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  • I have set my rainbow in the clouds, and it will be the sign of the covenant between me and the earth. - Genesis 9.13
  • He is the God who made the world and everything in it - Acts 17.24
  • Where does my help come from? My help comes from the Lord, the maker of heaven and earth. - Psalm 121.2
  • You alone are the Lord. You made the earth and the seas and everything in them - Nehemiah 9.6
  • The Lord is the everlasting God, the Creator of the ends of the earth - Isaiah 40.28
  • Didn’t my hands make both heaven and earth? - Acts 7.50
  • The heavens declare the glory of God, the skies proclaim the work of his hands. - Psalm 19.1
  • In the beginning, God created the heavens and the earth - Genesis 1.1
  • It was my hand that laid the foundations of the earth - Isaiah 48.13
  • From the rising of the sun to the place where it sets, the name of the Lord is to be praised. - Psalm 113.3
  • He holds in his hands the depths of the earth and the mightiest mountains - Psalm 95.4
  • I made the earth and created man on it - Isaiah 45.12
  • Lift up your eyes and look to the heavens: who created all these? - Isaiah 40.26

Can We Be Good Without God?

Can-we-be-good

Below is part of this 40 page booklet. If you would like a copy of the whole booklet then contact Steve and he will send it to you for free.

I think you will also find this video helpful.

Falling Plates

 

In December 2005 a film produced in Hollywood and shot mainly in New Zealand swept into Britain on a tidal wave of publicity. Costing $150 million to make, it had already attracted huge audiences in the United States. Now, as it reached the homeland of the author on whose book the screenplay was based, the response was phenomenal, not least from professional film critics. In the Daily Mail, Chris Tookey opened his review by saying, ‘Here is a wonderful, colossal, stupendous film… This is not just a “must see” but a “must see again and again”.’ He went on to call the acting quality ‘exceptional’, the special effects ‘breathtaking’ and the climax ‘truly amazing’. Other newspapers added their enthusiastic endorsements. The Daily Express called it ‘magical’; the Sunday Express said it was ‘enchanting’ and the Metro thought it was ‘sensational’.

Almost as remarkable as the chorus of commendations was the fact that the film had none of the elements often found in modern movies. Although it contained some lively battle scenes, there was no sleaze, no profanity, no salacious sex, no gore and no nudity. Instead, it championed faith and morality. As the Daily Mail’s Christopher Hart put it, it was ‘a story about loyalty through thick and thin, human weakness, looking out for each other, courage, forgiveness, sacrifice and redemption’.

The film was The Lion, the Witch and the Wardrobe, the first of an intended six films based on The Chronicles of Narnia, a series of books written by the universally respected British author C. S. Lewis some fifty years earlier. Although not well reviewed at first, they steadily grew in popularity and over 100 million copies had been sold by the time the first live-action adaptation reached the cinema. In its opening weekend box office takings grossed $67.1 million and attracted rave reviews from coast to coast. The New York Daily News rated it ‘a thrilling success’, the San Francisco Chronicle said it was
‘a movie of intelligence and power, of beauty, universality and largeness of spirit’ and the Baltimore Sun called it ‘downright ennobling’.

Not everybody agreed. After the film’s British premiere the Guardian’s Polly Toynbee let fly. She found some of it ‘toe-curlingly, cringingly awful’, saw the whole thing as being ‘profoundly manipulative’ and ‘dark with emotional sadism’ and approvingly quoted author Philip Pullman’s condemnation of The Chronicles of Narnia as ‘one of the most ugly, poisonous things I have ever read’. The key to understanding Toynbee’s devastating outburst becomes clear at the end of her review, when she attacks the film’s central character as ‘an emblem for everything an atheist objects to in religion’. This lets a rather large cat out of the bag, as it tells us that she was writing not as an objective film critic, but as a hard-core atheist, convinced that, as we face the constant conflict between good and evil, there is no God to whom we can turn. In her own words, ‘No one is watching, no one is guiding, no one is judging and there is no other place yet to come… There is no one here but ourselves to suffer for our sins, no one to redeem us but ourselves… We need no holy guide books, only a very human compass.’ This sets the scene perfectly for all that follows in this booklet.

The starting point

Polly Toynbee’s main point is that in the absence of God we are perfectly capable not only of redeeming ourselves from the harmful effects of evil, but of drawing a clear distinction between evil and good in the first place. All we need to make the all-important distinction is ‘a very human compass’. But is this the case? Unless God exists, can we even discuss whether anything is ‘good’ or ‘evil’? Do these words have any real meaning unless God is central to our world view? This is the real starting point.

Everyone has a world view, as it simply means the way you look at anything at all — including history, the natural world, your own life and the lives of others. It governs your basic beliefs about all reality, including your total outlook on the universe and your own place in it. Put even more…

Used by permission of Evangelical Press

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Often the only difference between a good day and a bad day is your attitude. TobyMac
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For where you have envy and selfish ambition, there you find disorder and every evil practice. James 3:16
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Is prayer your steering wheel or your spare tire?
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