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Jim McCrory

The Dream We Seem to Share

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Edited by Jim McCrory, Saturday 25 April 2026 at 08:06

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The Dream We Seem to Share

I woke at 6am this morning having something I felt I had to write about. It was about a trip I took this week and the people I met. There are places where something loosens in us before we quite understand why. I felt it this week in Oban, and more so on one of the small islands scattered beyond it, where land and sea seem to speak quietly to one another. I cannot say if it was the weather, or the softened cadence of those who live closer to the elements, but conversation came more easily there—between islander and visitor and tourist and visitor between strangers who, for a moment, did not feel entirely unknown.

It is as though such places carry their own steady rhythm. In cities, people pass through each other like shadows cast in haste, each life sealed behind invisible glass. But on the islands, people seem to move with one another, not as an effort, but as a condition of being. There are fewer layers to navigate, fewer roles to perform. A person stands before you not as a function, but simply as themselves—someone under the same sky, walking the same ground, breathing the same salted air.

The elements themselves seem to conspire in this quiet uniting. The breeze is not a backdrop but a presence. The shifting light, the sudden trickle of rain, the long silences between waves—these are shared experiences, not private inconveniences. When two people stand beneath the same settled sky, there is already something held in common before a word is spoken. It is a kind of unspoken fellowship, where connection does not begin with language but with noticing.

Time, too, feels altered. It stretches, not into emptiness, but into something more humane. There is less urgency pressing upon each moment, less demand to move on before something has had the chance to deepen. Conversations are not cut short by invisible clocks. They are allowed to breathe, to wander, to exist without purpose. And in that unhurried space, something truer often emerges.

There is also a quiet expectation, almost a moral one, that you will acknowledge another person’s presence. A nod, a brief word, a passing question—these are not gestures of politeness so much as recognitions of shared existence. To ignore someone would feel more unnatural than to greet them. And so, without quite realising it, you begin to fall into that rhythm yourself. You become more open, not by effort, but by exposure.

Yet it would be incomplete to say that this change belongs only to the place. Something within you shifts as well. The landscape does not merely surround you; it rearranges you. You begin to notice more and demand less. You become, perhaps, a little more willing to meet another person without the need to defend or define yourself. What emerges is a kind of relational clarity; where connection is no longer something to be achieved, but something that simply happens when presence is undisturbed.

And once you have known this, even briefly, the contrast with the guarded pace of busier places can feel almost jarring. You begin to sense how much of ordinary life is shaped by distance a distance carefully maintained, subtly enforced. The islands, in their quiet way, undo that distance.

The boundary between lives is thinner than we imagine, as though the stranger was never entirely separate, only waiting to be recognised. It was Walt Whitman I believe who wrote with a kind of trembling awareness: “ Whoever you are, I fear you are walking the walks of dreams...” It is a curious line, unsettling in its intimacy, as if he glimpsed something shared beneath the surface of all passing lives.

Perhaps that is what places like these awaken. Those who are drawn to beauty—to the quiet dignity of the earth’s finer places—often stand at the edge of a deeper recognition. It is not only that the world is beautiful, but that its beauty feels intentional, almost communicative. It does not seem like an accident one can easily dismiss. There is, woven into it, a suggestion of meaning, of design, of something that exceeds mere chance.

And alongside this is another quiet truth we carry: a reluctance to leave this world. Not simply out of fear, but out of a sense that we belong here, that there is something unfinished in our presence. It is as though the beauty we encounter is not only to be admired, but to be remembered; it points beyond itself.

The ancient writer of Ecclesiastes spoke of eternity being placed within the human heart, a strange and persistent awareness that we are made for more than the span we are given. And in the Gospels, Jesus Christ speaks to a dying man not of endings, but of arrival: “You will be with me in paradise.” It is a statement that does not argue, only invites.

So perhaps what is stirred in such places is not only a social ease, nor even a love of beauty, but a kind of homesickness for something we have not yet fully known. A shared dream, quietly carried, sometimes unspoken, yet recognised in moments of stillness; in a passing conversation, in a held glance, in the simple awareness of standing together under the same sky.

