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Sunday, 5 April 2026

Seeing the risen Jesus and crying ‘My Lord and my God!’







Here's the Easter Day sermon I shared at St Mary’s Runwell this morning:

Jesus appeared to many of his disciples after he was raised. Paul gives us a partial list in 1 Corinthians 15.5-8 where he says: ‘… he appeared to Cephas, then to the twelve. Then he appeared to more than five hundred brothers and sisters at one time, most of whom are still alive, though some have died. Then he appeared to James, then to all the apostles. Last of all, as to one untimely born, he appeared also to me.’

The number of people who saw him after his resurrection is important because it confirms the reality of his resurrection; so many people over such a period that they cannot all have been deceived or misled. The number that saw him is also significant because each have different reactions and responses and we may identify with them at different times and stages in our lives.

So, today I want to share four meditations about four of those who saw Jesus and ask you which you identify most with today.

Jesus’ female disciples were the first to realise that he had risen and Mary Magdalene was the first to see him. She was the first to tell the other disciples that he had risen, becoming the apostle to the apostles as she did so. In this meditation, she is repeatedly asked why she weeps and her answers show the change in her understanding as she comes to realise that Jesus is alive and with her.

Mary

Why do you weep?
For the body taken away
For not knowing its location
For the escalation of grief
For the suspension of closure

Why do you weep?
For the frustration of expectations
For the pain of crucifixion
For the victory of might
For the loss of my beloved

Why do you weep?
For the voice that called my name
For the body that I held
For the teacher who still teaches
For the dead man who now lives

Why do you weep?
For the reversal of all my expectations
For the joy of resurrection
For the victory of love
For union with my beloved

Despite his assertions before the event, Peter denied Jesus three times before his crucifixions. When Jesus meets Peter after the resurrection, he walks him through denial to assure him of his forgiveness and to enable him to minister as an apostle.

Peter

The cock crows
and trust fails as you deny
the one that you had sworn
never to leave or forsake

The cock crows
with the falling away of commitment
which tears away, where denied beliefs stuck to you,
the flesh from the bone

The cock crows
And there is nothing except pain
and a cry and a hate, extreme crisis and no belief,
memories and facts and realities of denial.

The question is posed,
“Do you love me?”
and guilt is re-inhabited
in order to be understood and redeemed.

The question is posed,
“Do you love me?”
and the promise of wholeness comes
as the fragments of a shattered psyche are gathered up through self-knowledge.

The question is posed,
“Do you love me?”
Three affirmations countermand three denials
and the guilty party walks free to love and feed God’s flock.

Thomas famously was not there when Jesus first appears to the main group of disciples and says that unless he can place his hands in the nail and spear prints on Jesus’ body he will not believe. However, when Jesus appears to him he proclaims, ‘My Lord and my God!’

Thomas

Unless I see
the scars
of the nails
in his hands
and put my finger
on those scars
and my hand
in his side,
unless I can touch,
unless he is tangible,
unless I have proof,
I will not believe.

If you see
the scars
of the nails
in my hands
and put your finger
on those scars
and your hand
in my side,
if you can touch,
if I am tangible,
if you have proof,
you will not have belief.

Blessed are those
who cannot see
the scars
of the nails
in my hands
and put their fingers
on those scars
and their hands
in my side,
blessed are those who
cannot touch,
who are without
tangible proof,
for they truly believe.

Jesus appeared to Saul on the road to Damascus, when Saul was travelling there to persecute Christians in the Early Church. Paul calls himself ‘the least of the apostles’ as a result, ‘unfit to be called an apostle’ because he ‘persecuted the church of God’. But, he concludes, ‘by the grace of God I am what I am, and his grace toward me has not been in vain’.

Paul

Saul, Saul,
why do you persecute me?

Who are you?

I am those you persecute,
they are my Body,
they are in me
and I am in them.
I am one Body
though made of many parts;
Jews, Gentiles,
men, women,
slaves or free,
all are one in me.

Apostles, prophets,
teachers, miracle workers,
healers, helpers, directors,
speakers in strange tongues;
all are one in me.

Black, white,
young, old,
gay, straight,
disabled, able-bodied
upper class, working class,
all are one in me.

When one part suffers,
all parts suffer;
when one part is persecuted,
all are persecuted.

Saul, Saul,
why do you persecute me?

Who are you?

I am Jesus,
whom you persecute.
Who are you?

