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Thursday, 27 March 2025

Weekly Sermon: An Enduring Love.


This week I have recorded the weekly sermon for the Diocese of Chelmsford which is for Mothering Sunday, Sunday 30 March, titled ‘An enduring love’. All the weekly sermons can be found on the Diocesan YouTube page in the 'Weekly Sermon Videos' playlist. The recording of this sermon is above and the text is below:

At the back of Aston Parish Church in Birmingham is a small memory garden planted in memory of my brother, who died tragically in a plane crash in 1999. Most years, my sister takes our Mum to the memory garden on the anniversary of Nick's death to tend the garden and to remember. Last year, because Mum was staying with us at the time of that anniversary and because Nick had served in the armed forces and died as a result of doing relief work following the Bosnian conflict, we went to the local arboretum, the Living Memorial at Rettendon, and prayed in their chapel.

Such experiences parallel those found in the choice of readings used for Mothering Sunday. These include Moses born into slavery and only able to survive as his mother finds a way to have him adopted by the Egyptian royal family (Exodus 2.1-10), as well as Hannah praying into the experience of childlessness and then dedicating her firstborn to serve God in the Temple (1 Samuel 1.20-28). The Gospel readings including Simeon prophesying that Mary's heart will be pierced through her experiences as the mother of Jesus (Luke 2.33-35), a prophecy fulfilled when Mary sees Jesus die on the cross, and Jesus, on the cross, asking John, his disciple, to care for Mary after his death (John 19.25-27).

These stories and experiences take us into the heart of the mix of pain and pleasure involved in first, carrying, then giving birth to, and then supporting a child through life. The experiences and emotions involved are so many and so varied, even where the tragedy of a shortened life is not involved, that it would take a series of novels to really do justice to all that is involved.

At the heart of these stories is the understanding that, at its best, a mother's love will endure through all the challenges that being in a deep relationship with another human being will inevitably bring and that that love will adapt and change in order to be there for their child whatever circumstances may be. That is why motherhood can be used as a parallel for the love of God towards us, a parallel that we celebrate particularly on Mothering Sunday.

While, our personal experience of receiving parenting may not have had that same degree of consistency or care, the reminder that comes to us on Mothering Sunday is that God's love is like that of mothers whose love for their children endures through all the vicissitudes and changes of life, including the challenge of your child dying an early death, as was the experience of both Mary and my mother. The Bible celebrates love expressed in the challenges posed by the messiness of real life, rather than presenting us with an ideal from which we will always fall short.

I have seen, at first hand, how losing a child pierces a mother’s heart, as that is what happened to my Mum when my younger brother died. My love for and appreciation of my Mum grew through seeing her response to sharing the same experience as that of Mary. These are experiences from which we should all seek to learn, seeing them, as was the case for Mary, as being bound up in God’s good purposes for humanity; even, as in her story, as the seedbed for the greatest acts of liberation in human history.

Jesus remembered his mother while he was undergoing the most extreme agony personally. For some of us, to remember our mothers in the way we have just been discussing, might involve complex and conflicted memories which bring back to mind some of our more painful moments in life. Jesus ministered in and through and out of his pain; remembering particular people (his mother and John, his disciple), forgiving those who tortured and mocked him, and dying for the salvation of all.

It is from reflection on those experiences and actions of Jesus, that the idea of the wounded healer has come. This is the idea that our own pain and difficulties - our wounds - do not necessarily preclude us from ministry but may provide a resource or source from which our ministry can flow. To remember and reach out to support, sustain and strengthen others whilst remaining wounded ourselves may be, as was the case for Jesus, among the deepest and most profound of our ministries to others.

In bringing his mother into a mother-son relationship with one of his disciples, Jesus was extending our understanding and concept of what constitutes family life. For John to view Jesus' biological mother as his mother and for Mary to view John as her son, went beyond ties of blood into other forms of relationship. We could talk in terms of adoption (although in our day and time that word has a legal definition that is narrower than what is happening here) or we could talk in terms of extended families (a more helpful phrase, which we have, in part, lost sight of in a time when we still think primarily of nuclear families). However, we choose to categorise what Jesus did here, we need to recognise that he was initiating a family relationship which was not based on ties of blood and that this necessarily opens up space in which a range of family structures and family ties become possible.

