The Price of Admission

The most recent version of this post is available here.

Can A Loving God Send People to Hell?

Hell is a terrible place. It is described as an everlasting fire which was created for the punishment of the devil and his angels. Christ told the story of how one man in hell was in such torment that he begged for just one drop of water to cool his tongue. Some want to know how, if God is love, he could send people to eternal judgement ‘just because’ they did not put their faith in the Lord Jesus Christ. 

The problem is that we do not realize the seriousness of sin.

On Reorganizing our Concept of Love

The following is excerpted from a sermon I enjoyed last night (I did, in fact, warn the preacher that he was likely to be transcribed):

“Beloved, let us love one another, for love is from God, and whoever loves has been born of God and knows God. Anyone who does not love does not know God, because God is love.” (1 John 4:7-8)

“God is love,” says the Bible.

We must be careful that we don’t make of that something sentimental or insincere. God is love, but in our society today, many people believe love is god.

And there’s a difference.

Love Is Not Enough

One of my favourite recordings ever is a tune Todd Rundgren wrote for his band Utopia’s 1977 album, the last song on the record. Like many pop tunes, it failed to chart or make waves (or money) until a folksy American duo covered it in 1979 and people started to listen:

“I’ve looked high and low, I’ve been from shore to shore to shore.
If there’s a shortcut, I’d have found it. But there’s no easy way around it:
Light of the world, shine on me, love is the answer.”

To me the more successful England Dan & John Ford Coley version misses the point. It’s got all the same words, but none of the intensity. They sing it sweetly, harmoniously and entirely without giving the impression that it matters. It’s full of breezy sax fills, bright keyboard figures and strings. Even the choir in the hit version is subdued. And without intensity, the hippified cliché of the title comes across corny and trite (that’s my take anyway, though ‘corny and trite’ outsold ‘intense’, so what do I know). But Rundgren’s vocal on his original has none of that flat, overproduced perfection. He positively rips it, especially toward the gospel-inflected end of the song where the choir kicks in with serious intent.

If it didn’t mean something to him at the time, you certainly could’ve fooled me.