And for a moment, on a small island at the edge of the sea, it feels as though that distance between people, between longing and fulfilment, has narrowed, just enough to be felt.

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Jim McCrory

Ghorbat: A Word for the Weary Soul

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Ghorbat: A Word for the Weary Soul

My thoughts and prayers are with the Iranian people at this time. As I reflect on their situation, I find myself thinking of the Persian word Ghorbat (غربت).

It is a word that speaks of a deep and quiet loneliness. It describes the feeling of being a stranger in the world, even when surrounded by familiar faces. Sometimes it refers to homesickness, yet often it reaches further than that. It is the sense that, in some way, you do not fully belong where you are.

Many people encounter this feeling during their spiritual journey, especially when life becomes difficult and the heart begins to ask deeper questions.

Who is God?
Why is there so much suffering?
Does God know me?
How can I be sure?

There are moments when faith sets a person slightly apart. The questions carried within the heart, and the longing that grows there, are not always easily shared. At times it can feel like walking along a quiet road while the rest of the world rushes somewhere else.

Yet Scripture offers a gentle assurance that another journey is unfolding, one that is guided by the Holy Spirit.

Scripture says in 2 Chronicles 16:9,

“For the eyes of the Lord run to and fro throughout the whole earth, to show Himself strong on behalf of those whose heart is loyal to Him.”

Farsi (Persian)
«زیرا چشمان خداوند در تمام زمین گردش می‌کند تا خود را به نفع کسانی که دلشان نسبت به او کامل است، نیرومند نشان دهد.»

Over the years I have often read accounts emerging from Iran. Many of these stories are shared quietly, sometimes almost in whispers. They speak about dreams. Not ordinary dreams, but dreams in which Jesus appears to people, speaking to them, calling them, comforting them.

Even a simple search reveals many such testimonies.

When the Bible becomes difficult to obtain, something remarkable often seems to happen. Faith finds another way. Similar stories are heard from places such as North Korea, Afghanistan, and other parts of the Middle East. When the written word is hidden, the message still finds its way into the quiet places of the human heart. No regime can limit what God has approved.

Within that spirit of hope there is reassurance.

The Gospel contains a promise that speaks directly to this longing. In the Farsi Bible, Jesus says:

English (Luke 23:43)
“Truly I tell you, today you will be with me in paradise.”

Farsi (Persian)
«به‌راستی به تو می‌گویم، امروز با من در فردوس خواهی بود.»

These words carry a gentle truth. Sometimes the homesickness we feel is not really for a place on this earth.

Perhaps Ghorbat is more than loneliness or homesickness in the ordinary sense. Perhaps it is a longing for another home, a place where love, righteousness, kindness, and peace reign. The paradise that Jesus spoke of.

For now, though, peace can still be found in the midst of a restless world. Hope can still appear in the middle of uncertainty.

For those who search quietly, whether in Iran, Afghanistan, North Korea, or anywhere else, such words can feel like a light in a darkened room.

The feeling of being a stranger may remain for a time. Yet the promise remains also.

And perhaps that quiet longing in the soul, the sense that we do not quite belong here, is not something to fear.

It may simply mean that our hearts are already turning toward another home.

 

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Jim McCrory

Longing for the Ending We Were Made For

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“Every happy ending is a hint of home.”

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Longing for the Ending We Were Made For

 

While searching for a film free of sex, violence, and the occult, we unexpectedly encountered something far rarer: goodness. The Indian film Bajrangi Bhaijaan offered not merely clean entertainment, but a deeply humane story—one that lingers long after the screen goes dark. It tells the story of Pawan, a simple, devout Indian man whose life is upended when he discovers Shahida, a mute Pakistani child, lost and separated from her family. What follows is not a tale of ideology or nationalism, but of costly compassion. Pawan’s journey to reunite Shahida with her parents is perilous, humiliating, and socially dangerous, yet he presses on, guided by conscience rather than fear.

