripped-down, roots-oriented sound, which serves him well.

His banjo playing is once again evident, and I would appreciate more of just stringed instruments playing together as on the previously alluded to track.

Fortunately, the banjo is once again prominent on the gentle tune, “How Can These Things Be?” Keep in mind these songs are all inspired by John’s gospel. Can you guess the identity of the person from the following words? “He clings to his own righteousness/Of being good to be blessed/But Jesus speaks of a healing wind/The fact of being born again.” I have not heard a better song about Nicodemus.

This is followed by what might be the most gorgeous track. Ginny Owens composed the music for “All I’ve Ever Done” and performs it on piano. She is the sole voice of the lyrics written by Card from the perspective of the so-called “woman at the well” (John 4). Card wisely chose to have a female voice, and Owens rises to the occasion, giving one of her best performances.

This continues Card’s inclination to collaborate. I admire his willingness to share the microphone. He makes “better together” more than a cliché. It’s a reminder that when people work together the result is often greater than mere individual efforts.

“Scribbling in the Sand” (John 8) describes what Jesus did when asked what should be done with a woman caught in the act of adultery. Previously, this was recorded for a live performance bearing the same title, released in 2002. It’s one of Card’s most inspired songs. This features him on piano and John Catchings on cello creating a sound that is timeless.

Also included is the only song that I have ever heard about the time when the Bible simply says, “Jesus wept” (John 11). The strings are so delicate, the perfect enhancement to the fragile sentiments.

The closing, “Stranger on the Shore” (John 21), was originally recorded on First Light (1981). The bold chorus stands out: “You need to be confronted by the stranger on the shore/You need to have him search your soul; you need to hear the call/You need to learn exactly what it means for you to follow/You need to realize that he’s asking it for all.” It’s a challenging way to end this recording and the series.

There may be a few too many piano ballads here for some, but that format fits the deep subject matter well.  The variation is about right, and each song can be a source of meditation. Whenever Card reflects on the life of Jesus, which is often, you can expect songs that convey some of the spiritual riches found in Christ. This does not disappoint.

John: The Gospel of Wisdom - Michael Card

Developing an informed imagination is like gathering wood so that you can enjoy a fire.

John: The Gospel of Wisdom

Author: Michael Card

Publisher: IVP Books (www.ivpress.com)

Pages: 234          

Perhaps the highest praise I could give for John: the Gospel of Wisdom by Michael Card is that it creates a desire to become a better student of the Scriptures. This sentiment applies to any of the four commentaries, one for each gospel, which Card has authored over the last four years.

I greatly esteem his work as a musician, songwriter and recording artist, for which he is probably best known. He gave us “El Shaddai,” the song made popular by Amy Grant. And yet, for all his accomplishments in music and as an author of many books, I think this four volume commentary set is his most significant work.

His exposition of the Scriptures over the years in song and book have brought him to the place where he can make the gospel accounts of Christ come to life in the imagination of his readers. One of the beauties of this effort is that these commentaries are made to be read instead of just being a work you consult. They are scholarly but accessible, detailed but brief. Card has achieved a wonderful balance.

His intent goes beyond providing information. Card sets an example of gathering facts in the service of a sanctified use of imagination. It’s like gathering wood so that you can enjoy a fire. It’s seeing the Scriptures come alive through gaining a clearer picture.

Card writes, “It is always the informed imagination. We must become committed to doing the work, to finding the best sources, beginning with the primary sources, the earliest writings: Mishnah, Talmud, Josephus, Pliny, Suetonius and Tacitus. These ancient sources do not exist only for the scholars. They are all readily available, now more than ever with electronic books. (Many of them are free!) (13)”

So the greatest benefit may not be reading Card’s exposition. It’s following his example of learning how to interact with the Bible in such a way that it becomes more than just words on a page. Right from the start (in the preface), he demonstrates the method he learned when he references John 7:37, the verse he identifies as being “responsible for opening the door of my imagination to engage with the Scripture” (11).

William Lane, a man Card regards as a mentor, opened that door by asking a few simple questions in a lecture hall filled with students. Out of the silence, Lane began to quote from memory a passage from the Mishnah (the collected teachings of the rabbis between 200 B.C. to A.D. 200), which provided background information on what occurs on the last day of the Feast of Tabernacles. Lane instructed the class to take that information and return to the passage where Jesus cries out, “If anyone is thirsty, let him come to me and drink …”

Card describes his watershed moment as follows, “This was the first time I had ever read the Bible with an informed imagination. The words on the page that a moment ago were a dry devotion became a motion picture in full color…. The thought of it still takes my breath away over thirty years later” (12).   

