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Monday 31 October 2016

Discover & explore: Promises


Today's Discover & explore service at St Stephen Walbrook was on the theme of Promises and featured music from the Choral Scholars of St Martin-in-the-Fields including several movements from Fauré's Requiem and God be in my head by Walford Davies. The next Discover & explore service will be on Monday 7 November at 1.10pm and will explore the theme of Safety.

Here is the reflection from today's service:

Promises are like pie-crust writes Christina Rossetti; easily broken. As a result, she suggests that she and her friend make no promises to each other, as these could become bonds or ties on their relationship, and instead simply enjoy their time together for what it is.

Rossetti is speaking of human promises, of course. As a committed Christian, it is unlikely that she would have thought of God’s promises in the same way. And yet, we do have the experience of feeling that God has broken his promises towards us.

In a recent sermon at St Martin-in-the-Fields, I told the story of the blind and deaf Cornish poet Jack Clemo, who believed that God would invade his isolation by giving him the threefold happiness of healing, marriage and success as an Evangelical poet. As a result, he made few attempts to live with his disabilities, refusing to learn braille for example, and wrote some poetry which seems critical of
those who chose to live with the experience of disability rather than seeking cure through God's
invasive power.

He achieved a measure of success as a poet and also married in his 50’s, but, despite much prayer for healing over many years and many moments when he thought healing had come, never experienced the physical healing which he fervently sought. His biographer, Luke Thompson, writes that ‘However we interpret Jack’s beliefs about the role of God in his life, they seem wrong. Over and over again, his statements and expectations were disproved; the signs and patterns perceived were incorrect; God’s promises were broken. It would be possible to construct a picture of a divinity working through Jack’s life, but it would require a complete renegotiation of the terms’ (Clay Phoenix, Ally Press, 2016). Jack struggled with God’s failure to grant to him the supernatural transformation that he desired and this desire and struggle left him isolated and lacking in solidarity with other disabled people.

Jack believed that he had been given a personal threefold promise by God and, understandably, struggled when parts of that promise were not fulfilled. In understanding that situation, and others which may be similar, we need to question whether we have correctly understood what God says about promises in scripture.

Sam Wells helpfully writes that, ‘When something awful happens or we get some terrible news, we experience this question in an extreme form. Why? Why me? Why now? How can I go on? What’s the point? Finding a way to live, and especially coming to terms with a damaging accident or horrible setback, is about identifying some kind of a story that traces together a series of otherwise inexplicable circumstances. Once you’ve done that, you then set about locating where you are in that story. And then you act your part in that story. You could pretty well summarise the human quest as simply as this: searching for a story to live by, discovering one’s place in that story, and living into that place in the story.

And that’s exactly what the Bible is. It’s a story that ties together all things, from creation to the
end, and an invitation to discover our place in that story and take up our part in it.’

There are ‘three questions the Bible asks us – the questions of whether there is a story, where we are in it, and how to play our part in it – and holds our gaze until we give the answers. And these are the three questions. Do you believe the world was created so that we might share in a banquet and be God’s companions forever? Do you believe that through Jesus and at great cost the invitation to that banquet was extended to you and many others by amazing grace? Do you believe that the way to answer God’s invitation is to allow the Holy Spirit to fashion your life so that when you are called to the banquet you clearly belong there because you’ve been living the life of the banquet and sharing the company of those invited to the banquet long before you were finally a guest there? It could be that those three questions are the most important ones anyone will ever ask you.’

The answers to these questions are all ‘yes’ in Jesus. He demonstrates that there is a story, he tells us about our place in the story and he enables us to play our part in the story. God promised when the world was created that we might one day be restored to relationship with him, sharing in an eternal banquet and being his companions forever. He worked to fulfil that promise, firstly by engaging with all those he had created, then by focussing on the People of Israel and finally by sending his own Son Jesus. It is through Jesus that he has kept his promise to us and this is why, in Jesus, all God’s promises are ‘yes’.

This is of particular importance today as we celebrate All Souls by remembering and giving thanks for all who have gone before us into glory. It is because of Jesus, that we have hope that our loved ones are living the life of the banquet and sharing the company of those invited to the banquet long before we were finally a guest there. It is because Jesus said ‘yes’ to God and became the answer to God’s promises to restore us to relationship with him, sharing in the eternal banquet and being his companions forever.

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Jeff Buckley - Grace.

Saturday 29 October 2016

The wonderful experience of being loved and accepted by the Creator of all

John Turnbull's funeral service was held at North Hanwell Baptist Church yesterday. During the service I said:

We loved John firstly because he so obviously cared for and deeply loved Pam, making her incredibly happy, and later, as we came to know him better, also loved him for the man he was; warm, humble, loving, kind, grateful, intelligent and loyal – truly an amazing person. As well as his personal qualities, we all found ways of sharing some of his interests, whether football, food, films, gadgets, books or church.

The love that Pam and John shared and their appreciation of and acceptance of each other grew from their shared experience of being loved and accepted as they are by God. That is the good news of the Christian faith that God loves us so much that he sends his own Son into our world to live and die for us, in order that we can return to relationship with him.

As Paul writes in his letter to the church in Rome (Romans 8. 1, 14-18, 29-39) there is no condemnation awaiting those who belong to Christ Jesus, instead we can behave like God’s very own children, adopted into the bosom of his family, and calling to him, “Father.” He has declared us “not guilty,” filled us with Christ’s goodness, gave us right standing with himself, and promised us his glory. Our wonderful reality is that we really are God’s children and share his treasures—for all God gives to his Son Jesus is now ours too.

When we have that experience of being loved and accepted by the Creator of all, then we are able to share that same love and acceptance with others, as Pam and John did, in their marriage. How is it that someone like John who had spent the majority of his life as a bachelor, was able to love so fully and extravagantly when he found the one on whom he wished to lavish his love? It was because he had already received a similarly extravagant love himself through his relationship with Christ and that had freed him to love Pam as she deserves to be loved.

As Emma said, John, all of us adored you because you adored Pam. We were so pleased she had found somebody who made her so happy and we loved you all the more for it.

You might imagine that having loved in this way would make parting, through death, even harder. While the loss that is felt at John’s passing cannot and should be minimised, the love, that enabled Pam and John to love each other as they did, remains. The love of Christ is as extravagant and free for Pam, and any who receive it, and, as Paul says at the end of our reading, is a love that continues beyond death and is therefore a love from which John, and ourselves in future, cannot be separated:

‘For I am convinced that nothing can ever separate us from his love. Death can’t, and life can’t. The angels won’t, and all the powers of hell itself cannot keep God’s love away. Our fears for today, our worries about tomorrow, or where we are—high above the sky, or in the deepest ocean—nothing will ever be able to separate us from the love of God demonstrated by our Lord Jesus Christ when he died for us.’