I am like one
whose birth was abnormal,
the least of the Apostles,
not even deserving
of that name,
for I persecuted you
by persecuting your people.
I am Paul,
your servant,
your Apostle to the Gentiles,
a part of the Body of Christ.

Which of these apostles do you identify with most today? Mary Magdalene, gradually coming to the understanding that Jesus is with her? Peter receiving forgiveness for earlier denials and assurance for future ministry? Thomas, disbelieving initially but now seeing the truth for himself? Paul, stopped in his tracks and turned around from a persecutor of Christ’s church to becoming its strongest advocate? It doesn’t matter who we identify with or where we are on our journey of faith, all that matters is that like them we see the risen Jesus and, like Thomas, cry ‘My Lord and my God!’ May it be so for each one of us. Amen.

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Saturday, 4 April 2026

Windows on the world (565)


London, 2026

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De'Borah Powell - Never Far.

Spencer Reece and the George Herbert in Bemerton Group








The George Herbert in Bemerton Group’s aims are to: study and celebrate the life and work of George Herbert as priest, writer and distinguished inhabitant of Bemerton; mount events relating to the works of George Herbert and the context in which he lived; and liaise and co-ordinate with other bodies with like interests.

The Group has presented a summer programme of three to five events every year since 2002. Past events include illustrated talks and lectures; poetry readings (often accompanied by live musicians playing music of Herbert's time) and appreciation groups; readings of material about Herbert and his period; and walks in the area with which he would have been familiar.

The first event of 2026 is 'A Broken Altar' (Thursday, 9th April at 7:00 pm, St Andrew's Church, Lower Bemerton) when Fr. Spencer Reece will talk about how George Herbert inspires the work of a published poet.

Fr. Spencer Reece is the Rector of St. Paul's Wickford, Rhode Island. He was ordained in Madrid in 2011 and then spent three years teaching poetry in Honduras. He moved back to Madrid in 2014 and assisted the Episcopal Bishop of Spain for a decade. He has published three books of poems, and in 2025 he was awarded the John Updike Award from the American Academy of Arts. He is a Guggenheim Fellow and Whiting Fellow. 

Spencer's memoir, The Secret Gospel of Mark, is a powerful dynamo of a story that delicately weaves the author's experiences with an appreciation for seven great poets. In speaking to the beauty these poets' works inspire in him, Reece finds the beauty of his own life's journey. In this talk, Spencer will focus on his love of George Herbert, sharing how writing about and to Herbert in the course of preparing his thesis on humility in Herbert became a love letter to the poet. 

Other events include:
  • 'The Temple': End to End, Wednesday, 29th July at 7:00 pm, St Andrew's Church, Lower Bemerton. Dr. Oliver Peel will talk about what may have influenced the sequence of George Herbert's poems. Followed by refreshments in a local garden. 
  • The Parson's Life, Thursday, 11th June at 7:00 pm, St Andrew's Church, Lower Bemerton. Reflecting Herbert's three years in Bemerton. A group presentation with musical interludes from Sami Brown (lute). Followed by refreshments in a local riverside garden.
  • Poetry Appreciation, Tuesday 6th October at 10:00 am, Belvedere House, 64 Lower Road, Lower Bemerton. A small group informal discussion, led by Dr. Beth Dodd.
Visit: Fr Spencer Reece
8 – 12 April, Parish of Wickford and Runwell

Fr Spencer Reece is Rector of St Paul’s Episcopal Church in Wickford, Rhode Island, and an internationally acclaimed poet. His project teaching poetry to abandoned girls at the Our Little Roses orphanage in San Pedro Sula, Honduras, was made into an award-winning film, Voices Beyond the Wall: 12 Love Poems from the Murder Capital of the World. His dream, prayer, and ultimate goal for his time with St. Paul’s Church is to continue the ongoing work of the parish in spreading Jesus’ radical love. “Let kindness be our legacy,” he has said.