In Jesus’s life and teaching there is less of a focus on the structures of our relationships and more of an emphasis on relationships which are characterised by qualities of compassion, kindness, humility, meekness, and patience. These are qualities with which one of New Testament readings for Mothering Sunday (Colossians 3. 12 - 17) calls us to clothe ourselves. These are qualities that we can easily associate with motherhood but which are applicable to all of us as Christians. In Colossians 3 we are called to bear with one another, forgive each other; clothe ourselves with love, which binds everything together in perfect harmony, and let the peace of Christ rule in our hearts, to which we were called in the one body. These are all actions which are consistent with what we understand mothers, at their best, to do for their children. But the call, here, is to practice these qualities not just in our families and among our blood relatives, but with all those we encounter and, especially, here in Church. They are, perhaps, then, maternal qualities for application in Mother Church.

These are the qualities we need to practice and express if we are to share God's love in ways that endure through all the vicissitudes and changes of life as was the case for Mary and my own mother whose love for their children endured through the tragedy of their children’s shortened lives. May we learn from their example and follow in their footsteps. Amen.

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Seen and Unseen: Heading Home: a pilgrimage that breaks out beauty along the way

My latest article for Seen and Unseen is entitled 'Heading Home: a pilgrimage that breaks out beauty along the way'. The article focuses on a film called 'Heading Home' which explores how we can learn a new language together as we travel:

'The aim of all these initiatives is, as Ahmanson explains, what has always been the aim; “to serve this world to make it more like the heavenly home” where our ultimate citizenship lies, and to do so by “creating beauty in buildings and art and music and serving the suffering and those in all kinds of need”. The aim of all these initiatives is, as Ahmanson explains, what has always been the aim; “to serve this world to make it more like the heavenly home” where our ultimate citizenship lies, and to do so by “creating beauty in buildings and art and music and serving the suffering and those in all kinds of need”.'

For more on 'Heading Home', see my interview for ArtWay with Roberta Ahmanson, Siobhán Jolley and Ben Quash.

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally.

My 21st article was entitled 'James MacMillan’s music of tranquility and discord'. In the article I noted that the composer’s music contends both the secular and sacred.

My 22nd article was a book review on Nobody's Empire by Stuart Murdoch. 'Nobody's Empire: A Novel is the fictionalised account of how ... Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.'

My 23rd article was entitled 'Rock ‘n’ roll’s long dance with religion'. The article explores how popular music conjures sacred space.

My 24th article was an interview with Alastair Gordon on the artist’s attention which explores why the overlooked and everyday capture the creative gaze.

My 25th article was about Stanley Spencer’s seen and unseen world and the artist’s child-like sense of wonder as he saw heaven everywhere.

My 26th article was entitled 'The biblical undercurrent that the Bob Dylan biopics missed' and in it I argue that the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey

Wednesday, 26 March 2025

Artlyst - Arpita Singh Social Observations Serpentine North

My latest exhibition review for Artlyst is on ‘Arpita Singh: Remembering’ at Serpentine North:

"The’ Golden Deer’ and ‘Searching Sita through Torn Papers, Paper Strips and Labels’ bring all these strands together in images which, as Geeta Kapur writes, explode with warfare in “planetary wars that will annihilate the universe” and which leave “armies of kith and kin slaughtered on home ground”. The search for unattainable desires, as symbolised in The Golden Deer, is the catalyst for the violence covering the text-based maps that form the torn and dismembered worlds depicted in these works. These large works are major statements about mimetic desire and our human tendency to create and punish scapegoats."

My other pieces for Artlyst are:

Interviews -
Monthly diary articles -
Articles/Reviews -
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Watkins Family Praise - Grief And Praise.

Stride Magazine: The algorithms of prayer?



My latest poem 'The algorithms of prayer?' has been published today by Stride Magazine as part of a series of poems inspired by The Prayer, an art-installation that tries to explore the supernatural through artificial intelligence.

"The artist Diemut Strebe created a talking mouth, which creates and voices original prayers on its own. It is part of a computer system using AI technology, to explore the possibilities to connect to ‘the divine’, ‘the noumenal’ as the mystery of ‘the unknown’ as it appeared in various ways throughout the history of mankind in religious belief and philosophical speculation. The installation’s software uses deep learning, a method of machine learning, that attempts to mimic human brain circuits.