That is reality for John in the here and now. Death has not separated him from the love of God demonstrated by our Lord Jesus Christ when he died for us. The love that freed him to love Pam as he did remains with him now and his experience of it is fuller and deeper for having gone through death into eternal life with God. We can, one day, join him in that experience of being swept up by and living in love. I know that there is nothing that would please John more than for each one of us to have the assurance that that love is there for us too.

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Fire & Phoenix



Fire & Phoenix is a new play to mark the 350th anniversary of the Great Fire of London.

The play opens in the bakery of Thomas Farynor, King's Baker, just before midnight on 1 September 1666. It's a swelteringly hot night. There has been no rain for months. Thomas assures his daughter that he has checked the fires...

The fire starts within hours; for three days it rages terrifyingly, helped by a ferocious East wind. Lord Mayor Bludworth is useless. Samuel Pepys takes practical measures, and liaises with the King, Charles II. The people lose everything and camp out at Moorfields. Foreigners and 'papists' are blamed for the fire and so are ferociously attacked. People are hysterical. St Paul's burns: a vision of Hell.

A Frenchman is hanged for starting the fire, but was he really guilty? What about Farynor? Pepys has his suspicions...

Despite the toll of 89 churches, 1300 houses and 200,000 people made homeless, Christopher Wren, in a moving final scene with Pepys, has a strong sense of hope, and believes that London, like the Phoenix, will rise from the ashes.

Historia Theatre Company is Registered Charity 1099807, founded in 2003 to put on plays that have their source in or inspiration from history. Previous productions include Evelina (2004), Five Eleven (2005), An African’s Blood (2007-8), Judenfrei: Love and Death in Hitler’s Germany (2010-11), The Sound of Breaking Glass (2012-13), Queen Anne (2014), Magna Carta (2015).

Fire & Phoenix is at the Bridewell Theatre from 15 - 19 November, then tours 'Fire' Churches including St Stephen Walbrook on Wednesday 23 November, 7.30pm. Tickets £15 (£12 concessions) available on the door. To reserve places, email priest@ststephenwalbrook.net.

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The Crazy World of Arthur Brown - Fire.

Hidden St Martin's




Here are details of art activities at St Martin-in-the-Fields for our Patronal Festival and on Advent Sunday:

Hidden St Martin's
From Sunday 13 November, 11.15am - 5.00pm

An exhibition for the Patronal Festival of St Martin-in-the-Fields by artists and craftspeople from the congregation. Reflecting on the theme from a variety of different perspectives using ceramics, drawings, films, paintings, photographs, text and textiles. Display continues in the Foyer until Advent Sunday.


Patronal Festival
Sunday 13 November, 5.00pm

St Martin-in-the-Fields will be celebrating our Patronal Festival, The Art of Being Church, on Sunday 13 November at 5.00pm, marking the 1700th anniversary of the birth of St Martin of Tours, 800 years of there being a church of St Martin on this site, and the climax of our 15-year Arts programme.

Advent Oasis
Sunday 27 November, 2-4 pm, Austin Williams & George Richards rooms.

A time of quiet scripture reflection, prayer & practical art. Art materials will be available for you to explore, play with colour & be creative through collage, painting, drawing or writing. All are very welcome – please let me know by Friday 25th November if you wish to come – t: 020 7766 1127, e: jonathan.evens@smitf.org.

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KD Lang - Bird On A Wire.

The Revolutionists


THE REVOLUTIONISTS

A presentation of the research and development of a performance installation on Revolution, Democracy, Identity and Power. Inspired by the works of John Milton, Charles Dickens, Friedrich Schiller, Jean Genet and Albert Camus.

Wednesday 2nd November 7pm, The Broadway Theatre, Barking, London.

The Revolutionists is a cross-disciplinary collaboration between the award-winning visual artist Zi Ling, emerging theatre director & producer Eldarin Yeong, established lighting designer Justin Farndale, and emerging scenographer Tong Zhao. Inspired by the works of John Milton, Charles Dickens, Friedrich Schiller, Jean Genet and Albert Camus, they will create an immersive installation art, combining architecture, digital technology, visual arts, and performance, reflecting the themes of violence, democracy & sexuality.

After its critically acclaimed Told Look Younger and sold-out Bound Feet Blues, Eldarin Yeong Studio aims to produce another controversial work.

The project is generously supported by the Arts Council England and Broadway Theatre Barking.

Art Consultant Zi Ling
Designers Tong Zhao & Justin Farndale
Cast Joanne Gale | Amy Newton | Edward Saunders | Amy Tobias
Director Eldarin Yeong
Choreographer Maria Ghoumrassi
Designer Assistant & Stage Manager Jenn Shahid

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John Milton - Let Us With A Gladsome Mind.

Windows on the world (316)


London, 2016

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Moby & The Void Pacific Choir - Are You Lost In The World Like Me.

Wednesday 26 October 2016

Angels for Peace












Yesterday we celebrated the finissage of The Shadow of Angels by Kim Poor at St. Stephen Walbrook. Our musical programme for the evening featured Syrian concert pianist Riyad Nicolas and up-and-coming singer/songwriter Katya DJ. The concert was in support of those in crisis in Syria - see Christian Aid's Syria Crisis Appeal.

Edward Lucie Smith and I spoke before the concert. I said the following:

Kim Poor’s art consistently plays with veils of light and colour to evoke mystical atmospheres. Dali thought that to look at her paintings was as if to 'look through coloured gauze', which inspired him to coin the term 'Diaphanism' for her style. So there is much in these paintings that seems to depict a beautiful otherness – one of flowing curves and circling flourishes – yet there is also an engagement with the shattered, splintered experiences of tragedy. This comes most notably in Rosa de Hiroshima, an image of resilience drawn from reflection on Vinicius de Moraespoem of the same name. Here, the angel representing the Rose of Hiroshima stands with an indomitable spirit.

Themes of healing and guidance abound in these works, however, which implies a world in need of both. I have been particularly struck over the course of this exhibition by Stigmata, as, while, blood flows from one of the angel’s hands, the other holds stalks of grain. That makes this image a Eucharistic image, as, in the Eucharist, blood is re-presented as wine and grain re-presented as bread. The posture of the angel in Stigmata is the exact same posture as that of the angel in The Healer meaning that we can associate, in this image, the Eucharist with healing. We live in a wounded world where roses are torrid and radioactive, yet there is a source of healing which is found in the bread and wine of the Eucharist.

With that thought in mind it is perhaps appropriate that we are gathered around Henry Moore’s altar tonight, although we have not gathered to celebrate the Eucharist, and also that Stigmata has been positioned in this exhibition to overlook the altar.

To celebrate the Finissage of ‘The Shadow of Angels’ exhibition, we’re presenting a very special evening with perfomances by the celebrated Aleppo-born concert pianist Riyad Nicolas and up and coming singer/songwriter Katya DJ. The fact that Riyad comes from Syria has been the prompt to use this evening as an opportunity to express concern at the bloodshed in that country and to raise funds which may in some small way provide a measure of the healing about which this exhibition has led us to reflect.