The film’s emotional power culminates in a moment that feels almost sacramental. As Shahida crosses the border and realizes she may never see Pawan again, the impossible happens: she finds her voice. Her cry—his name—breaks through barbed wire, politics, and silence itself. It is a moment of pure joy, a vindication of love, and a reminder that some endings feel “right” in a way that transcends plot. We leave the film satisfied, even grateful. And then the question quietly arrives: why?

Why do such happy endings move us so deeply? Why do we crave them—not only in films like Bajrangi Bhaijaan, but in novels, myths, fairy tales, and the stories we tell our children? Are these endings merely sentimental escapes from a harsh world, or do they reveal something essential about us?

From the very beginning of life, human beings reach for joy. An infant cries until it is held, fed, and comforted. That instinct never disappears; it matures. As adults, we pursue happiness through love, work, creativity, justice, beauty, and faith. Even our appetite for stories reflects this longing. We identify with characters who endure suffering and yearn for resolution because we recognize ourselves in them. Their joy reassures us that happiness—somewhere, somehow—is possible.

Yet lived experience rarely mirrors the structure of a satisfying story. Life often resists resolution. Loss remains unresolved. Justice goes unmet. Illness, betrayal, and grief arrive without warning. If happiness is so fragile and fleeting, why does our longing for it remain so stubbornly persistent?

This tension lies at the heart of the human condition. We are creatures who ache for permanence in a world defined by decay. We desire fulfilment, yet everything we grasp slips through our fingers. C.S. Lewis observed that this mismatch is not accidental. He argued that when we find within ourselves desires that no earthly experience can satisfy, the most reasonable explanation is not that those desires are illusions, but that they were never meant to be fulfilled here. We were made, he suggested, for another world.

This insight resonates deeply across religious traditions, particularly within Christianity. Scripture speaks of a future in which tears are wiped away, death is defeated, and sorrow is no more. In this vision, our longing for happiness is not a weakness or a naïve denial of suffering. It is evidence—a clue embedded in the soul—that we are oriented toward eternity. We want joy because we were designed for it.

Stories like Bajrangi Bhaijaan echo this deeper truth. They remind us, however briefly, of a moral shape to the universe—a sense that love should triumph over hatred, that sacrifice should be rewarded, that brokenness is not the final word. Such stories awaken what Lewis called the longing for the “far-off country,” a place where goodness is not fragile and joy cannot be taken away.

Even stories that end in tragedy participate in this longing. When injustice remains unresolved or suffering goes unanswered, we feel not indifference but protest. We want wrongs to be made right. That dissatisfaction itself points beyond the world as it is toward a world as it ought to be.

Many explanations have been offered for our relentless pursuit of happiness. Evolutionary psychology suggests it aids survival. Classical philosophy elevates happiness as the highest human good. These accounts explain part of the story, but not its depth. They cannot fully account for the aching, almost homesick quality of human longing—the sense that joy is not merely pleasurable, but proper, as though it belongs to us by design.

That longing appears spiritual at its core. It is bound up with love, beauty, creativity, and transcendence—with the sense that we are meant for more than endurance. As Augustine famously wrote, our hearts remain restless until they rest in God. The restlessness itself is revelatory.

Real life seldom offers the tidy resolutions we encounter in films. Yet this does not render our longing foolish. On the contrary, it invites us to view life as a story still unfolding. Just as the darkest chapter in a novel often precedes its resolution, our present suffering may not be meaningless. It may be preparatory.

Whether one accepts the promise of eternity or not, the human hunger for happiness remains undeniable. It shapes our stories, animates our choices, and gives direction to our hope. If Lewis was right, then every truly happy ending is a signpost—pointing beyond itself toward a joy that is not imagined, but promised.

And so we keep searching for happiness; not because we are blind to suffering, but because joy is written into the fabric of our being. Perhaps what we are really seeking is not happiness itself, but its source. For every story, in the end, gestures toward a greater one: a journey from longing to fulfilment, from brokenness to redemption, and from time into eternity.