Several questions are involved within this artwork, the most provocative being: How would a divine epiphany appear to an artificial intelligence? The question may sound absurd but the focus of the project could maybe shed light on the difference between humans and AI machines in the debate about mind and matter. It reflects on the potentials and implications of deep learning AI within both its narrow, targeted setting and general (human-like) state."

The series of poems began with 'Algorithmic Prayers' by Rupert Loydell. My poem seeks to explore the nature of prayer through the limits of AI.

My reviews for Stride include a review of two poetry collections, one by Mario Petrucci and the other by David Miller, a review of Temporary Archive: Poems by Women of Latin America, a review of Fukushima Dreams by Andrea Moorhead, a review of Endangered Sky by Kelly Grovier and Sean Scully, a review of John F. Deane's Selected & New Poems, a review of God's Little Angel by Sue Hubbard and a review of Spencer Reece's 'Acts'.

To read my poems published by Stride, click here, here, here, here, and here. My poems published in Amethyst Review are: 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'. My latest poem, 'The ABC of creativity', has been published by International Times. It cover attention, beginning and creation and can be read here.

I am very pleased to be among those whose poetry has been included in Thin Places & Sacred Spaces, a new anthology forthcoming in 2024 from Amethyst Press. Check in at Amethyst Review for more details, including a publication date in July and an online launch and reading in September. I also had a poem included in All Shall Be Well: Poems for Julian of Norwich, the first Amethyst Press anthology of new poems.

'Five Trios' is a series of poems on thin places and sacred spaces in the Diocese of Chelmsford. The five poems in the series are:
'Barking';
'Bradwell';
'Broomfield';
'Pleshey'; and
'Runwell'.

These poems have been published by Amethyst Review and International Times.

Additionally, several of my short stories have been published by IT including three about Nicola Ravenscroft's EarthAngel sculptures (then called mudcubs), which we exhibited at St Andrew's Wickford last Autumn. The first story in the series is 'The Mudcubs and the O Zone holes'. The second is 'The Mudcubs and the Clean-Up King', and the third is 'The mudcubs and the Wall'. My other short stories to have been published by International Times are 'The Black Rain', a story about the impact of violence in our media, 'The New Dark Ages', a story about principles and understandings that are gradually fading away from our modern societies, and 'The curious glasses', a story based on the butterfly effect.

For more on poetry, read my ArtWay interview with David Miller here and my interview with the poet Chris Emery for International Times here. My review of 'Modern Fog' by Chris Emery is on Tears in the Fence. I have also written an article for Seen & Unseen 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

Stride magazine was founded in 1982. Since then it has had various incarnations, most recently in an online edition since the late 20th century. You can visit its earlier incarnation at http://stridemagazine.co.uk.

I have read the poetry featured in Stride and, in particular, the work of its editor Rupert Loydell over many years and was very pleased that Rupert gave a poetry reading when I was at St Stephen Walbrook.

Rupert Loydell is a poet, painter, editor and publisher, and senior lecturer in English with creative writing at Falmouth University. He is interested in the relationship of visual art and language, collaborative writing, sequences and series, as well as post-confessional narrative, experimental music and creative non-fiction.

He has edited Stride magazine for over 30 years, and was managing editor of Stride Books for 28 years. His poetry books include Wildlife and Ballads of the Alone (both published by Shearsman), and The Fantasy Kid (for children).

His latest collections are Damage Limitation and The Salvation Engine. Reviewing both collections, Dominic Rivron writes that:

"Damage Limitation is part of Loydell’s ongoing investigation into cults and obsession. It begins with a brief, potted history of the band Throbbing Gristle and Genesis P-Orridge’s subsequent venture, Psychic TV, outlining the way both bands managed their public image, pressing ‘all the obvious buttons’ to portray themselves as provocative, transgressive and offensive; while all the time Genesis P-Orridge ‘wanted to control everything, despite their questioning the very notion of power and control’.

