A life lived to introduce others to Jesus Christ

Here's the sermon I shared this morning at St Gabriel’s Pitsea:

Here, in five short verses at the beginning of today's Gospel reading (John 1:29-34), we have the testimony of John the Baptist regarding Jesus. Who does John say that Jesus is?

Firstly, John says that Jesus is the Lamb of God who takes away the sin of the world. The image of Jesus as the lamb that takes away sin reminds us of the story of the Exodus and the Passover. Death was coming to the entire land of Egypt and those saved were those who sacrificed lambs and daubed the blood of the lamb on the doorposts of their homes. John was saying that when Jesus died his sacrifice would affect the entire world not just the people of Israel and would do so by taking away our sin for which the punishment is death. 

Next, John says that Jesus ranks ahead of him because he was before him. John the Baptist was a great prophet. So much so, that Jesus compares him to Elijah referring to the prophecy in Malachi 4:5 that God would send Elijah the prophet before the coming of the great and terrible day of the Lord. Despite the greatness of John’s role and ministry (and despite the fact that he is the elder of the two), Jesus is the one to whom John bows the knee (the strap of whose sandal he is not worthy to untie) because, as we hear at the beginning of John’s Gospel, in the beginning was the Word, and the Word was with God, and the Word was God. The Word was Jesus. He was in the beginning with God. All things came into being through him, and without him not one thing came into being.

John then says that Jesus is the one on whom the Spirit remains. The Spirit “came upon” such Old Testament people as Joshua (Numbers 27:18), David (1 Samuel 16:12-13) and even Saul (1 Samuel 10:10). In the book of Judges, we see the Spirit “coming upon” the various judges whom God raised up to deliver Israel from their oppressors. The Holy Spirit came upon these individuals for specific tasks. What happens with Jesus is different, as the Spirit remains with him. In Jesus the fruit of the Spirit -  love, joy, peace, patience, kindness, generosity, faithfulness, gentleness, and self-control – can be fully expressed, therefore the Spirit remains with Jesus in a way which had not been possible until then. All of Jesus' ministry, "must be understood as accomplished in communion with the Spirit of God".

Fourthly, John says that Jesus is the one who baptises others with the Holy Spirit. As the Holy Spirit remains with Jesus, so she also remains with those who are his followers.  The New Testament teaches the permanent indwelling of the Holy Spirit in believers (1 Corinthians 3:16-17; 6:19-20). When we place our faith in Christ for salvation, the Holy Spirit comes to live within us. The Apostle Paul calls this permanent indwelling the “guarantee of our inheritance” (Ephesians 1:13-14).

Finally, John sums up his testimony by saying that Jesus is the Son of God, a title that implies His deity (John 5:18) because it is one of equality with God. This title has many facets, including showing that He is to be honoured equally with the Father (John 5:22-23), that He is to be worshipped (Matt. 2:2, 11, 14:33, John 9:35-38, Heb. 1:6), called God (John 20:28, Col. 2:9, Heb. 1:8), and prayed to (Acts 7:55-60, 1 Cor. 1:1-2).

John was sent as a man of God expressly to prepare the way for and to testify regarding the Christ, so the people would believe in Him. He plainly said that Jesus was the One for Whom He was preparing the way. He said Jesus would have pre-eminence, that Jesus was the Christ, that He was the Lamb of God who takes away the sin of the world, and that He was the Son of God. John lived his life to introduce others to Jesus Christ and his testimony is a model of Christian witness to Jesus. 

John believed in the Christ and his great faith prepared him for hardships, but it kept him steadfast on his course until the time when he could say as he saw Jesus approach, “Look, the Lamb of God, who takes away the sin of the world!” (John 1:29). As believers, we can all have this steadfast faith. John is also a model of Christian discipleship in his humility, a key characteristic of discipleship in this Gospel. We see this because, even when he is asked to testify concerning himself, he points to Jesus. Therefore, we can find in John the Baptist a powerful example of humility, single-mindedness and witness. We will do well to follow in his footsteps.

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Mavis Staples - Everybody Needs Love.