As Jesus said to the dying thief, “Truly I tell you, today you will be with Me in Paradise.” That promise—quiet, undeserved, and final—may be the truest happy ending of all.

 

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Jim McCrory

But Seas Between Us Broad Have Roared

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Edited by Jim McCrory, Sunday 25 January 2026 at 18:45

But seas between us broad have roared
since auld lang syne.
And there's a hand my trusty friend
And give me a hand o' thine
And we'll take a right goodwill draught
for auld lang syne

Robert Burns

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But Seas Between Us Broad Have Roared

I have a large plastic folder at home that I cannot throw away.

I have been careful about almost everything else. Since my cancer diagnosis, I have done what the Swedes call death cleaning: giving things away, discarding what no longer earns its place, loosening my grip on objects that once felt essential—like photos, which I have passed on to posterity. Books have gone. Papers. Mementoes I defended for years with elaborate justifications now seem strangely willing to leave.

But not this.

The folder is plain and slightly warped with age. Inside it are business cards and contact cards collected over decades, mostly from Christian conventions and gatherings in Berlin, Paris, Edinburgh, and other cities whose names still feel larger than my present world. The cards are from the French, Germans, Dutch, Belgians, Japanese, Poles, Ukrainians, Russians, Italians, Swedes, and other nationalities. Names, email addresses, family photos, and phone numbers—sometimes with handwritten notes; details that felt important at the time.

There is no practical reason to keep them. Decades have passed. I will not contact these friends. Life, with its quiet and uncompromising turns, has made that impossible. Some of them will be dead. Some unreachable. Some so changed that even recognition would feel dishonest. I am no longer who I was when these cards were exchanged across café tables strewn with leaflets, faith, and optimism.

And yet the folder remains.

What it holds is not a network, nor even nostalgia in the usual sense. It is evidence. Proof that for a moment—sometimes only a very brief one—connection happened. That faith made strangers speak to one another as if they belonged to the same story, even if they would never share another chapter.

I’ve been thinking about this folder in connection with Auld Lang Syne, written down by Robert Burns, who once lived just along the road from me here on Scotland’s west coast. With music added, the song is often treated as sentimental—a harmless ritual for New Year’s Eve or other partings. But I don’t think it is really about the past at all.

Auld Lang Syne mourns the limits of time.

It recognizes something quietly unbearable: that some connections are real, even sacred, and yet cannot be sustained within one human lifespan, one geography, one changing self. The song never says we will stay. It only says we once held this together. And that restraint is everything.

There is a kind of honesty in that which feels almost moral. The song does not pretend that love, friendship, or shared struggle can always survive careers, illness, distance, age, or death. It accepts that finitude fractures continuity—not because people fail, but because life itself is short and fragile.

Psychologically, this is rare. Most cultures offer us stories that resolve connection into permanence: always, forever, till death do us part. Auld Lang Syne offers something more difficult, and perhaps more truthful: connection can be complete without being continuous.

Sociologically, that idea unsettles us—especially now, when technology whispers that nothing should ever be lost, that every relationship can be retrieved if only we try hard enough. The song gently frees us from that demand. It says: you did not betray the bond simply because time moved faster than you could.

That is why it is sung at thresholds. It is not so much a farewell as a witness. Someone stands with you—only briefly—to acknowledge that what existed was real, that it mattered, and that it has not been erased by silence or absence.

The handclasp at the end matters. People cross arms awkwardly, unsure who is holding whom. It is a physical admission of the truth the song dares to hold: connection can be briefly re-entered, but not permanently re-inhabited. We touch, and then we let go.

There is something almost theological in this, even though the song never names it. A sense that meaning exceeds duration. That what is shared participates in something larger than time, even if time itself cannot hold it.

This is why I cannot throw the folder away.

Those cards are not unfinished business. They are not failures of friendship. They are witnesses. Each one says: for a moment, this mattered. That prayer was shared. That recognition crossed borders that history works very hard to keep intact.

This life is not long enough to carry all the love it generates. Some of it must be set down without resolution.

And yet.