Five years of conflict has had devastating effects on the people of Syria. The situation is shocking. Half the country is displaced and more than 4.6 million people are now refugees. More than 400,000 people have been killed.

Christian Aid is working with Syrians in Lebanon and Iraq, providing support to some of the most vulnerable refugees, including women who have experienced gender-based violence, and those with disabilities.

Six-year-old Hammoudi was born in Damascus with complex physical and mental disabilities. He was given two life-saving operations by the Syrian health service, but his third operation was cancelled when violence overtook the country.

More than one in five refugees suffer from some form of impairment, whether from birth, illness, accident, or a conflict-related injury. Syrian refugees with disabilities often can't get the care they need.

Now, with the help of donations to Christian Aid and the work of their partner, Lebanese Physically Handicapped Union (LPHU), Hammoudi has learned to walk for the first time.

Layan is a Syrian refugee living in Lebanon. Sadly, like many Syrian women, she's a victim of domestic violence. During times of conflict, women and girls are at greater risk of sexual and domestic violence. Layan now regularly visits Kafa, a Lebanese organisation that supports women who have experienced, or are at risk of violence.

She said: 'Kafa helped me to get out of the awful situation I was in. I feel that there are people who care and worry about me.' Kafa successfully helped to lobby the Lebanese government to pass a law criminalising domestic violence. The law also applies to Syrian refugees.

These are the kind of people and situations that your donations can help to address. We hope that you will enjoy angelic performances tonight from Riyad Nicholas and Katya DJ, but also hope that you can be angels of peace and angels of healing by giving generously to support refugees from Riyad’s mother country.

CONCERT PROGRAMME

KATYA DJ

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RIYAD NICOLAS – Piano

Sonata K466 in F Minor
Domenico Scarlatti

Sonata K455 in G Major
Domenico Scarlatti

Sonata No 31 Opus 110 in A Flat Major
- Moderato Cantabile Molto Espressivo
- Allegro Molto
- Adagio Ma Non Troppo / Fuga; Allegro Ma Non Troppo
Ludwig von Beethoven

Polonaise Fantasie Opus 61 in A Flat
Frédéric Chopin

‘Scarbo’ from Gaspard de la Nuit
Maurice Ravel

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Katya DJ - Far From Gone.

Tuesday 25 October 2016

Angels for Peace




We do hope you'll be able to join us on Tuesday evening, 25th October, to celebrate the finissage of The Shadow of Angels. Our musical programme for the evening features Syrian concert pianist Riyad Nicolas and up-and-coming singer/songwriter Katya DJ.

For those who couldn't make it along to the opening you'll find a link below to a short film of what was a memorable evening of art, music and dance!

https://www.youtube.com/watch?v=raRin_Kt40I&feature=youtu.be

The finissage will open at 6pm with the concert at 7.45. The concert is in support of those in crisis in Syria - see Christian Aid's Syria Crisis Appeal.

CONCERT PROGRAMME
St. Stephen Walbrook 25th October 2016

KATYA DJ

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RIYAD NICOLAS – Piano

Sonata K466 in F Minor
Domenico Scarlatti

Sonata K455 in G Major
Domenico Scarlatti

Sonata No 31 Opus 110 in A Flat Major
- Moderato Cantabile Molto Espressivo
- Allegro Molto
- Adagio Ma Non Troppo / Fuga; Allegro Ma Non Troppo
Ludwig von Beethoven

Polonaise Fantasie Opus 61 in A Flat
Frédéric Chopin

‘Scarbo’ from Gaspard de la Nuit
Maurice Ravel

Katya DJ is a 22 year-old London based singer/songwriter. Influenced by artists such as Amy Winehouse and Beth Hart, her sound incorporates elements of jazz/ blues influenced pop and she has been described as "... the best new artist I've heard since Adele." She has performed at various venues around London including The Troubadour, Chelsea Arts Club, The Pheasantry and Ronnie Scott's and also at Somerset Series at Somerset House and other festivals this summer. Katya graduated from the University of Oxford in 2015 with a BA in Music and has recently completed a Masters (MMus) in Popular Music Performance at BIMM (British and Irish Modern Music Institute) in conjunction with the University of West London.

Riyad Nicolas is one of the most exciting young artists to emerge from the Middle East. “Syria’s leading young pianist” (International Piano Magazine 2012), was born in Aleppo, Syria, in 1989, and has already established himself as a leading figure of his generation on the international performing circuit. He has won numerous international prizes and awards including First Prize at the Norah Sande Award in the UK, the Christopher Duke Recital Prize in the UK, the Ciutat de Carlet International Piano Competition in Spain, and First Prize, with a recording contract, at The Francaix International Piano Competition in Paris, Top Prize at the 1st Syria National Piano Competition and was selected to be a Tillett Trust Young Artist in 2012 and an artist at the Countess of Munster Trust Concert Scheme in 2014.

Riyad graduated with a distinction in a Master of Performance course at the Royal College of Music, studying with Dmitri Alexeev and Vanessa Latarche, as a Steinway Scholar supported by a Frederick Johnston Award. He first came to London in 2005 when he was awarded a two-year scholarship to study at the Purcell School of Music with Sulamita Aronovsky, continuing to work with her at the Royal Academy of Music, where he graduated in 2011. He has participated in masterclasses and was complimented by such musicians as Daniel Barenboim, Vladimir Ashkenazy and John Lill.

His first appearance as a soloist with an orchestra was made at age ten in Aleppo. Since then he has performed with many orchestras, including the London Chamber Orchestra at the Cadogan Hall, Emirate Symphony Orchestra in Dubai, Young Musician Symphony Orchestra at St. John's Smith Square, the Syrian National Symphony Orchestra at the opening of the new Damascus Opera House, as well as with the Gomidas Chamber Orchestra of Aleppo. Riyad has given solo recitals in many prestigious venues in London, including The Royal Albert Hall, Cadogan Hall, Wigmore Hall, St. Martin-in-the-Fields, St. James’s Piccadilly, and Leighton House. He is regularly invited to give recitals hosted by the Beethoven Piano Society of Europe and the Chopin Society UK and has also been invited to perform in numerous UK musical festivals such as Harrogate, Norfolk-Norwich, King’s Lynn, Brighton, Devon, Darlington, Stratford-upon-Avon, Lincoln, Crediton, and Eastbourne. Concert performances have also taken him to France, Spain, Switzerland, USA (including a debut at Kennedy Centre in Washington) and some Arab States.

He has been invited to play for many fundraising concerts especially for Syria from various prestigious organizations such as The International Rescue Commitee, The UN refugee Agency,The Arab British Centre amongst many others.

“... this paragon of pianistic prestidigitation ... setting a new gold standard",
“… he had given a prodigious recital which rose head and shoulders above everything else we have heard this year”, “... every aspect of his performance ... melding all together into an indissoluble unity of conception.”
Beethoven Piano Society of Europe.