Aside from seeing Card’s technique at work, I appreciate his valuable insights. He offers the following in relation to Jesus being full of grace and truth: “Jesus is full of grace and truth, but not truth as anyone in the history of humankind has ever known. Not truth as a right answer or truth as the correct words, but truth as a person—living, breathing and eventually bleeding and dying. Truth that one comes to know personally in the context of a life, not between the pages of a textbook. From this moment on, knowing the truth will not necessarily mean being right but rather being faithful. Knowing the truth will no longer mean knowing the answers but only knowing Jesus Christ” (36).

Card also has relevant discernment. In reference to the man at the pool of Bethesda (John 5), who had been sick for 38 years, he writes, “Jesus understands that there is no point in engaging with this man. If he is ever to walk again he must simply be commanded to do so. Because Jesus, in his humility, so often says, ‘it is your faith that healed you’ (compare Mk 10:52; Lk 18:42), some have taught that a person must have faith in Jesus to be healed. This story flies in the face of that erroneous idea. The man has no idea who he is talking to” (77).

When covering Jesus’ difficult sayings in John 6, Card wisely avoids getting sidetracked through discussion of the various ways this passage has been interpreted. I might have wanted him to go further, but he keeps it straightforward without any divisive application.  

When he does make application, as is the case in the beginning of John 6, it has a broad nature: “My mentor William Lane used to say that the followers of Jesus should always work at the level of their own inadequacy. We shouldn’t be satisfied simply doing the things we are good at. We should strive to be right on the edge so that if the Lord doesn’t show up to help us, we will fail miserably” (85).

“The story of the woman taken in adultery is one of the most problematic passages in the New Testament in terms of authenticity (103),” Card writes in his opening remarks on John 8:1-11. He goes on to say, “Against its genuineness are the facts that the oldest manuscripts of John do not contain it, and none of the church fathers referred to it, showing that their manuscripts did not contain the passage either.” Card explains that “the most widely held explanation to these problems is that the story was cut from the earliest copies of John because Jesus seems to be condoning adultery. Later it was restored, though its original position in the text had been lost.”

Card’s examination of the evidence leads him to conclude that the accepted explanations are inadequate. He briefly outlines the case for the authenticity of the passage. Right or wrong, I appreciate his ability to gather facts and form his own conclusions. Because it’s not found in the oldest manuscripts, I have suspected that the passage did not belong, but Card gives me another viewpoint to consider.

I appreciate his attention to detail. It’s what makes him a fine scholar.

I wonder if the publisher could package this four volume series in a box set. Regardless, it will be a fine addition to any library, personal or institutional.

Along the way, Card has recorded an album of songs, one for each of the four gospels. His ability to incorporate Scripture into song is second to none. Again, the publisher might want to consider a box set for the CDs.

Look for the forthcoming CD review, John: A Misunderstood Messiah. 

Pilgrimage - Steve Bell

Pilgrimage is a journey worth taking.  

Pilgrimage

Artist: Steve Bell (www.stevebell.com)

Label: Signpost Music

Length: Four CDs

How do you commemorate 25 years as a solo artist in the music industry? If you are Canadian musician Steve Bell you create a four disc box set of new songs plus old ones reinterpreted by yourself and friends.

Pilgrimage by Steve Bell is one of the finest releases of the year. It’s not just the quantity of music and the outstanding packaging that includes a 152 page book. The new collection of songs may be Bell’s best release to date.

If he were to give them a subtitle, it would be From Lent to Love. A number of these tracks were originally intended for an album with that theme. They convey the idea of being off-course and the corresponding need to return. Far from being guilt-inducing and condemning, this encourages that step towards becoming whole.

The music is generally mid-tempo, like being on a relaxed journey toward a desired destination. Interplay of finger-picking on a variety of instruments, including banjo, provides a roots music type of experience. Violin player, Hugh Marsh, a past collaborator, weaves his distinctive playing into several tracks. A touch of mournful pedal steel suggests a rural, even desert landscape. The sounds vary but one constant is expert craftsmanship in lyric and performance.

Maturity is evident. I don’t hear youthful angst. Thoughts expressed are full of gentle wisdom.

“Mercy Now,” a Mary Gauthier song, adapted to fit Bell’s own situation, may be the most moving example. This should resonate with those who have aging parents. If ever a song could move to compassion, this is it. It’s sung with such sincerity and tenderness. As it progresses the scope widens beyond family relations: “Every living thing could use a little mercy now/Only the hand of grace could stay the pace/Of nature’s rage against us now.” It makes for some sublime moments.

In contrast, a joyful sound is heard on the opening, “Think About That.” The banjo reminds me of early Sufjan Stevens. This has a cheerful melody with uncluttered production.   