There is a moment in the Gospels where Jesus turns to a dying man beside him and says, “Today you will be with me in paradise.” It is not explained. No map is drawn. No mechanics are offered. It is simply a promise spoken at the edge of time, where explanation would be too small.

But in these words of Jesus, we do not have a promise so much as a denouement: a new life where old connections, found worthy of that life, may renew—and where friendships, old and new, may meet again at the cusp of eternity.

So I keep the cards.
And I keep the question.

And still, the cup is raised.

'And Jesus said to him, “Truly I tell you, today you will be with Me in Paradise.”'

Luke 23:43

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Jim McCrory

Let’s Escape This Life for a Day

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Edited by Jim McCrory, Friday 5 September 2025 at 15:13

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Let’s Escape This Life for a Day

In 1999, I lived for a time in Stavanger, Norway. Most mornings, leaving Randaberg and heading into the city, I stopped at a filling station for a freshly made skolebolle—a school bun. I can still taste the custard, coconut, and sweetness. I miss them still.

Sometimes, in the private cinema of my imagination, I step into a time machine and escape this life for a single day. Don’t tell me you’ve never entertained the thought. One press of a button and I’m in a 17th-century Japanese village, mist curling like silk above the paddies, sandals shuffling across the earth. Another press and I’m wandering an Indian night market, the air alive with cumin and cardamom, the chatter of merchants and buyers weaving a living symphony. Or perhaps I’d go further still—away from humanity altogether—and find myself alone in the Rockies, a bag of skoleboller somehow beamed away while the coffee brewed. I’d pitch my tent beneath a midnight sky brimming with stars and listen to a silence so complete it feels as though the earth itself is holding its breath.

But then the dream fades. I blink, and here I am—back in Scotland on a Saturday evening. Nothing extraordinary. Just reality humming along.

And in those quiet returns, the questions arrive. What’s it all about? Why are we here at all? Are we only a passing arrangement of atoms—chance evolution—replicating ourselves until we vanish? Some are content with that explanation. I’m not. Because the world does not behave as though it’s meaningless.

Think about it. Flowers bloom in colours that surpass function. Birds sing songs more elaborate than survival requires. We, too, hunger for what is unnecessary. We write poetry. We compose music. We fall in love with paintings, with stories, with the way sunlight filters through a late-afternoon window. None of this is needed to stay alive. Yet without it, are we truly living? The unnecessary becomes essential.

And then there’s time. We grow older. Doors begin to close one by one. Torschlusspanik, the Germans call it—the panic of gates shutting as opportunities slip away. Suddenly, we cling to life with a desperation we never knew was in us. Few are ready to say, “Tomorrow is enough.” We bargain for more time, more seasons, more chances. Why? Because something deep within whispers that life ought not to end.

My sister once spoke with an old man who stood weeping at the sight of the countryside. When she asked if he was alright, he said, “I see all this beauty, and I don’t have much longer to live. But I want to stay.” His tears were the language of eternity. He wanted more not because he was greedy, but because he was human.

The writer of Ecclesiastes put it plainly: God has “set eternity in the human heart.” That single thought explains much of our restless longing. It explains why sunsets undo us, why we fear the final curtain, why we ask questions that biology cannot satisfy. It tells us that our hunger for permanence is not a flaw but a clue.

The Garden of Eden was a template for what the whole earth was meant to be. Our first parents were told to spread out and cultivate the land. Imagine it—the whole earth filled with Rockies, Japanese gardens, skoleboller, and the rich delights of every age and culture. And here is the point: with eternity in your lap, there is no need to beam about. There is no hurry. Build a boat, sail to the Orkneys, then to the Faroes, and on to Norway. Ride a horse to Stavanger. Kult! as the Norwegians say.