*Riyad gratefully acknowledges the support of Said Foundation, Asfari Foundation, Countess of Munster Trust, Talent unlimited and Help Musicians UK Fleming Award.

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Riyad Nicolas - Emperor Concerto 1st movement.

Sunday 23 October 2016

Paul Nash and James Ensor

Paul Nash opens at Tate Britain on 26 October. Paul Laity has an excellent piece in The Guardian on Nash and his work:

'Nash’s transformations of reality were the product of a visionary sensibility that harked back to William Blake and Samuel Palmer; he searched for inner meanings in the landscape, what he called the “things behind” ...

he was caught up, as ever, in looking at the world and seeing patterns and mysterious “things behind”. An artist both full of wonder and wonderful, knowing the end was near, painted pictures that were stranger than ever.'

Paul and Margaret Nash practiced Christian Science, and Paul shared a Christian Science practitioner with Barbara Hepworth and Ben Nicholson. Hepworth, Nicholson and Winifred Nicholson were profoundly influenced by Christian Science (a faith that was of great importance to Stanley Spencer’s wife, Hilda Carline).

For Intrigue: James Ensor by Luc Tuymans at the Royal Academy of Arts from 29 October 2016 — 29 January 2017, Tuymans, a fellow Belgian and admirer of Ensor, will look back at Ensor’s singular career through a selection of his most bizarrely brilliant and gloriously surreal creations.
Astrid Schenk has written that

'It was 1888 when James Ensor began work on his monumental painting Christ's Entry into Brussels in 1889. The painting would become one of his most iconic and eagerly analysed compositions, and is now regarded as a milestone in the history of modern art. Not surprisingly, perhaps, it has also encouraged art historians to take a closer look at the representation of religious subject matter in Ensor's oeuvre in general. The focus of this scholarly attention has been mainly on Ensor's various approaches to the Crucifixion (especially the grotesque or sinister elements in some of his renderings), as well as on the series entitled The Aureoles of Christ or the Sensitivities of the Light, which Ensor first exhibited in 1887, and on different versions of The Temptation of Saint Anthony, Abbot of Egypt ...

The size of his religious oeuvre, the great variation in religious subject matter, and the fact that he continued throughout his life to produce religious work are strong indications that, to Ensor, religious sources of inspiration were key to achieving his artistic goals. This relevance went well beyond the supposed identification of the artist with the suffering of Christ and the exploration of particular visual effects. Ensor borrowed from the Christian iconography in order to be able to visualise his ideas in a recognisable idiom and to conduct visual experiments in his quest for exaltation.'

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Gungor - You.

Saturday 22 October 2016

Modern Art and the Life of a Culture: The Religious Impulses of Modernism


As Jonathan A. Anderson and William A. Dyrness note in Modern Art and the Life of a Culture: The Religious Impulses of Modernism, I have for some time been arguing that, as Daniel A. Siedell suggested in God in the Gallery, "an alternative history and theory of the development of modern art" is needed, "revealing that Christianity has always been present with modern art, nourishing as well as haunting it, and that modern art cannot be understood without understanding its religious and spiritual components and aspirations." In my Airbrushed from Art History and Sabbatical Art Pilgrimage series of posts I have highlighted some of the artists and movements (together with the books that tell their stories) that should feature in that alternative history when it comes to be written.

In Modern Art and the Life of a Culture Anderson and Dyrness, part of IVP's Studies in Theology and the Arts, also argue that there were strong religious impulses that positively shaped modern visual art. Instead of affirming a pattern of decline and growing antipathy towards faith, the authors contend that theological engagement and inquiry can be perceived across a wide range of modern art—French, British, German, Dutch, Russian and North American—and through particular works by artists such as Gauguin, Picasso, David Jones, Caspar David Friedrich, van Gogh, Kandinsky, Warhol and many others.

Gregory Wolfe writes that this book provides a 'nuanced and sympathetic view of the religious aspects that truly did haunt modernism in the visual arts' noting that, after a couple of introductory chapters, 'the book moves into a sequence of historical surveys ranging from Van Gogh to Andy Warhol, with many stops in between.'

Dryness notes: 'Van Gogh is often recognized as a deeply spiritual artist, but usually he is pictured as having given up his childhood (Reformed) Christian faith. But closer examination shows this not to have been the case. Others, like Gauguin, who are largely regarded as irreligious, turn out to have had deep and formative experiences with (in this case) the Catholic faith. Still others, like Malevich, inherited sensibilities from their religious contexts which made deep inroads into their art. So there is no single story to be told.' 

Anderson says: 'The research for this book was full of surprises for me. The religious backgrounds of these artists, as well as the ongoing theological content of their work, are sometimes buried deep in the academic literature and primary sources, but once you begin to dig you find extraordinary things. Van Gogh was actually a fascinating theologian, and his paintings were theologically oriented all the way to the end. Mondrian completed his art training in the thick of the best neo-Calvinist thinking of the day. Until researching for this book, I hadn’t realized just how deeply Kandinsky was preoccupied with the book of Revelation. Warhol’s sharp social commentaries were oriented by his lifelong Catholicism. And so on: the surprises abound.'

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Van Morrison - In The Garden.

Notes on Blindness: A more inclusive future for VOD

The acclaimed film Notes On Blindness (which was screened last week at St Martin-in-the-Fields as part of our 'Prophets & Seers' weekend), is now available on DVD and also to stream on Curzon Home Cinema, Virgin Media and the BFI Player. Not only is the film available with subtitles, but it also comes with a range of different audio tracks specially designed for blind and partially sighted audiences. Charlie Lyne suggests in The Guardian that the film's exemplary package points towards a more inclusive future for Video On Demand.

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Leonard Cohen - Treaty.

Bob Dylan: In an imaginative conversation with scripture

Malcolm Guite makes an excellent argument in the Church Times for the appropriateness of awarding Bob Dylan the Nobel Prize in Literature, including the following:

'... it is the Bible, more even than the work of previous poets, that has inspired and informed Dylan’s best work; and this biblical strand in his poetry is not confined to the more obvious and dramatic quotations in the intense period of his Christian conversion (1979-82).

Throughout his work, from his earliest days to the present, he has been in an imaginative conversation with scripture. In his best songs, it is not only direct quotation, but subtle allusion, that informs and deepens the poetry. Dylan often allows a Bible passage to work quietly behind his song. We can hear and appreciate the song without at first hearing the biblical echoes, but, once we do hear them, the whole meaning of the song is enhanced.'

For more reflection on Dylan and faith, read my co-authored book 'The Secret Chord'.

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Bob Dylan - Blowing In The Wind.

Update: Sophia Hub Redbridge

Ros Southern writes ...