Read my interview with Fr Spencer here and my review of his latest poetry collection here.

http://wickfordandrunwellparish.org.uk/
https://www.stpaulswickford.org/
https://www.spencerreece.org/

Meet Fr Spencer at:

8 April – Midweek Eucharist, 10.30 am, St Andrew’s Wickford

8 April – Bread for the World Service, 6.30 pm, St Martin-in-the-Fields, London (Fr Spencer will share a reflection on the road to Emmaus)

9 April – ‘The Broken Altar’, a talk on George Herbert, 7.00 pm, St Andrew’s Lower Bemerton (Fr Spencer is giving this talk at the invitation of the George Herbert in Bemerton group - https://www.georgeherbert.org.uk/about/ghb_group.html)

10 April – Unveiled: Poetry Reading, 7.00 pm, St Andrew’s Wickford

11 April – Quiet Day: Poetry & Prayer, 10.30 am - 3.30 pm, St Mary’s Runwell (Fr Spencer will share poems and reflections on George Herbert)

12 April – Eucharist, 9.30 am, St Mary’s Runwell and Eucharist, 11.00 am, St Catherine’s Wickford (Fr Spencer will preach at both of these services); 4.00 pm, Showing of Voices Beyond the Wall, St Andrew’s Wickford

SPENCER REECE, 36th rector of St. Paul's Wickford, Rhode Island, is a Guggenheim Fellow and Whiting Fellow. Reece’s first book, The Clerk’s Tale, was selected for the Bakeless Prize by Nobel Laureate Louise Glück. Reece was ordained in Madrid, Spain, in 2011. Awarded a Fulbright, he taught poetry at Our Little Roses in San Pedro, Honduras, where he lived with the rescued girls at the home. The work was made into an award-winning film, Voices Beyond the Wall: 12 Love Poems from the Murder Capital of the World. The poems by the girls were made into an anthology edited by Reece, entitled Counting Time Like People Count Stars. In 2014 he published The Road to Emmaus which was a longlist nominee for the National Book Award and short-listed for the Griffin Prize. He moved to Madrid and assisted the Episcopal Bishop of Spain for a decade. During this time, he created The Unamuno Author Series, culminating in the first-ever anglophone literary festival in Madrid in 2019. In 2022, he published The Secret Gospel of Mark: A Poet’s Memoir and All The Beauty Still Left: A Poets’ Painted Book of Hours. Acts, a third book of poems, appeared in 2024. At St. Paul’s, he created the 14 Gold Street Author Series. In 2025, he was awarded the John Updike Award from the American Academy of Arts and Letters for the “elegant standards” of his contribution to the literary arts. Farewell Symphony his fourth collection of poems will be published in 2028. In 2034, Love IV: Collected Poems is scheduled to appear.

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U2 - In A Life.

Thursday, 2 April 2026

Seen and Unseen: The Magdalene we rarely see

 


My latest article for Seen and Unseen is about the painting 'Magdalene at the Base of the Cross' by Chris Gollon:

'‘Magdalene at the Base of the Cross’ by Chris Gollon has been displayed beside the High Altar of Southwark Cathedral for the duration of Lent as an aid to worship. This image sees Mary Magdalene stretched out at the foot of the cross. A cropped but wide depiction of the scene, we see only the base of the cross, the ground, and the Magdalene embracing the cross.'

For more on Chris Gollon see here, here, here, and here.

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.

My 27th article was entitled 'Heading Home: a pilgrimage that breaks out beauty along the way' and focuses on a film called 'Heading Home' which explores how we can learn a new language together as we travel.

My 28th article was entitled 'Annie Caldwell: “My family is my band”' and showcased a force of nature voice that comes from the soul.

My 29th article was entitled 'Why sculpt the face of Christ?' and explored how, in Nic Fiddian Green’s work, we feel pain, strength, fear and wisdom.

My 30th article was entitled 'How Mumford and friends explore life's instability' and explored how Mumford and Sons, together with similar bands, commune on fallibility, fear, grace, and love.

My 31st article was entitled 'The late Pope Francis was right – Antoni Gaudi truly was God’s architect' and explored how sanctity can indeed be found amongst scaffolding, as Gaudi’s Barcelona beauties amply demonstrate.

My 32nd article was entitled 'This gallery refresh adds drama to the story of art' and explored how rehanging the Sainsbury Wing at the National Gallery revives the emotion of great art.

My 33rd article was an interview with Jonathan A. Anderson about the themes of his latest book 'The Invisibility of Religion in Contemporary Art'.

My 34th article was an interview with 'Emily Young: the sculptor listening as the still stones speak'.

My 35th article was a profile of New York's expressionist devotional artist, 'Genesis Tramaine: the painter whose faces catch the spirit'.

My 36th article was a concert review of Natalie Bergman at Union Chapel - a soul-soaked set turned personal tragedy into communal celebration.

My 37th article was based on the exhibition series 'Can We Stop Killing Each Other?' at the Sainsbury Centre. In it I explore how art, theology, and moral imagination confront our oldest instinct.