The hypnotic lure of TG and PTV lies in ‘the counterculture’s desire for psychic understanding’, while, in fact, the whole project is a microcosm of capitalism, its ‘industrial music revolution’ holding up a mirror to the Industrial (non-musical) Revolution. And the machines we build are not merely physical: the processes whereby people can groom, control and abuse others could be described as a form of psychic machine-building."

"The Salvation Engine ... which came out before Damage Limitation, ‘grapples with the frightful mix of personality cults, religious populism, liturgical experiment, rave culture, censorship, puritanical mindlessness, and stupidity within the organised church, questioning and critiquing its power structures and beliefs, not to mention a lack of safeguarding and accountability, which allow and sometimes encourage abuse, manipulation, greed and desperate beliefs to thrive.’"

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Aretha Franklin - Are You Sure.

Sunday, 23 March 2025

No league tables for sin

Here's the sermon that I shared this morning at St Catherine's Wickford:

Do you remember the story Jesus told of the Pharisee and tax collector praying in the synagogue (Luke 18. 9-14)? The Pharisee prayed, ‘God, I thank you that I am not like other people: thieves, rogues, adulterers, or even like this tax collector’. The tax collector prayed, ‘God, be merciful to me, a sinner!’ Jesus said that it was this man that went down to his home justified, rather than the other. The prayer of the tax collector opened him up to reality – the reality of who he really was – while the prayer of the Pharisee was an exercise in unreality because it was designed to make him look better than he was by comparison with others.

In today's Gospel reading (Luke 13: 1-9), something similar is happening as the story told to Jesus about the Galileans was supposed to demonstrate that their sins had been particularly bad. The belief, at the time, was that bad ends or outcomes were equated to severity of sin. This carried over into experiences in life perceived to be particularly difficult, such as disability. People attempted to identify the particular sin in someone's life that had resulted in the disability, as when Jesus was asked whether it was a man's own sin or that of his parents that had caused the blindness experienced by a man who met Jesus (John 9. 1-12). Jesus said that his blindness was nothing to do with sin at all.

These stories show the extent to which we can come to think of God as a kind of old-fashioned headteacher keeping a record of our sins on a chalkboard and marking some sins as particularly reprehensible and, therefore, deserving of greater punishment. Sometimes we think of God in this way because, like the Pharisee, we want to say ‘I'm alright, Jack!’ meaning it's other people that are the problem and, sometimes, we do it because, like those in the other two stories, we want to identify particular sins done by particular people as being particularly bad.

Jesus is having none of it. God doesn't keep league tables for sins, the challenges we face in life are not punishments inflicted on us by God for particular sins, and we all are sinners. The fact that we are all sinners is the fundamental reality that we need to face and all attempts to grade sins are simply distractions and deflections from facing that core reality.

Lent is an annual opportunity to reflect on that reality. That's why, on Ash Wednesday, at the beginning of Lent, the sign of the cross is marked on our foreheads and we are told to turn away from sin and be faithful to Christ. The prayers and practices of Lent exist to open us to reality. Their words of penitence urge us to face the truth about our sins and their impact on others.

We receive the sign of the cross because it is the sign of God's enduring love for us, despite our sin which nails his Son to the cross. It is because God's love for us is deeper than the effects of sin that we can turn to him and know forgiveness and live changed lives.

That is the point of the parable that Jesus tells in response to those who come to tell him about the Galileans. In the story, the vineyard owner wants to get rid of the fig tree which is not bearing fruit, but the gardener says to give it another chance.

The imagery of trees and fruit was regularly used by Jesus in his teaching. His followers are chosen and appointed to bear fruit, so fruitfulness is the overall aim and he tells and enacts parables of fig trees which don’t bear fruit being given further opportunities to become fruitful.

So, God is the one in this story wanting to give the barren tree a new opportunity to flourish. That is what Jesus wants for our lives and what he endured the cross to show; there are no depths to which God will not go to enable us to turn from our sins and be faithful to him. And that means, too, that there is no league table of sins with some being worse than others. We are all sinners and are all in need of the second chances that God provides to turn from our sin.

How do we do this? Like the fig tree which if it doesn’t bear figs is not being fruitful in the way it was created to be, so we need to become authentically the people that God created us to be. David Runcorn argues that if “we define sin solely in terms of wrong actions or thoughts, we trivialise it [and] our diagnosis does not go deep enough.” He says that the Pharisees trivialised sin in this way by being pedantically obsessed “with external standards of behaviour” and that that is why “Jesus furiously castigated and mocked the religion of his day.”