'Coming up this week
  • Tomorrow - Redbridge Hack Day to try to solve the problem of some residents not going online. Info here
  • Tomorrow - Isatu Harrison, South Woodford fashion designer has big Sierra Leone fashion event Info here
  • Tuesday - Chamber networking breakfast IS CANCELLED.
  • Wednesday - 5.30 Entrepreneurs clubfor 6. Mindfulness for business owners with Pipa Moye. Info and booking here
Sophia Hubs stuff coming up
  • Timebank community skills swap - We 've found a nice cafe! Weds 9 November 6pm info here. Please do come and join in.
  • Sophia course - from a vague community or business idea to first pilot - Saturday mornings. Info here
  • Entrepreneurs club dates until Christmas - available here.
Other great stuff coming up
  • Google digital training - Saturday 29 October - info here
  • Volunteering fair - Thurs 3 November 11-2 - info here (we'll be there!)
  • Tech club for techie businesses - Thurs 3 November 6pm - Info here
  • Free open source IT tools - Friday 4 November 1-3. Info here
  • Monday 7th November - Wanstead Business Network meeting - open to all
  • Next 3 hour starting a business workshop 15th Nov 10-1. Info here
Some of our social media shares/posts this week

Have a nice weekend,

Best wishes,

Ros Southern, Coordinator.
07707 460309

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Neil Young & Crazy Horse - Be The Rain.

Windows on the world (315)


London, 2016

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Joni Mitchell - Harry's House.

ArtWay Visual Meditation: Albert Servaes




My latest Visual Meditation for ArtWay concerns three stained glass windows by Albert Servaes in the Church of the Holy Family in Woluwé-Saint-Lambert, a district of Brussels

I greatly enjoyed my visit to the Church of the Holy Family, with its welcoming worship and congregation, in August. The bright and busy pair of East windows provide colourful focus for the space, although they lack clarity in the content of their imagery, while the contemplative West window provides a creative turn away from the colour and clamour of the central lights.

In the meditation I write: 'In contrast to the minimal figural focus of Servaes’ Luithagen Stations, these are busy designs filled with figures and faces. The colours and contrasts are generally brighter than is usual within the work of Servaes and, despite the themes which include expulsion and judgement, the look and feel of the work has less of the anguish and strain that characterises much of Servaes’ oeuvre.'

My other ArtWay meditations include work by María Inés Aguirre, Marian Bohusz-Szyszko, Christopher Clack, Marlene Dumas, Antoni Gaudi, Maciej Hoffman, Giacomo Manzù, Maurice Novarina, Ana Maria Pacheco, John Piper, and Henry Shelton.

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Julie Miller - All My Tears.

Wednesday 19 October 2016

Angels for Peace



To celebrate the Finissage of Kim Poor’s exhibition ‘The Shadow of Angels’, we’re presenting a very special evening – ANGELS FOR PEACE – at St Stephen Walbrook with perfomances by the celebrated Aleppo-born concert pianist Riyad Nicolas and up and coming singer/songwriter Katya D’Janoeff. The Finissage will run from 6pm with music from 7.45pm.

One of the most exciting young artists to emerge from the Middle East. Riyad Nicolas was born in Aleppo, Syria, in 1989. “Syria’s leading young pianist” (International Piano Magazine 2012) was born in Aleppo, Syria, in 1989, and has already established himself as a leading figure of his generation on the international performing circuit. Among his recent achievements he lists First Prize at the Francaix International Piano Competition in Paris and his débuts at the Royal Albert Hall, Wigmore Hall and the Cadogan Hall in London and the Kennedy Centre in Washington.

‘Syria’s leading young pianist … A fine account of Debussy’s Images Book I … Jean Francaix work delivered with Gallic Charm, and some superb Messiaen.’
International Piano

Katya DJ is 22 year-old London based singer/songwriter. Influenced by artists such as Amy Winehouse and Beth Hart, her sound incorporates elements of jazz/ blues influenced pop and she has been described as “… the best new artist I’ve heard since Adele.”

She has performed at various venues around London including The Troubadour, Chelsea Arts Club, The Pheasantry and Ronnie Scott’s and also at Somerset Series at Somerset House and other festivals this summer. Katya graduated from the University of Oxford in 2015 with a BA in Music and has recently completed a Masters (MMus) in Popular Music Performance at BIMM (British and Irish Modern Music Institute) in conjunction with the University of West London.

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Riyad Nicolas - Danse de laila.

The Shadow of Angels


In 2010, the Brazilian artist Kim Poor emerged from a period of creative hibernation as a result of reading The Glory of Angels by her friend and mentor, Edward Lucie-Smith.

Angels, such as her Watcher of the Skies, had featured in her work previously but the exquisite classical and contemporary illustrations of the power of angels in art found in The Glory of Angels catapulted Kim back to life again. She wrote that “these powerful bridges to the unknown have been present throughout mankind’s history to help us and guide us” while, in his book, Edward Lucie-Smith explored how angels guide us by protecting and warning us of danger, healing and comforting us, and urging us to follow God′s path.

It is, therefore, appropriate that Edward has curated Kim’s current exhibition at St Stephen Walbrook, the church where I am Priest-in-charge, as the exhibition entitled The Shadow of Angels focuses exclusively on Kim’s angel paintings.

Kim Poor’s art consistently plays with veils of light and colour to evoke mystical atmospheres. This is particularly so with her diaphanist paintings which use ground glass on steel that is fired countless times until the delicate layers of opaque and transparent glass achieve depth and colour. Salvador Dali thought that to look at these paintings was as if to 'look through coloured gauze', which inspired him to coin the term 'Diaphanism' for her style.

The veiled distortions of poetic dreamscapes that she creates are perfectly suited to the depiction of angels; creatures which may or may not be there, the subjects of belief rather than of sight. Among them we find The Angel of The Hour, where time is vanishing from the clock which the angel holds. Is this an indication that the angel wishes to draw us into the timelessness of eternity or is it an indication of the speed with which we feel our days go by? These ambiguous angels represent our need for reassurance, an illusion or reality in a very unstable world, a manifestation of life and death or the true bridge to the Divine. The Good Samaritan, however, shows us unambiguously that the face of compassion is angelic.

The range of different angels depicted – the Angel of the Stigmata, The Healer, The Messenger - explores the universality of angelic mythology; iconography which is a unifying force throughout time and a connection in all religions and cultures. At the same time, these are also very English angels, whimsical and magical, drawing on the Victorian influences in Kim’s work; the Pre-Raphaelites, Ruskin, Richard Dadd and Lewis Carroll.

While there is much in these paintings that seems to depict a beautiful otherness – one of flowing curves and circling flourishes – there is nevertheless also an engagement with the shattered, splintered experiences of tragedy. Rosa de Hiroshima is an image of resilience drawn from reflection on Vinicius de Moraespoem of the same name. Here the angel representing the Rose of Hiroshima stands with an indomitable spirit. Themes of healing and guidance abound implying a world in need of both, while Indomitable finds similar strength in adversity to that of Rosa de Hiroshima in an image of a horse’s head.