Nazareth Community: Everyday reflections

Two initial meetings have been held in recent months to move towards the formation of a Nazareth Community for South Essex. At the first, in December, information was shared about the history of the Nazareth Community and the 7 S's that form its rule of life. Then those present experienced Lectio Divina in a listening group. Today, we began working on our individual rules of life using the 7 S's, had a time of reflection on a Nazareth letter, and shared a Bread for the World Eucharist together.

In today's Bread for the World service, I shared the following reflection:

The Bible is full of encouragement to reflect. The words, reflect, consider, ponder, meditate and examine, crop up everywhere. God encourages us to reflect on everything; his words (2 Timothy 2.7), his great acts (1 Samuel 12.24), his statutes (Psalm 119.95), his miracles (Mark 6.52), Jesus (Hebrews 3.1), God's servants (Job 1.8), the heavens (Psalm 8.3), the plants (Matthew 6.28), the weak (Psalm 41.1), the wicked (Psalm 37.10), oppression (Ecclesiastes 4.1), labour (Ecclesiastes 4.4), the heart (Proverbs 24.12), our troubles (Psalm 9.13), our enemies (Psalm 25.19), our sins (2 Corinthians 13.5). Everything is up for reflection but we are guided by the need to look for the excellent or praiseworthy (Philippians 4.8) and to learn from whatever we see or experience (Proverbs 24.32).

Clearly all this reflection cannot take place just at specific times. Just as we are told to pray always, the implication of the Bible's encouragement to reflection is that we should reflect at all times. We need to make a habit of reflection, a habit of learning from experience and of looking for the excellent things. 

How can we do this? In the paraphrase of Matthew 6. 34 from The Message, we hear Jesus say: “Give your entire attention to what God is doing right now, and don’t get worked up about what may or may not happen tomorrow. God will help you deal with whatever hard things come up when the time comes.”

Simon Small writes in ‘From the Bottom of the Pond’ that: “Our minds find paying full attention to now very difficult. This is because our minds live in time. Our thoughts are preoccupied with past and future, and the present moment is missed.”

But, he says, “Contemplative prayer is the art of paying attention to what is”: “To pay profound attention to reality is prayer, because to enter the depths of this moment is to encounter God. There is always only now. It is the only place that God can be found.”

This is very much what Jesus seems to be saying in Matthew 6. 34 and also in his teaching on worry and anxiety found in Matthew 6. 24 – 34.

One of the ways, I would suggest is that we use all that is around us – what we see, do and experience. Everything around us can potentially be part of our ongoing conversation with God, part of which is reflection. The Celtic Christians had a sense of the heavenly being found in the earthly, particularly in the ordinary events and tasks of home and work, together with the sense that every event or task can be blessed if we see God in it.

David Adam, who has written many contemporary prayers in this style, says that: “Much of Celtic prayer spoke naturally to God in the working place of life. There was no false division into sacred and secular. God pervaded all and was to be met in their daily work and travels. If our God is to be found only in our churches and our private prayers, we are denuding the world of His reality and our faith of credibility. We need to reveal that our God is in all the world and waits to be discovered there – or, to be more exact, the world is in Him, all is in the heart of God. Our work, our travels, our joys and our sorrows are enfolded in His loving care. We cannot for a moment fall out of the hands of God. Typing pool and workshop, office and factory are all as sacred as the church. The presence of God pervades the work place as much as He does a church sanctuary.” (Power Lines: Celtic Prayers about Work, SPCK, 1992)

Other examples of similar styles of prayer include, Alexander Carmichael’s Carmina Gadelica, a collection of Gaelic prayers and poems collected in the late 19th century, which “abounds with prayers invoking God’s blessing on such routine daily tasks as lighting the fire, milking the cow and preparing for bed.” Many of George Herbert’s poems use everyday imagery (mainly church-based as he was also a priest) and are based on the idea that God is found everywhere within his world. People like Ray Simpson and Ruth Burgess have provided series of contemporary blessings for everyday life covering computers, exams, parties, pets, cars, meetings, lunchtimes, days off and all sorts of life situations from leaving school and a girl’s first period to divorce, redundancy and mid-life crises.