Bell fully intended to write verses to the simple but profound lyric: “Whoever loves God loves all that God loves/Think about that/Think about that.” When the producer heard the words in demo form he said, “It’s done. Leave it alone, there’s nothing else that needs to be said …” No need to distract from the powerful thought. 

Hugh Marsh’s electric violin adds to the magic. It’s a brilliant way to start this commemoration project.

“Big Mistake,” the next song, is a rarity in that it deals with the subject of disillusion. Israel is pictured as a bride that has eloped with her husband. The vocal inflections match the change from honeymoon euphoria to uncomfortable distress. How like the Christian life, especially if we have imagined it as the beginning of bliss with little hardship. 

“Wayfaring Stranger,” the classic hymn, has always resonated due in part to the sense of longing. Once again the production is perfect, being on the quiet side with Bell singing softly. It enables me to experience the familiar in a new way.

This first disc, titled Pilgrimage, which contains the new songs, may be destined to become my favorite of all Bell’s releases. In every way it’s rich in beauty and meaning.

If that isn’t enough, the other three discs are all excellent. Disc 2, Unadorned, is Bell and his guitar, revisiting fan and personal favorites. It adds timelessness to a selection of his best songs and highlights Bell’s skill on his instrument of choice.

On Disc 3, Good Company, friends and collaborators like Carolyn Arends and Bob Bennett, cover Bell’s songs. This has a wide variety of arrangements, and the fresh takes make me appreciate the songwriting. These songs shine once again through the talents of these admirers.

Lastly, Disc 4, Landscapes, holds up surprisingly well with songs stripped of the vocals. Instrumentals take you to different places, and in this case, if a listener is familiar with Bell’s past work, they are reminded of places they have been.

In this life, we can easily become satiated with the wrong things, lesser things, or perhaps, the things that are not best. When I started playing this album it sounded so delightful that I thought why am I listening to anything else? But if unlike me, someone does not take to it immediately, I want to say, learn to like it. Give yourself a chance to discover how much pleasure can come from what initially might not grab attention. It seems like so many of us are impatient when it comes to experiencing art.

Pilgrimage is a journey worth taking. This video gives a sense of the ride: “Turn it Around.” 

Slow Church - C. Christopher Smith and John Pattison

A challenging, refreshing alternative to mass market faith

Slow Church: Cultivating Community in the Patient Way of Jesus

Authors: C. Christopher Smith and John Pattison

Publisher: IVP Books (www.ivpress.com)

Pages: 246

Being in the wrong church can be like being in the wrong job. Those in leadership may point toward the door. If you don’t like it, go somewhere else. At times that may be necessary, but the top-down approach, which mirrors what you find in the business world, troubles me.

Jesus made time for people. Oswald Chambers identified that as the mark of a truly spiritual person. If nothing else, Slow Church moves Christians who comprise the church in that direction and this alone makes the book praiseworthy.

Just the title, Slow Church, is appealing in a society that prizes speed and activity. Programs are the order of the day, and if I can’t find a place, there must be something wrong with me. Again, it’s get with the agenda or be held in low regard.

I’m not against efficiency. There is much to do, the work vital and little time. But when achieving becomes all-consuming, people can become a casualty, more like role players than individuals with unique contributions to make.

I’m not pointing the finger at my church or any other. It’s just something I have observed in a variety of settings.

These types of experiences are what make Slow Church challenging and appealing. It’s the opposite of “franchise faith.” Franchises are all about standardizing to achieve quantifiable results.

The authors of Slow Church point out that “the North American church seems to be just as susceptible as the rest of the culture to the allure of fast life, or what the sociologist George Ritzer has termed ‘McDonaldization’—that is, ‘the process by which the principles of the fast-food restaurant are coming to dominate more and more sectors of American society as well as the rest of the world’” (13). Ritzer identified four characteristics of this trend: efficiency, predictability, calculability (quantifiable results) and control.

Throughout the book, I like how the authors provide the history of how these and related ideas developed and became pervasive. Their inspiration, language and philosophy come in part from the Slow Food Movement. They write, “Just as Slow Food offers a pointed critique of industrialized food cultures and agricultures, Slow Church can help us unmask and repent of our industrialized and McDonaldized approaches to church” (15).

Their vision is the antithesis of the seeker-friendly church growth model: “The primary work of Slow Church is not attracting people to our church buildings, but rather cultivating together the resurrection life of Christ, by deeply and selflessly loving our brothers and sisters, our neighbors and even our enemies” (33).