My 38th article article was 'The dot and the dash: modern art’s quiet search for deeper meaning' in which I argue that Neo-Impressionism meets mysticism in a quietly radical exhibition at the National Gallery.

My 39th article was 'From Klee to Klein, Wenders to Botticelli: angels unveiled' in which I explore how, across war, wonder and nativity, artists show angels bridging earth and heaven.

My 40th article was 'When Henry Moore’s Madonna shocked Northampton' in which I explore how a modernist mother and child stirred outrage, then lasting wonder.

My 41st article was 'Turner and Constable: storms, salvation and the sublime' in which I discussed how Tate Britain reveals how rival visions shaped art and spirit.

My 42nd article was 'When converts cracked open the culture’s polished surface' in which I explored how faith’s outsiders disrupted the scene with unexpected force.

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FIREWALL - Sleaford Mods & Chris Gollon, a unique work of art, music and film (2019)


Wednesday, 1 April 2026

The necessity of betrayal and the stature of waiting

Here's the reflection that I shared this afternoon in the Midday Meditation Service for Holy Week at Billericay Methodist Church:

“God’s foolishness is wiser than human wisdom, and God’s weakness is stronger than human strength …

God chose what is foolish in the world to shame the wise; God chose what is weak in the world to shame the strong; God chose what is low and despised in the world, things that are not, to reduce to nothing things that are, so that no one might boast in the presence of God.” (1 Corinthians 1.18-31)

Jesus chose Judas to be one of his disciples. What does it mean that Judas was chosen?

In The Last Temptation of Christ, the novelist Nikos Kazantzakis has Judas betray Jesus at Jesus’s own instigation. In our Gospel reading (John 13.21-32) Jesus said to Judas, ‘Do quickly what you are going to do’ which can be understood as an instruction to Judas to betray. In the novel Kazantzakis has Jesus say, “There is no other way for the Kingdom of Heaven to come”:

“You will, Judas, my brother. God will give you the strength, as much as you lack, because it is necessary—it is necessary for me to be killed and for you to betray me. We two must save the world. Help me."

Judas bowed his head. After a moment he asked, "If you had to betray your master, would you do it?"

Jesus reflected for a long time. Finally he said, "No, I'm afraid I wouldn't be able to. That is why God pitied me and gave me the easier task: to be crucified.”

In our Gospel reading, when Judas has gone out, Jesus says, ‘Now the Son of Man has been glorified, and God has been glorified in him’. It is as Judas goes to betray Jesus that Jesus says he is glorified, again showing the necessity of Judas’ betrayal.

If it is necessary for Judas to betray, which seems to be the case, then there may be a place for betrayal. The Irish poet Brendan Kennelly wrote a book called The Book of Judas in which he looks at the Judas of Gethsemane, the Judas in our culture and the Judas in us all. He writes:

Be a knife, bullet, poison, flood, earthquake;
Cut, gut, shrivel, swallow, bury, burn, drown
Till someone senses things ain't as they should be.

If betrayal is a service, learn to betray
With the kind of style that impresses men
Until they dream of being me

On this basis Judas becomes even more fascinating as a betrayer. He and his fate become a yardstick for measuring God’s kindness and forgiveness – does He allow Judas to go to Hell, given Judas was predetermined to betray his master?

In U2’s ‘Until the End of the World’ Judas sings to Jesus. The first verse discusses The Last Supper:

We ate the food, we drank the wine
Everybody having a good time except you
You were talking about the end of the world

The second verse is Judas’s betrayal of Jesus in the Garden of Gethsemane:

In the garden I was playing the tart
I kissed your lips and broke your heart


The third verse is about Judas' suicide after being overwhelmed with guilt and sadness:

Waves of regret and waves of joy
I reached out for the one I tried to destroy
You, you said you’d wait till the end of the world

In this song, Jesus is there at the end of time for Judas.

Jesus chose Judas as a disciple knowing he would betray and that his betrayal would bring about the salvation of the world. He chose someone who has been seen as foolish, weak, low and despised but in doing so chose what is weak in the world to shame the strong; chose what is low and despised in the world, things that are not, to reduce to nothing things that are, so that no one might boast in the presence of God.