Similarly, Martin Wallace suggests that: “Just as God walked with Adam in the garden of Eden, so he now walks with us in the streets of the city chatting about the events of the day and the images we see.” (City Prayers, The Canterbury Press, 1994) He wants to encourage us to “chat with God in the city, bouncing ideas together with him, between the truths of the Bible and the truths of urban life” and, “as you walk down your street, wait for the lift, or fumble for change at the cash-till … to construct your own prayers of urban imagery.”

One helpful way of beginning to do this is to identify the times and spaces in your normal day when you could take time to pray in this way. Before ordination, when I worked in Central London I used to use my walk to and from the tube station in this way and also had a prayer on my PC that I would pray as I ate lunch at my desk. As a result, since being ordained I have been sending emails to working people in the congregation of which I have been part with a brief reflection and prayer that they can use in these ways.

If you would like to pay more attention to events in this way, why not start by making a list of all the things that you see and do in a typical day? Then think how you could use these to reflect and pray. Then, as Martin Wallace suggests, you might like to try writing your own prayer, reflection or blessing using some of these things as your starting point.

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Peter Mayer - Holy Now.

Windows on the world (554)

London, 2026

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Guards of Metropolis - Tired.

 

Poetry Update

My latest review for International Times is on Collected Poems by Kevin Crossley-Holland:

'His Collected Poems span a lifetime; a lifetime, as Lucy Newlyn writes, spent ‘mining the resources of elegy, myth, lyric, prayer, and dramatic monologue to form delicately crafted meditations on love and loss, time and memory, spiritual longing and emotional growth’. In them, he harnesses the music of language and uses it beautifully, insightfully, and with depth of meaning to help us to sing. His poems invite us in to the landscape of the creative moment where we are set free to imagine. There, suggestion makes the dream and we are prepared for the possible, whilst becoming aware that anything could happen. There can be no greater goal for poetry and no greater commendation for this transformative collection.'

My first review of poetry for Tears in the Fence was of 'Modern Fog' by Chris Emery. My second review was of 'The Salvation Engine' by Rupert Loydell and my third was of 'For All That’s Lost' by David Miller. My poetry 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'.

My earlier poetry pieces for IT are: an interview with artist, poet, priest Spencer Reece; an interview with the poet Chris Emery; plus reviews of 'Breaking Lines' at the Estorick Collection of Modern Italian Art and 'What Is and Might Be and then Otherwise' by David Miller. I have also published pieces on poetry at Seen and Unseen - a profile of the poet Theresa Lola - and the Journal of Theological Studies - a review of Faith, Hope and Poetry: Theology and the Poetic Imagination by Malcolm Guite. For more on poetry, read my ArtWay interview with David Miller here and my interview with Rupert Loydell here. See also Rupert Loydell's interview with poet and musician Steve Scott. My own dialogues with Steve can be read here, here, here, here, and here.

IT have also published several of my poems, including 'The ABC of creativity', which covers attention, beginning and creation, and 'The Edge of Chaos', a state of current existence poem. 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. 'Deflated Ego 18: Jonathan Evens on Jonathan Evens' is an article I wrote for Stride Magazine about the 'Five Trios' series of poems.

To read my poems published by Stride, click here, 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'.

I am among those whose poetry has been included in Thin Places & Sacred Spaces, a recent anthology from Amethyst Press. 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.

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.

My key literature posts (including poetry) are:

• There were giants in those days (1)
• There were giants in those days (2)
• There were Giants in those days (3)
• There were giants in those days (4)
• The Modern & Contemporary Catholic Novel (1)
• The Modern & Contemporary Catholic Novel (2)
• The Modern & Contemporary Catholic Novel (3)
• The Modern & Contemporary Catholic Novel (4)
• The Modern & Contemporary Catholic Novel (5)
• The poetry of connection
• Debate: Has Fiction Lost It's Faith?
• Jesus is having a moment in literary fiction
• Endo & Scorsese: Approaching Silence
• Contemporary Fiction and Christianity
• Debate: Has Fiction Lost It's Faith? (2)
• Jack Clemo: The Invading Gospel
• Dealing with faith and with secularism is difficult but necessary now
• The poet’s eloquently passionate struggle at the junction of doubt and devotion
• Christian Arts renaissance: Major or minor?
• T.S. Eliot: Christianity, fragmentation and reconciliation
• Jesus Novels & Films: The Greatest Story Ever Told
• Acts of the Assassins and Jesus Novels
• Czeslaw Milosz, Oscar Milosz and Simone Weil
• Blogs: cryingforavision & Stride magazine
• Tasos Leviaditis: The Blind Man with the Lamp
• Religious concerns in Greek poetry
• Thomas Merton and Latin American poets
• American Catholic poets & writers
• Connections of Sister Corita Kent and Norman Nicholson
• Ernesto Cardenal RIP
• Czeslaw Milosz, Jerzy Andrzejewski, Oskar Milosz, and Aleksander Wat
• Faith, Mystery & Poetry
• Elizabeth Jennings & David Gascoyne: Mystical Experience and the Making of Poems
• Roots of the Catholic Literary Revival