“Truly I tell you, today you will be with me in paradise.”
— Luke 23:43 (NIV)

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Jim McCrory

Why Are We Here? Let's Escape This World For a Moment

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Edited by Jim McCrory, Thursday 28 August 2025 at 12:50

Updated at

Let’s Escape this Life for a Day | learn1

He has made everything beautiful in its time. He has also set eternity in the human heart…” 

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Jim McCrory

The Secret Kept in Children's Books and Picturebooks

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Edited by Jim McCrory, Monday 26 August 2024 at 11:13

"“Some day you will be old enough to start reading fairy tales again.”
― C.S. Lewis


Image by https://unsplash.com/@matblueforest

I have an embarrassing  secret. I am happy to tell you what it is so long as you don’t tell anyone. Is that a deal? This is my secret. I love children’s books. At my age I should know better, but it's an addiction . I love them so much that I changed my degree from a Literature Degree to an Open Degree to accommodate EA300 Children’s Literature with The Open University.

Gyo Fujikawa is the most addictive for me. Children in paradise. Waving from tree houses. Gentle fairies and children no bigger than polka-dot toadstools. Captivating. But, there's the loneliness of the child with no one to play with except a frog. That saddens me. I was a lonely child and I empathise. 

https://www.newyorker.com/books/page-turner/how-gyo-fujikawa-drew-freedom-in-childrens-books

Then there’s Astrid Lindgren’s The Children of Noisy Village. I’m a Swedophile who can speak a few words of Swedish and I am in awe of the beauty and setting where the tale is filmed. An age of innocence. Swedish village life that will never return, perhaps.

https://tv.apple.com/no/movie/the-children-of-noisy-village/umc.cmc.13bmjs0xgg1sv8sju2tv3za5j

There’s the Portuguese word that best explains my longing to enter a world that these stories encapsulate, Saudade,  a longing or nostalgia for something that cannot be realised.

I guess the reason such stories appeal is the desire to escape mentally from this broken world. C.S. Lewis wrote:

“If we find ourselves with a desire that nothing in this world can satisfy, the most probable explanation is that we were made for another world.”

Interesting, but what world did C.S Lewis mean? Did he mean the world of The Lion, the Witch and the Wardrobe? No, he was a Christian and an academic who wrote children’s books, Christian, apologetic and academic books. The world he was thinking of was the world recorded in Luke 23:43 “Truly I say to you today, you will be with Me in Paradise.”

Writing:  © 2024 Jim McCrory


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Jim McCrory

The Joys and Sorrows of Young Yuguo

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Edited by Jim McCrory, Wednesday 17 July 2024 at 12:21


Image of Bran, Romania, by Calin Stan at https://unsplash.com/@calinstan


The Joys and Sorrows of Young Yuguo

 

In a recent post, I wrote about a music teacher who changed my life and made me believe that Scandinavia was my real home.

Last night, my wife and I watched a moving documentary on Netflix called The Joys and Sorrows of Young Yuguo.

It told the story of a teenage Chinese boy with a good heart who developed a deep desire to study literature and Romanian language in a Romanian university. His love for the country and nation was inspired by the Romanian national poet, Mihai Eminescu. Yuguo, left an incredible impression on his university teachers and the nation as a whole. Somewhere in the future haven of wonder, I hope I will meet Yuguo. His story among other matters, stand as a testament to the transforming power of literature.

I'm curious about all this; is there a place you always felt you belonged to? Make a comment, please.

*******

 “You may have the universe if I may have Italy”: Giuseppe Verdi

After the documentary, I asked my wife, “Is there a place that draws you and makes you feel you belong there?” She replied, “Italy.”

C.S. Lewis wrote of the emotion that creates a desire to live in another world as a glimpse of a future paradise. He wrote,

"If we find ourselves with a desire that nothing in this world can satisfy, the most probable explanation is that we are made for another world.”

And Jesus said to the repentant criminal, “Truly I say to you, today you shall be with Me in Paradise.” Luke 23:43 (Legacy Standard Bible).





Scripture quotations taken from the (LSB®) Legacy Standard Bible®, Copyright © 2021 by The Lockman Foundation. Used by permission. All rights reserved. Managed in partnership with Three Sixteen Publishing Inc.  LSBible.org and 316publishing.com.

 

 


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