Slow Church seeks to be as Christ in neighborhoods, communities and the larger world. It sees the interconnectedness of all things. God is not just reconciling individuals but all of creation.

The desire to establish justice in every sphere is almost like a reaction against an industrialized faith that concerns itself with saving souls but may be less attentive to righting wrongs. It reminds me of the apostle Paul recalling the admonition given him by leaders of the early church, “They asked us to remember the poor, the very thing I was eager to do” (Galatians 2:10 ESV).

My pastor once noted that churches often gravitate to one of two extremes. On the one hand, you have churches that are strong in evangelism. Others major in social justice issues. One challenge is to recognize the validity of both while holding them in balance. In addition to sharing the gospel, Paul was eager to help the poor.

In seeking to make the world better through following the way of Christ, Slow Church is counter-cultural, which is a form of evangelism. Here in the US that may be an essential component, given that our society is less responsive to words only. People want to see a difference, an embodiment of the gospel, which is what Slow Church is all about. Even so, it’s important that the good news of Jesus Christ be articulated in words so that people can experience salvation and not just be inspired by an example.

A. W. Tozer once decried a lack of urgency in the Church. It is conceivable that Slow Church, which is long-term oriented and favors the practice of dialogue, might not move as quickly as those who believe the time is short. Giving everyone a say can be time-consuming and tedious. Even though Christians differ on eschatology, there does not need to be a contradiction between urgency and furthering justice. We can look to the Head of the Church to help us hold the two in balance.

Even though some aspects of Slow Church may not be for everyone, there is a wealth of wisdom here to consider. Chapters toward the end on work, gratitude and hospitality can be liberating for both individuals and communities.

When worldly ways infect the Church, it falls short of what God intends and can become dehumanizing. Slow Church is strong on community and makes time for people. This is a real challenge to individualized, consumer-oriented Christianity. I find much to applaud in this alternative, even though the paths presented our difficult when we must act contrary to inclinations and a culture that is achievement-oriented.

C. Christopher Smith is the editor of Englewood Review of Books, a quarterly print magazine that I enjoy. Each issue is in harmony with the principles in this book. It serves in part as an extension of the dialogue found on these pages. Those who want to join the conversation can subscribe at subscriptions.englewoodreview.org.

Why Church History Matters - Robert F. Rea

Seeking consensus across the centuries

Why Church History Matters: An Invitation to Love and Learn from Our Past

Author: Robert F. Rea

Publisher: InterVarsity Press (www.ivpress.com)

Pages: 231

I came to Christ, or should I say, He revealed Himself to me, at the tail end of the Jesus Movement that swept California in the late 60s. It seems ironic that this historic move of God would give rise to a faith that in some expressions would overlook the importance of history. In one sense it was a break from Tradition. Tradition and traditions are explored in depth in Why Church History Matters by Robert F. Rea.

As a young believer, I grew up in churches that, to my knowledge, did not encourage the study of church history. Any references to traditions were negative. I am not pointing the finger; just stating how it was as best as I can remember it.

It was on my own that I discovered the value of reading about historical figures and events. I don’t need convincing from this book, even though it serves as a wonderful apologetic for why church history matters and the place for tradition. If you need persuading, you can’t go wrong by starting here.

Some might wonder, “How will this help me today?” A Christian couple that I have known for a long time now embraces a mindset that leans toward universalism. A family member now promotes a form of teaching known as hyper-dispensationalism. As Rea in this book repeatedly states, church history teaches us to “seek consensus across the centuries—consensus fidelium.” Though we may find individuals who embraced a form of universalism, can we say that this is what the Church through the centuries has believed? As hyper-dispensationalists assert, are there two gospels, one for the Jews and the other for the Gentiles? Are only the apostle Paul’s teachings considered formative for Christians?

What have Christians in the past believed about these matters? This is where the welcome thoughts of the author lead. What is the consensus? If there was none, what can we learn to help us evaluate troublesome doctrine?

Rea leads from the confusion of the aberrational to the quiet repose of the faith that has been believed and practiced since the time of Christ.

He reminds readers that our communion is not just with our immediate circle. The sphere of influence can extend to believers in the past, who can hold us accountable, just as we today hold them accountable by evaluating their teachings.

This takes us to the most fascinating section of the book, which deals with the subject of interpreting Scripture. It starts with an expert summary of how Christians from the early church to the present have sought to rightly divide the word of truth.

One point echoes a reoccurring theme, “(Moises) Silva contends that historic interpretation is God’s gift to the contemporary church” (149). In other words, taking time to read commentaries and to become familiar with church history is not a waste of time. It allows believers from the past to inform us.