Jesus chose Judas to be one of his disciples. We’ve thought briefly about what it might mean that Judas was chosen but, ultimately, as U2 sing in a song called ‘Moment of Surrender’: “It’s not if I believe in love / If love believes in me” and so, we pray, “Oh, believe in me” and give thanks that love does believe in us, as love believes in Judas. Amen.
Let’s think now about the interaction between Jesus and Judas from the perspective of what happens to Jesus.
 
“Over thirty years ago, W.H. Vanstone, canon of Chester Cathedral, wrote a book called, The Stature of Waiting. Early in the book, Vanstone talks about Jesus’ betrayal by Judas. The word ‘betrayed’, he says, as when Judas betrayed Jesus, really means ‘handed over’.” He explains that, “The word ‘betrayed’ is used only once in 33 mentions of what Judas did; the other 32 times the phrase ‘handed over’ is used. Where that phrase is used in other contexts of the NT it has no connotation of betrayal – eg the talents are ‘handed over’, Jesus ‘handed over’ his spirit as he died, Paul ‘hands over’ the gospel by preaching it to the Corinthians. The gospel writers use it consistently and automatically; it must have been the stock phrase, perhaps the one Jesus himself used at the Last Supper.”

The gospels show a marked change from activity to passivity, action to passion, at the point where Jesus was ‘handed over’ – a phrase [which was] in common Christian currency in the first century.” According to John’s account … when Judas leaves the Last Supper to set in train the handing over of Jesus, John tell us ‘that it was night’… which must mean that the ‘daylight’ period is over and that the time foreseen by Jesus has come - the time at which ‘no one can work’, the time at which ‘working’ must give place to ‘waiting’…and is also associated, in a most striking way, with the end of Jesus’ freedom from restraint by human hands … ”from working to waiting and from freedom to constraint.” “The handing over of Jesus was His transition from working to waiting upon and receiving the works of others, from the status and role of subject to that of object, from ‘doing’ to ‘being done to’.”

Jesus moves from being active to being passive in the Garden of Gethsemane when Judas hands him over.” “Until Gethsemane … Jesus had chosen to spend the whole of his ministry ‘demonstrating God’s kingdom’ both to individuals and to the people as a whole. And his ‘demonstrating’ invited people to respond. He longed for them to respond by choosing to deepen their relationship with God and work in the cause of justice: but that was their choice, it could never be obligatory.”

Vanstone “tells us that the word ‘passion’ comes from a Greek word meaning ‘suffer’: or ‘allow events to happen’.” It means, being passive. “The emphasis is … on being the subject not the object; being a patient.” “The passion then describes the time in Jesus’ life when he stopped taking control of the situation and simply allowed people to respond to him as they chose.” “So Vanstone says: ’The passion is not the pains he endured or the cruel manner in which he was treated by the hands of men but simply the fact that he was exposed to those hands and whatever those hands might do.’”

“This point is important because many people see God as ALWAYS taking control, always active, never passive; yet if Jesus is the perfect revelation of God’s character, Jesus’ passion demonstrates that being passive is also God-like.” “So Vanstone argues that Jesus’ death was the result of his passion, his ‘allowing events to happen’”: ”It wasn’t Jesus’ death that brought us benefits … It was his willingness to spare himself nothing, not even his own life, in the cause of winning the nation to the discipleship of God’s kingdom. He sought from the nation’s leaders that which could not be compelled: the response of discipleship.” “So, when Jesus prays in Gethsemane he still hopes that the priests might respond positively, though he knows it’s unlikely. He prays that God might be able to find him another way through this, another way for his message of love to be heard and understood. And until the moment when the priests come into the garden mob-handed there’s still the slim chance they’ll turn themselves around and support him. But in the garden they make their choice and he’ll accept it for what it is: their choice.”

“Jesus did the only thing that love can do: it can only offer itself out and wait for a response. With love, action must give way to passion, to waiting for a choice to be made. Because, as we know, Love is not possessive: it doesn’t insist on its own way; it never uses force. God offers such a love to us: an abundant, free-flowing, bountiful, love: and he waits longingly for us to want to love him in return. Jesus shows us that God’s love is not only active in showing itself, but passive in allowing us to choose what our response will be.” “The activity of love is always precarious … Herein lies the poignancy of love, and its potential tragedy. The activity of love contains no assurance or certainty of completion: much may be expended and little achieved. The progress of love must always be by tentative and precarious steps: and each step that is taken, whether it 'succeeds' or 'fails', becomes the basis for the next, and equally precarious, step which must follow.” “Love proceeds by no assured programme. In the care of children a parent is peculiarly aware that each step of love is a step of risk; and that each step taken generates the need for another and equally precarious step.”