See also 'Art and Faith: Decades of Engagement: Introduction, 1880s, 1890s, 1900s, 1910s, 1920s, 1930s, 1940s, 1950s, 1960s, 1970s, and 1980s.

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Kevin Crossley-Holland - Poetry Reading.

International Times: Setting the Reader Free to Imagine

My latest review for International Times is on Collected Poems by Kevin Crossley-Holland:

'His Collected Poems span a lifetime; a lifetime, as Lucy Newlyn writes, spent ‘mining the resources of elegy, myth, lyric, prayer, and dramatic monologue to form delicately crafted meditations on love and loss, time and memory, spiritual longing and emotional growth’. In them, he harnesses the music of language and uses it beautifully, insightfully, and with depth of meaning to help us to sing. His poems invite us in to the landscape of the creative moment where we are set free to imagine. There, suggestion makes the dream and we are prepared for the possible, whilst becoming aware that anything could happen. There can be no greater goal for poetry and no greater commendation for this transformative collection.'

My earlier pieces for IT are: an interview with the artist Alexander de Cadenet; an interview with artist, poet, priest Spencer Reece, an interview with the poet Chris Emery, an interview with Jago Cooper, Director of the the Sainsbury Centre for Visual Arts, a profile of singer-songwriter Bill Fay, plus reviews of: 'Lux' by Rosalía; 'Springsteen: Deliver Me from Nowhere'; 'Great Art Explained' by James Payne; 'Down River: In Search of David Ackles' by Mark Brend; 'Headwater' by Rev Simpkins; 'The Invisibility of Religion in Contemporary Art' by Jonathan A. Anderson; 'Breaking Lines' at the Estorick Collection of Modern Italian Art, albums by Deacon Blue, Mumford and Sons, and Andrew Rumsey, also 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; 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, including 'The ABC of creativity', which covers attention, beginning and creation, and 'The Edge of Chaos', a state of existence poem. 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.

To read my poems published by Stride, click here, 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'.

I am among those whose poetry has been included in Thin Places & Sacred Spaces, a recent anthology from Amethyst Press. 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.

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Duvall - I'll Be Around.

Church Times - Art review: Jean Lamb: An Urban Passion (St Marylebone Parish Church and then St Peter’s, Nottingham)

My latest exhibition review for Church Times is on 'Jean Lamb: An Urban Passion' (St Marylebone Parish Church and then St Peter’s, Nottingham):

'JEAN LAMB has a track record for reimagining the Stations of the Cross in new and challenging forms.

Her carved sculptural Stations of the Holocaust, besides illustrating the Passion narrative, included images from the Holocaust showing the Jewish people as they were forced into ghettos, humiliated, tortured, and executed. This thought-provoking set of Stations was described as being a brave work that offered fraught and disturbing links between Christianity and Judaism.

Her latest set of Stations — An Urban Passion — is essentially an act of protest.'

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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Josh Caterer - Hallelujah! He Is Risen. 

Church Times - Book review: Practical Theology Beyond the Empirical Turn by Heather Walton

My latest book review for Church Times is on 'Practical Theology Beyond the Empirical Turn' by Heather Walton:

'Walton’s argument is that empirical approaches to knowledge, particularly in relation to practical theology, are narrow in both measurement and understanding, while also reflecting the unconscious biases of those who devise them. As a result, she argues that a radical expansion of approaches is required, and arts-based and creative approaches, particularly those that address the climate emergency, are strongly advocated.'

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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John Davis - I Hear Your Voice.