Drawing from another referenced writer, Rea states, “we do not know what Scripture means until we have examined what Scripture has meant, that commitment to biblical authority ‘will actually drive us toward a deeper knowledge of Christian tradition and the history of interpretation, not away from it’” (149).

This leads to a discussion of textual criticism, where scholars, taking into consideration a multitude of factors, try to determine the “precise” text of the Bible. The author, through providing specific examples, makes the point “that historical theology helps the translator of Scripture make better, more informed choices about how to translate” (156). Does this seem dry? The author makes it highly readable, so that any Christian can become familiar with this material.

The last section deals with how knowledge of church history is helpful in a wide variety of ministry applications. It feels a little redundant but it is an accurate assessment.

What commends this volume more than anything is the author’s breadth of knowledge and wisdom pertaining to the subject matter. This might be most helpful to those who doubt the benefit of knowing church history and are skeptical of anything related to tradition. The author never advocates a non-discerning approach.

Most church history books give you narrative accounts of actual events. This book is unique in that it provides a framework for engaging historical thought and practices. It’s a convincing argument that Christians are the poorer when we limit our circles of influence.

An Introduction to Biblical Ethics: Walking in the Way of Wisdom, Third Edition - Robertson McQuilkin and Paul Copan

A masterful application of Scripture to life

An Introduction to Biblical Ethics: Walking in the Way of Wisdom, Third Edition

Authors: Robertson McQuilkin and Paul Copan

Publisher: IVP Academic (www.ivpress.com)

Pages: 667

Bob Dylan sang, “Someday, everything is gonna be diff’rent/When I paint my masterpiece.” “Masterpiece” is what comes to mind when I read the third edition of An Introduction to Biblical Ethics by Robertson McQuilkin and Paul Copan.

As close as this comes to such an ideal, one could argue that McQuilkin’s masterpiece is the care he gave to his late wife, Muriel, after she was diagnosed with Alzheimer’s. This moving story of love and sacrifice is told in A Promise Kept (1998). This was what I knew of McQuilkin, before discovering in this volume, that he is a scholar when it comes to discovering the ethics in Scriptures and how they relate to the issues of life.

This 28-year-old textbook, now updated, was used in a class taught by McQuilkin at Columbia International University, where he served as President from 1968 to 1990. Paul Copan, a former student in the class, and now an ethics professor, was eager to collaborate on revising a book that had been so influential in his life.

How appropriate, given McQuilkin’s background, that the opening section focuses on foundations such as love. The authors write in the hope that their examination of the Scriptures and its relationship to modern ethical dilemmas provokes right attitudes and affections, not merely outward conformity to behavior patterns. Repeatedly, they succeed in getting to the heart of the matter: “Love toward God will exhibit single-mindedness (“purity of heart”), obedience and worship. On the human level, love toward others means sacrificing for their well-being without the motivation of personal gain” (31).

I relish their simple descriptions of love: “The primary characteristic of biblical love is commitment to act for the well-being of another” (33). “Biblical love, then, is an affectionate disposition that motivates the lover to consistently act for the welfare of another, whether or not the other deserves it or reciprocates” (37).

Though this is a textbook it is far from being dry. The authors occasionally personalize the material with quotations and anecdotes. Though I highly recommend this for any Bible college or minister’s library, anyone wanting to lead a richer Christian life will benefit from reading this work. It contains a wealth of wisdom that is highly accessible.

Most of the time the authors are in agreement, but when they differ, the book offers both of their perspectives. A person might agree with McQuilkin’s complementarian view of marriage, and then have second thoughts after reading Copan’s egalitarian perspective. Regardless of where one stands, or who seems right, it’s helpful to have summaries of contrasting positions.

This book provides the heart of a biblical perspective on a vast array of subjects. It’s what makes this such a marvelous resource. Gay marriage, transgender issues, dating, abortion, suicide, medical ethics, war and peace, and just about any topic you can think of are covered here. This new edition updates the subjects, making them relevant for our day. Each chapter ends with suggestions for further reading.

The Ten Commandments provide the outline and basic framework for analysis. They are taken in order and each topic is examined and finds its place under the appropriate command. It’s a marvelous exposition from beginning to end.

What a far cry from my experience with the textbooks of my youth! Of course, much of the problem was an unconverted soul with no heart for learning. Even so, textbooks that leave out God are limited. Having Scripture as the source material, this volume comes alive with the breath of God. This takes God and His word as the starting point. It is true delight for the follower of Christ who rejoices in God’s commands.

Even if one may disagree on some points, it’s wonderful to be immersed in such holy perspectives. Our wrestling with complicated issues may help us to not only get closer to the truth but closer to the heart of God.

The regenerate, teachable heart will find living hope.