So, “the hallmarks of the creator’s love for his creation [are] an endless love that must always shift with circumstances to see to the good of the beloved. And a vulnerable love that cannot force a response from the beloved but must watch and wait and hope for a response, whether it comes or not.” “Theologian that he is, Vanstone could not help feeling that these were the characteristics of God’s love for us — a self-emptying (kenosis) love that is always attempting to find out how to address the welter of circumstance that is every individual life.” “In the kenosis, or self-emptying of Christ, nothing is held back, nothing unexpended (Phil. 2:7). In this we recognize God’s love as unlimited. God’s love is also vulnerable. The Lord risks rejection at the hands of His own creatures and is pained by our refusal to accept love. And lastly, God’s love is precarious. By the humble condescension of the Lord, we have power to determine whether His love succeeds or fails in its communication, or its intended effect.” “The vulnerability of God means that the issue of His love as triumph or tragedy depends upon His creation.” This is the form of authentic love. If we want to know 'what love ought to be', we need enquire no further than what the love of God is.

We live in a world which values activity and action over passivity and passion. We have lost [our understanding of what it means to be ‘handed over’]; but perhaps we should recover it, and in recovering it find our human dignity enhanced, our powerlessness removed – for so we can be like God himself, attaining the dignity which is ours because we share in his being, and reconnecting with some of the values we overlook in our emphasis on doing over being.”

The earlier reflections I given as part of the Midday Meditation Services for Holy Week at Billericay Methodist Church can be found here (A blessing on the earth) and here (Subverting the scapegoat mechanism).

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Monday, 30 March 2026

Meditations on the Stations of the Cross

 















Tonight, we prayed the Stations of the Cross by Valerie Dean, which are temporarily at St Andrew's Wickford during Lent and Holy Week, using a new set of meditations that I have written specially for Valerie's images.

Valerie's Stations of the Cross have a very clear and intense focus on details which are evocative of the whole. They have previously been shown at St Martin-in-the-Fields and the Diocesan Offices of the Diocese of Chelmsford.

Valerie Dean returned to England in the summer of 2007 after living for 27 years in Belgium. There, she studied art for six years and had various exhibitions, in and around Brussels. On returning to England, she became involved in the Kent arts scene and exhibited, regularly, in the Francis Iles gallery, in Rochester. She also took part in the Canterbury Arts Festival and exhibitions in Whitstable.

She worked in acrylics and her technique was usually to put materials and colours on canvas or board, to see what emerged. It was a dialogue between the artist and her materials. Because of her background, this often consisted of figures around a religious theme. They just appeared! Very often, people seemed to want to appear in her paintings, a little like the pictures in the fire that she used to see in her childhood. At other times, she found that buildings and places she knew inspired her.

Valerie's Stations show us hands that heal and hands that harm. As we looked and thought and prayed together, we reflected on the many ways that our hands can be used to heal or to harm.
 

Station 1 - Jesus is condemned

The accusatory finger
Finger pointing
Pointing condemnation
From a washed hand
Seeking to avoid blame
While unaware there
Are four fingers
Pointing back
At the one
Condemning Jesus


Station 2 - Jesus takes up his cross

Hands that embrace
Embrace the rough wood
Embrace the weight of the cross
Embrace the purpose of suffering
Embrace the sin that is carried
Embrace the isolation that is entered
Embrace the death that awaits


Station 3 - Jesus falls for the first time

Hands grip tight
Wood held
Grip slipped
Feet stumble
Body crumples
And tumbles
Pinioned and winded
Under cruel cross
Fallen for the first time


Station 4 - Jesus meets his mother

Around your face and
in your eyes, we see
the accumulated aura
Of wisdom gained
Through contemplation,
Pondering in your heart,
The nativity, Incarnation,
and now, this crucifixion.
Questions also accumulate.
What has happened to
The child I once bore?
How will the promises
Prophesied about him
Be fulfilled?
You trust and follow.


Station 5 – Simon of Cyrene helps Jesus carry the cross

A handy helpmeet,
Whether prevailed upon
or not, chosen.
Chosen to be with Jesus
Walking in his footsteps
Handling his cross.
Simon, you are
All that we should become.


Station 6 - Veronica wipes the face of Jesus

What can one give
The suffering one?
How can one
Relieve pain,
Show care or love?
A simple cloth
Is handed over.
Sweat wiped from
Face and brow.
Relief, momentary
But meaningful.
A journey transformed.
A cloth transformed.


