Welcome to CBE’s Library

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Most evangelicals are accustomed to the Mary of icons with an emotionless face, the Mary of statues draped in a powder blue robe, and the Mary of piety who quietly and submissively obeys orders. And, if you are like me, you have been nurtured in a faith that, intentionally or not, ignores Mary.

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Despite the positive reviews I had heard of The Nativity Story, I went to the movie prepared to be a critic. After all, I thought, it was my duty to see through the cinematic gimmicks and factual errors to produce a film review. Though I came to the film a bit cynically, I left feeling uplifted and moved.

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Esther shows us that leadership is responsiveness to God and to those who are hurting. It is a readiness to self-sacrifice, and it has everything to do with character, intimacy with God, and closeness to those who are vulnerable.

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Many know the story of Queen Esther from the Bible. However, often our own culture and struggles can lead us to “discover” lessons that are not part of the text, or miss important details that are. Often in churches, Esther becomes obscured to the point where this brave woman who was mightily used by God becomes passively subject to the decisions of men. For example, a marriage book released recently by a popular pastor and his wife used the story of Esther to promote obedience to one’s husband, contrasting disobedient Queen Vashti with a “submissive” Esther. Is submission to one’s husband truly the lesson of this narrative?

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The book of Esther tells the story of a Jewish woman who rises from obscurity into the royal court as the new queen of King Xerxes. This narrative includes models of leadership that could not be more different from each other.

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In  the  book  of  Esther,  two  extraordinary  women  leaders, Queen  Vashti  and  her successor, Esther, confronted the patriarchal palace system, eventually acting as power brokers on behalf of themselves and others. 

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In the study of female authority and church leadership in scripture, much attention has been paid to the arguments in scripture, but much less has been made of the voices in scripture.

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For most of my life, I didn’t understand the significance of Advent. It paled next to Christmas. And I felt the same indifference for Advent that I had for every other church season.

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This year, I have noticed Mary more than usual. One of the things I’ve seen is a very strong person who bucks her culture to be what God calls her to be. That resistance has a hidden cost that the Bible doesn’t record directly. 

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Luke 1:46–55 is both a beautiful hymn sung to glorify God and an interpretive puzzle. This text, widely known as the Magnificat, is one of several songs Luke uses at a crucial moment in the birth narratives in order for characters to explain the amazing ways in which God is moving. Luke includes it in his narrative to foreshadow the ministry of reversal Jesus will bring, first to Israel and eventually to all people. It is a praise hymn made up of a combination of OT allusions—more specifically, allusions to the Greek translation of the OT commonly referred as the Septuagint and abbreviated LXX. What follows is a study of the LXX allusions that combine to make up this praise hymn—allusions which have the cumulative effect of presenting Mary as a key character in the continuation of God’s OT promises and plan.

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