Tragedy is sensed again in the installation by Sacha Molyneux and Kim Poor which greets visitors at the entrance to this exhibition. Human misunderstandings and envy lead to the Flight of Cupid from Psyche causing her to wander the earth in search of her lost love. Ultimately, as Edward Lucie-Smith notes in The Glory of Angels, angels, and these images, challenge us with ‘a degree of perfection’ that our human nature, ‘chained to the material sphere, can never fully attain.’

The Shadow of Angels, St Stephen Walbrook, 39 Walbrook, London EC4N 8BN, until 29 October, weekdays 10.00am – 4.00pm (Weds, 11.00am – 3.00pm). 

The exhibition has featured as a news item on Brazil’s Globo TV -
https://www.dropbox.com/s/r8nxa6gy3rqv3sj/EXPOSICAO%20FINAL%20GNE.mp4?dl=0.

Edward Lucie-Smith's talk can be heard at https://www.instagram.com/p/BLHQ_xNgTxq/

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Katya DJ - Speak The Truth.

Tuesday 18 October 2016

Start:Stop - A prayer for our busy working lives



Bible reading

The Lord is my shepherd, I shall not want. He makes me lie down in green pastures; he leads me beside still waters; he restores my soul. He leads me in right paths for his name’s sake. Even though I walk through the darkest valley, I fear no evil; for you are with me; your rod and your staff — they comfort me. You prepare a table before me in the presence of my enemies; you anoint my head with oil; my cup overflows. Surely goodness and mercy shall follow me all the days of my life, and I shall dwell in the house of the Lord my whole life long. [Psalm 23]

Meditation

In reflecting on this Psalm I simply want to share with you two rewritings of the Psalm. The first, by Marcia K. Hornok,  is the antithesis of Psalm 23 outlining all the ways in which our working lives do not align with the Psalm. The second, which was composed by Toki Miyashina and broadcast by Rev. Eric Frost on 4th May 1965, which re-translates the Psalm as a prayer for our busy working lives. As we think about both, may we reflect on ways to draw on the wisdom of this Psalm in the midst of our busy working lives.

The clock is my dictator, I shall not rest.
It makes me lie down only when exhausted.
It leads me to deep depression. It hounds my soul.
It leads me in circles of frenzy for activity’s sake.
Even though I run frantically from task to task,
I will never get it done,
For my “ideal” is with me.
Deadlines and my need for approval, they drive me.
They demand performance from me,
beyond the limits of my schedule.
They anoint my head with migraines.
My in-box overflows.
Surely fatigue and time pressure shall follow me all the days of my life,
And I will dwell in the bonds of frustration forever.


Psalm 23 - Japanese version

The Lord is my Pace-setter, I shall not rush;
He makes me stop and rest for quiet intervals.
He provides me with images of stillness, which restore my serenity;
He leads me in ways of efficiency through calmness of mind,
And His guidance is peace.
Even though I have a great many things to accomplish each day,
I will not fret, for His presence is here.
His timelessness, His all importance, will keep me in balance.
He prepares refreshment and renewal in the midst of my activity
By anointing my mind with His oils of tranquillity.
Surely harmony and effectiveness shall be the fruits of my hours,
For I shall walk in the peace of my Lord, and dwell in His house for ever.

Prayer

The Lord is our shepherd. We have all that we need. We pray for those who feel overwhelmed and alone in the darkness of depression, illness, loss or anxiety. Lord, in your mercy, hear our prayer.

He lets us rest in green meadows. We pray for refugees and asylum seekers who have given up everything, for survivors of natural disasters who have nothing left, and for all who are homeless. Lord, in your mercy, hear our prayer.

He leads us beside peaceful streams. We pray for people who have only dirty water to drink, and those for whom hunger is not a choice. Lord, in your mercy, hear our prayer.

He renews our strength. He guides us along right paths, bringing honour to his name. We pray for those whose faith is new or fragile, for those burdened by doubts. Lord, in your mercy, hear our prayer.

Even when we walk through the darkest valley, we will not be afraid, for you are close beside us.
We pray for those who struggle with temptation or addiction, for those who feel invisible or
voiceless. Lord, in your mercy, hear our prayer.

You prepare a feast for us in the presence of our enemies. We pray for Christians who live in countries where it is dangerous or illegal be a Christian. For those who face persecution, imprisonment, and death, as a direct consequence of their faith. Lord, in your mercy, hear our prayer.

Our cup overflows with blessings. We pray for people who have hurt us, for people we find it hard to forgive, for people we find it difficult to love. Lord, in your mercy, hear our prayer.

Surely, your goodness and unfailing love will pursue us all the days of our lives, and we will live in your house for ever. We pray that the time will not be far off when your Kingdom will come, and the earth will be filled with the knowledge of your glory. Lord, in your mercy, hear our prayer.


Blessing

Go now with your trust in the good shepherd, and let us love, not just in words, but in truth and action. Believe in the name of Jesus Christ, and love one another, just as he has commanded us.
And may God be at your side, even in valleys of death. May Christ Jesus be the cornerstone of your life. And may the Holy Spirit abide in you and tend you with love and mercy all the days of your life. Amen.

(http://laughingbird.net/LectionTexts/B35.html)

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11:59 - To Thy Holy Name.

Monday 17 October 2016

Ongoing gratitude

Here is the Thought for the Week that I prepared for Sunday 9 October at St Martin-in-the-Fields:

This year the Business Harvest Festival at St Stephen Walbrook follows the wonderful Harvest Service of which we were part at St Martin’s last Sunday. I’m therefore still in Harvest mode and reflecting on the opportunities for giving thanks which Harvest provides.

Gratitude, as our last Stewardship campaign reminded us, is something for which we need to pray. George Herbert wrote:

‘Thou that hast given so much to me,
Give one thing more, a grateful heart.’


While the idea of counting our blessing is a cliché, there is nevertheless a value to the exercise, as thankfulness and gratitude isn’t always our default position as we journey through life. This is despite the fact that there is often much for which we can be grateful when we do stop to reflect.

The Gospel reading used for Harvest at St Stephen Walbrook (John 6. 25 - 35) reminds us that Jesus is the bread of life. By being the one who meets our basic needs for love and acceptance, Jesus gives a reason for constant gratitude and thankfulness whatever our circumstances. In Jesus, God has given us a harvest of love which can be our ongoing experience.

Here at St Martin’s our Harvest Festival is now in the past but the gratitude and thankfulness that it engenders can continue to be a part of our ongoing experience.

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Michael Kiwanuka - Father's Child.

Discover & explore - Treasure/Gold


Today the Choral Scholars of St Martin-in-the-Fields led our Discover & explore service at St Stephen Walbrook on the theme of Treasure/Gold using the following: O radiant dawn - MacMillan; All I once held dear - Kendrick/Larson; Beati quorum via - Stanford; and Ubi caritas - Durufle.

The next Discover & explore service in the series is on Monday 24 October at 1.10pm. The theme will be Guidance and the service will be led by Revd Sally Muggeridge.