Station 7 - Jesus falls for the second time

Weak knees,
Weary legs,
An exhausted body
Flags and falls.
Hands outstretched
To break the fall
Are pounded,
Scratched and bruised
In seeking to protect
The body’s dive
Into hard unforgiving
Land, not
embracing Water.


Station 8 – Jesus meets the women of Jerusalem

Hands cradle faces
Faces convulse and sigh
Tears flood and flow
The Passion of these
Women of Jerusalem
Approaches, encroaches,
draws nigh


Station 9 - Jesus falls for the third time

Your fall is as
The second Adam.
Not falling into sin
But bearing all sin –
An unimaginable burden –
An unbearable weight
Bearing down
Upon your shoulders

And God laid on himself
the guilt,
the guilt and the sin
of
every
one
of
us.

If God forsakes himself
to be
for
us,
then who
can be
against us.


Station 10 - Jesus is stripped of his garments

Stripped of equality with God.
Stripped of glory.
Stripped of power.
Stripped of family.
Stripped of occupation.
Stripped of possessions.
Stripped of followers.
Stripped of respect.
Stripped of clothing.
Stripped naked.
Stripped raw.
Stripped to the bone.
Becoming nothing,
no one,
everyone.


Station 11 – Jesus is nailed to the cross

Nails driven through
The flesh, sinews, muscles
And bone of wrists
And ankles.
Hands, fingers, toes
Contort from the
Searing pain
Inflicted by
Unforgiving hammers.
Harmful hands
Hammer hurtful nails
Into hands
That heal.


Station 12 – Jesus dies on the cross

Death has been knocking on the door
Death has entered
Death is here
It is finished

Forgiveness achieved
Salvation complete
Mission accomplished
It is finished

Forgiveness for betrayal
Forgiveness for wrongful arrest
Forgiveness for abandonment
Forgiveness for denial
Forgiveness for a corrupt trial
Forgiveness for false witness
Forgiveness for mob rule
Forgiveness for legal capitulation
Forgiveness for condemnation of the innocent
Forgiveness for imprisonment
Forgiveness for beating
Forgiveness for mockery
Forgiveness for violence
Forgiveness for torture
Forgiveness for murder

All sin
All humanity
All held
All covered
All embraced
All forgiven


Station 13 – Jesus is taken down from the cross

The limp hand
Of a lifeless body
Is held by
The live hand
Of a disciple
Helping support
And carry
The dead Christ
Down from
The death
Instrument
To be held
And cradled
In the arms
Of his grieving
Mother.

Manhandled when
beaten, whipped,
nailed and pierced,
the body of God
is handled with care
as Jesus is taken
in the arms of those
who loved him.


Station 14 – Jesus is buried in the tomb

Buried, entombed
In a cave -
In your end
As in your
Beginning.

Sealed behind stone.
A barrier
Preventing entry.

From the gaps
Around its edges
The faint glimmer
And glimpse
Of resurrection light
Pertains, extends,
To be seen,
To be perceived,
Received.
You cannot be
Contained.


My other collections of meditations on the Stations of the Cross are Mark of the Cross and The Passion. These are collections of images, meditations and prayers by Henry Shelton and myself on the Stations. They provide helpful reflections and resources for Lent and Holy Week. These collections can both be found as downloads from theworshipcloud.

Mark of the Cross is a book of 20 poetic meditations on Christ’s journey to the cross and reactions to his resurrection and ascension. The meditations are complemented by a set of semi-abstract watercolours of the Stations of the Cross and the Resurrection created by Henry Shelton.

The Passion: Reflections and Prayers features minimal images with haiku-like poems and prayers that enable us to follow Jesus on his journey to the cross reflecting both on the significance and the pain of that journey as we do so. Henry and I have aimed in these reflections to pare down the images and words to their emotional and theological core. The mark making and imagery is minimal but, we hope, in a way that makes maximum impact.

Jesus dies on the cross

The sun is eclipsed, early nightfall,
darkness covers the surface of the deep,
the Spirit grieves over the waters.
On the formless, empty earth, God is dead.

Through the death of all we hold most dear, may we find life. Amen.

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Lizz Wright - Presence Of The Lord. 

Sunday, 29 March 2026

Windows on the world (564)


London, 2026

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Marion Storey and Richard Watts - Three Times.