At the heart of the gospel is a God who deliberately surrenders to the wild, irresistable power of love.

God reproduces and lives out His image in millions of ordinary people like us. It is a supreme mystery. We are called to bear that image as a Body because any one of us taken individually would present an incomplete image, one partly false and always distorted, like a single glass chip hacked from a mirror. But collectively, in all our diversity, we can come together as a community of believers to restore the image of God in the world.

The problem of pain meets its match in the scandal of grace.

I fell in love. It felt exactly like a fall, a head-over-heels tumble into a state of unbearable lightness. The earth tilted on its axis. I did not believe in romantic love at the time, thinking it a human construct, an invention of fourteenth century Italian poets. I was as unprepared for love as I had been for goodness and beauty. Suddenly, my heart seemed swollen, too large for my chest.

God operates by different rules of time and space. And God's infinite greatness, which we would expect to diminish us, actually makes possible the very closeness that we desire. A God unbound by our rules of time has the ability to invest in every person on earth. God has, quite literally, all the time in the world for each one of us.

Nature was one of the key forces that brought me back to God, for I wanted to know the Artist responsible for beauty such as I saw on grand scale in photos from space telescopes or on minute scale such as in the intricate designs on a butterfly wing.

Thunderously, inarguably, the Sermon on the Mount proves that before God we all stand on level ground: murderers and temper-throwers, adulterers and lusters, thieves and coveters. We are all desperate, and that is in fact the only state appropriate to a human being who wants to know God. Having fallen from the absolute Ideal, we have nowhere to land but in the safety net of absolute grace.