Runcorn says that “who we are always comes before what we do” and that “our choices, desires and actions … always flow from our sense of personal identity.” This means that “our deepest need is not primarily to stop doing or saying bad things” because the power and significance of sin “lies not so much in what we are doing or saying, but in who we think we are.” Real sin, Runcorn argues, is insisting on being what we are not; the desire for a life other than the one God intended human beings to live.

We can, of course, make the decision to live the life that God intended human beings to life at any point and at any time in our lives, but, I wonder, how we are using this Lent to reflect on our own sinfulness, rather than that of others, and also are making this Lent a time to turn back to God and be faithful to Christ. May that be our intent and activity this Lent and always. Amen.

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Saturday, 22 March 2025

Windows on the world (511)


Bruton, 2025

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Deacon Blue - The Great Western Road.

 

International Times - Bill Fay: not your typical rock star

My latest article to be published by International Times is a profile of Bill Fay:

'Taylor has accurately summed up Fay’s work as “beautiful music that makes sense of life” noting that: “In an age of endless noise, his whispered attention grabs were a godsend that enraptured a legion of folks hungering for something calmer”. Through his creative engagement with the ideas of Teilhard, it may be that Fay’s greatest achievement was to take a form of music that has sometimes been characterised, by both supporters and opponents alike, as ‘the Devil’s music’ and convincingly and calmly enable it to sing of God.'

For more on Bill Fay see here and here. See also my co-authored book 'The Secret Chord' which has been described as an impassioned study of the role of music in cultural life written through the prism of Christian belief. For more of my writings on music click here.

My earlier pieces for IT are an interview with the poet Chris Emery, an interview with Jago Cooper, Director of the the Sainsbury Centre for Visual Arts, plus reviews of: 'Breaking Lines' at the Estorick Collection of Modern Italian Artalbums by Joy Oladokun and Michael Kiwanaku; 'Nolan's Africa' by Andrew Turley; Mavis Staples in concert at Union Chapel; T Bone Burnett's 'The Other Side' and Peter Case live in Leytonstone; Helaine Blumenfeld's 'Together' exhibition, 'What Is and Might Be and then Otherwise' by David Miller; 'Giacometti in Paris' by Michael Peppiatt, the first Pissabed Prophet album - 'Zany in parts, moving in others, you’ll be hard pressed to find a more unusual, inspired & profound album this year. ‘Pissabed Prophet’ will thrill, intrigue, amuse & inspire' - and 'Religion and Contemporary Art: A Curious Accord', a book which derives from a 2017 symposium organised by the Association of Scholars of Christianity in the History of Art.

Several of my short stories have been published by IT including three about Nicola Ravenscroft's EarthAngel sculptures (then called mudcubs), which we exhibited at St Andrew's Wickford in 2022. The first story in the series is 'The Mudcubs and the O Zone holes'. The second is 'The Mudcubs and the Clean-Up King', and the third is 'The mudcubs and the Wall'. My other short stories to have been published by International Times are 'The Black Rain', a story about the impact of violence in our media, 'The New Dark Ages', a story about principles and understandings that are gradually fading away from our modern societies, and 'The curious glasses', a story based on the butterfly effect.

IT have also published several of my poems, beginning with The ABC of creativity, which covers attention, beginning and creation, Also published have been three poems from my 'Five Trios' series. 'Barking' is about St Margaret’s Barking and Barking Abbey and draws on my time as a curate at St Margaret's. 'Bradwell' is a celebration of the history of the Chapel of St Peter-on-the-Wall, the Othona Community, and of pilgrimage to those places. Broomfield in Essex became a village of artists following the arrival of Revd John Rutherford in 1930. His daughter, the artist Rosemary Rutherford, also moved with them and made the vicarage a base for her artwork including paintings and stained glass. Then, Gwynneth Holt and Thomas Bayliss Huxley-Jones moved to Broomfield in 1949 where they shared a large studio in their garden and both achieved high personal success. 'Broomfield' reviews their stories, work, legacy and motivations.

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Bill Fay - Omega Day.