Here is the reflection that I shared today:

The love of money is the root of all evil. We have probably all heard that biblical assertion, although many think the statement is actually that money is the root of all evil. That isn't what is asserted in scripture, however, as a very important distinction is being made when it is said that the love of money is the root of all evil.

Money itself is neutral. It is a means of exchange that can be used for good or evil but which is not inherently evil in and of itself. One key element in the positive use of money is its circulation. It is designed to be exchanged and therefore it moves from one person to another, one account to another. This is one reason why the Bank of England has introduced plastic bank notes, because significant levels of exchange cause significant wear and tear for the notes that are being exchanged.

There is a blockage to this healthy exchange process when greed comes into play and particular people begin accumulating great wealth which is not being exchanged as freely or with as many people. This is one of the reasons why the love of money is the root of all evil, as it interrupts and blocks the healthy free flowing exchange which shares money with the many. Lewis Hyde suggests in his book entitled ‘The Gift’ that "we think of the gift as a constantly flowing river" and allow ourselves "to become a channel for its current." When we try to "dam the river", "thinking what counts is ownership and size," "one of two things will happen: either it will stagnate or it will fill the person up until he bursts."

The antidote to such greed and accumulation is the generosity on which we have focused with our readings in this service. Generosity, the giving away of money, gives additional impetus to the free flow of money and is usually focused on those most deeply in poverty or in need.

The City of London is a place where London’s spirit of enterprise is distilled to the maximum. It was in the City that many forms of charitable activity originated or evolved into business models for others to follow. Making money and giving money are both features of life in the City. What does the Bible say about the way we should use the money we make?

Instead of giving grudgingly, the Bible encourages generosity and cheerfulness in giving. In his second letter to the Corinthians Paul writes, ‘Each of you should give what you have decided in your heart to give, not reluctantly or under compulsion, for God loves a cheerful giver.’ Gratitude is the first fruit of humility and is a response to the forgiveness, freedom, healing and restoration which we find in God. We are precious to him, honoured and loved by him, so give out of thankfulness for this acceptance and love.

That is the prayer for our Stewardship campaign this year; that God will give us a grateful heart. Giving to our church is a tangible, faithful, and accountable way in which we demonstrate our gratitude to God. Of course our lives haven’t in every way turned out how we wanted them to; but God has given us life. Of course the church isn’t perfect; but God has given us Jesus, and forgiveness, and the life everlasting. Of course there are lots of other good causes; but giving to the church is about investing in forever, in striving to live now the companionship God has promised us always.

As a result, this autumn we are encouraging all those who come to St Stephen Walbrook to reflect on the various ways in which we can use their time, talents and treasure in God’s service. Each of us can give from our treasure in ways that benefit others and our Stewardship leaflet explains how to give regularly and consistently to St Stephen Walbrook, so I encourage you to reflect on whether you could give regularly out of gratitude and to help this church.

The Elizabethan poet George Herbert was aware of our natural tendency to think what God has given to us as being ours and to retain as much of it for ourselves as possible. His prayer, therefore, was that he might be given a grateful heart. One that rejoices in all that God has given, recognising it all as a gift, rather than something earnt, and, therefore, generous in the way it is used and given back to God. May our prayer be that of George Herbert:

Thou that hast given so much to me,
Give one thing more, a grateful heart …
Not thankful, when it pleaseth me;
As if thy blessings had spare days:
But such a heart, whose pulse may be
Thy praise.

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George Herbert - Redemption.

Sunday 16 October 2016

The story of a journey from the centre to the edge


Donald Eadie spoke on film for Prophets & Seers: Calling from the Edge, the 2016 Disability Conference at St Martin-in-the-Fields, organised as a partnership between St Martin's and Inclusive Church.

In recent years Donald has lived with a serious spinal condition which forced him to retire early as Chair of the Birmingham District of the Methodist Church. He has often been in the firing line for advocating justice and respect between people of all faith, women and men, gay and straight people. He is a much consulted Methodist minister, retreat leader and author.

Donald said: 

'We bring our discovery of bread on the edge and wells of water under our feet, in desert and destitution as did both Elijah (1 Kings 17:1-7) and the slave girl Hagar before us. (Genesis 21: 8-20) Consecrated food from heaven is not confined to lie under white cloths in our Churches. We bring these gifts and many others, not as victims but as liberators.

I have come with a story of a journey, from the centre to the edge, of making connections between our experience of body and the body of Christ, and of receiving threatening gifts which could transform.'

He asked us: 'What does the journey toward transformation through vulnerability mean in your situation? What are your stories of frightening liberation?'

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Julie Miller - Broken Things.

Reality reshaped by disability

Day two of Prophets & Seers, a weekend of events exploring disability and church at St Martin-in-the-Fields began with a Eucharist and healing service for St Luke’s Day reflecting on the themes of the weekend and using liturgy written by St Martin’s Disability Advisory Group and Healing Team. The service included the laying on of hands and anointing with oil, accompanied by prayers for healing for individuals, someone else or the wider world. A screening of the acclaimed documentary film Notes on Blindness also took place in St Martin’s Hall. The film is based on John Hull’s audio diaries, as he reflected on his journey into blindness. Joining us for the screening were the filmmakers and Marilyn Hull.

Here is my sermon from the St Luke's Day Eucharist:
 


Our symbol for this year's weekend of events exploring disability and church is that of ripples on a lake. This weekend we are celebrating five years of conferences on disability and church organised by St Martin's and Inclusive Church, whilst also celebrating the profound influence of the theologian John Hull, who spoke in past years at the conference, and who died last year. The image of ripples was chosen to represent the rippling out of influences from the conference, John Hull and our own Disability Advisory Group.

I want to use that same image in a different way this morning. In the novel ‘The Book of Questions’ by Edmond Jabès, a rabbi speaks of ripples on a lake as representing a face with marks, wrinkles or wounds which reflects the face of God. If we understand the image of ripples in that way then we can make a connection between the image and the story of Jacob, from today’s Old Testament reading (Genesis 32. 22 - 32). Jacob’s story is of a journey from a selfish and ambitious focus on himself to a place of valuing relationships and the founding of a nation, where the moment of transition involves a disabling experience after wrestling with God. He carried the marks of that experience with him as he limped into a period of his life that had significance for the many, rather than the few. His disability reflected the work of God in his life.

This morning I want to explore how our reality can be reshaped by disability by comparing and contrasting the story of Jacob with that of two writers who both wrestled with God in relation to their experience of disability. The first of these, Jack Clemo, was one of the most extraordinary poets of the twentieth century. Although not as widely recognised as he should be, the 100th anniversary of his birth, in the heart of Cornwall’s China Clay Country, has been rightly celebrated this year.

Jack became deaf at the age of nineteen and blind in his thirties. These experiences of disability which combined with his rural location and his strong Evangelical faith, which was at odds with an increasingly secularized Britain, all served to make him an isolated outsider calling out ‘from the margins.’ His is a poetry which has power as he finds words to articulate his condition and convictions in his experience of marginalisation.

He used the landscape of the clayworks where he lived for much of his life - a landscape that had been violently shaped by industrial working - as a metaphor for the invading Gospel of Christ. His focus was on ‘the innate sinful condition of ‘nature,’ sin having warped nature just as much as humankind, with only God’s intervention able to restore the intended state of grace. As a result, he ‘believed his own suffering’ (for that was how he viewed his disabilities) ‘was necessary, but only as evidence for the crucial purification of original sin.’ So he declared that suffering (meaning his experience of disability) ‘in itself had taught me nothing; it had merely created the conditions in which joy could teach me, and so it could never be the last word or even the vitalizing word in my Christian adventure.’

Jack believed that God would invade his isolation by giving him the threefold happiness of healing, marriage and success as an Evangelical poet. As a result, he made few attempts to live with his disabilities, refusing to learn braille for example, and wrote some poetry which seems critical of those who chose to live with the experience of disability rather than seeking cure through God's invasive power. He achieved a measure of success as a poet and also married in his 50’s, but, despite much prayer for healing over many years and many moments when he thought healing had come, never experienced the physical healing which he fervently sought. His biographer, Luke Thompson, writes that ‘However we interpret Jack’s beliefs about the role of God in his life, they seem wrong. Over and over again, his statements and expectations were disproved; the signs and patterns perceived were incorrect; God’s promises were broken. It would be possible to construct a picture of a divinity working through Jack’s life, but it would require a complete renegotiation of the terms.’ That is, in part, because Jack only valued his disabilities as an arena in which God could demonstrate his healing powers to an unbelieving world.

By contrast we can consider the experience of the John Hull who, in the early 1980s, after decades of steady deterioration, lost his sight. ‘To help him make sense of the ensuing upheaval in his life, he began to keep an audio diary. Across three years, he created a unique testimony of loss, rebirth and renewal, excavating the interior world of blindness.’ ‘Based on these original recordings and his published diaries ‘Touching the Rock’, [the film] Notes on Blindness recreates his ‘journey through emotional turmoil and spiritual crisis to a renewed perception of the world and the discovery of ‘a world beyond sight’.’

In the book and film we travel with John Hull ‘farther and farther into the world … of blindness, until finally he comes to a point where he can no longer summon up memories of faces, of places, even memories of the light. This is the bend in the tunnel: beyond this is “deep blindness.” And yet at this … darkest … point, there comes a mysterious change—no longer an agonized sense of loss … but a new sense of life and creativity and identity. “One must recreate one’s life or be destroyed,” Hull writes, and it is precisely re-creation, the creation of an entirely new organization and identity, which [he] described ... At this point … [he] wonders if blindness is not “a dark, paradoxical gift” and an entry—unsought … but to be received—into a new and deep form of being.’ In reflecting on the nature of that gift, John said that, ‘After living with it and meditating on it for some time, I realized that blindness is not just a loss but it is one of the great human states which have characteristics of its own.’

My works,’ he wrote, ‘are … a yearning to overcome the abyss which divides blind people from sighted people. In seeking to overcome that abyss I've emphasized the uniqueness of the blind condition—blindness is a world. I've also sought to show that it's one of a number of human worlds. That sight is also a world. And that to gain our full humanity, blind people and sighted people need each other’. As a result, before his untimely death last year, John called on disabled people to challenge the church with a distinct prophetic ministry based on their own lived experience.

Both Jack Clemo and John Hull wrestled with God as a result of their experiences of disability. Jack increasingly wrestled with the reality that he had not been healed. His struggle was with God’s failure to grant to him the supernatural transformation that he desired and this desire and struggle left him isolated and lacking in solidarity with other disabled people. Because he viewed his disabilities as an arena in which God would demonstrate his power to cure, he did not explore the dimensions of the worlds of blindness and deafness that he inhabited or their potential for relationship preferring to remain waiting independently for rescue from those worlds. As a result, he was personally dependent on those around him and his poetry became strident and simplistic when he reasserted his belief in a cure that he was not receiving.

John, by contrast, recognised that he had been given the gift of experiencing the world of blindness realising that it is a world to inhabit, not to seek to leave, and his wrestling with God was the wrestle to reshape his reality, to receive a new and right spirit to trust that in the midst of the world of blindness, truth will be experienced and shared. He realised that, as a result of his twin experiences, he was able to speak into the worlds of blind and sighted people and emphasise their need of one another.

How do these stories relate to Jacob’s experience of wrestling with God? Jacob divided his family on the basis of his own ambition buying his elder brother Esau’s birthright and tricking his dying Father into giving a blessing that also belonged by right to his brother. While primarily selfish in a way that was not the case for Jack Clemo, his independent isolation does have similarities with Jack’s isolation and independent vocation. Jacob then wanted to be reconciled to Esau but was worried that Esau’s reaction toward him would be aggressive, so he set up a series of gifts for Esau and spent an anxious night wrestling with God. His experience of wrestling with God was a liminal moment in his life, a rite of transition from an essentially self-centred individualistic existence to become forefather to a people who, like the sand on the seashore, could not be numbered. This change involved crossing a boundary (the river Yabbok), struggling (with God) and naming (as Jacob became known as the Patriarch to Israel, the people who struggle with God). He limped away from this experience but went with God’s blessing, so his experience of change and transition was both disabling and a blessing. His reality was reshaped, enabling him to receive the generous act of reconciliation which his brother afforded him the next day.

Like John Hull, Jacob found his disabling experience to be one through which he gained a greater understanding of himself, his role, his destiny, his people, his world and his God. The result, as for John, was renewed relationships. Unlike Jack, who thought cure would demonstrate God’s reality and who, therefore, separated himself from other disabled people, Jacob and John experienced disability as the threshold to re-creation, renewal and relationship. That is a deeper, fuller experience of healing and a greater demonstration of God’s reality and presence. To return to the image with which we began, the marks of their experiences reflected the face of God.

John Hull taught that blind people and sighted people, disabled people and non-disabled people need each other. That realisation begins as disabled people challenge the church with a distinct prophetic ministry based on their own lived experience. The Greek poet Tasos Leivaditis has described just such a moment of realisation and so I end with his prose-poem ‘The Blind Man and the Lamp’:

IT WAS NIGHT and I had made the greatest decision of
the century — I would save humanity — but how? — as
thousands of thoughts were tormenting me I heard footsteps,
opened the door and beheld the blind man from the opposite
room walking down the hallway and holding a lamp — he
was about to go down the stairs — ‘What is he doing with
the lamp?’, I asked myself and suddenly an idea flashed
through my mind — I found the answer — ‘My dear brother,’
I said to him, ‘God has sent you,’
and with zeal we both got down to work . . .’

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Mahalia Jackson - There Is A Balm In Gilead.