Poetry Update

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, my third was of 'For All That’s Lost' by David Miller, and my fourth was of 'Late Inscriptions' 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 poetry-related pieces for IT are: an interview with artist, poet, priest Spencer Reece, an interview with the poet Chris Emery, plus reviews of: 'Collected Poems' by Kevin Crossley-Holland; '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. For thoughts on the links between poetry and prayer see here and here.

See also 'Connections and contemplation in poetry and prayer', a brief survey of the connections between poetry and prayer has been published by Amethyst Review. It looks at the connections between the two and highlights both poems about prayer and poems that are prayers.

My poems to have been published in Amethyst Review are: 'Prayer', '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.

To read my poems published by Stride, click here, here, here, here, here, and here. International Times have also published other of my poems, including 'Spencer Reece at Bemerton' which is based on the visit that I made to Bemerton in 2026 with Spencer Reece, '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.

Several of my short stories have also 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.

For more of my poems, see here, and for my poetic meditations, see here.

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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Andrew Rumsey - The Memorial Service Order Of Friends.

Love - the heart of safeguarding

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

Safeguarding has at its heart a longing for all people to be safe, protected, welcomed and cared for within our churches and in wider society. It is an integral part of the ministry and mission of our churches and a core part of how we are church. But more than this, safeguarding is about love in truth and action. As we seek to love and serve our neighbours in our communities, we are called to be places and spaces where there is a healthy culture of interactions and relationships. We need to take our call to love one another seriously. We also need to take our call to live truthfully seriously.

Over the past few years, the Church of England has been called to account for its Safeguarding failures. As an institution, we are on a journey: there is always more work to be done and more lessons to learn and there is a constant need for us to lament and repent of our failings. As a Church, we need to acknowledge our failings, learn from the past, and listen and respond to victims and survivors with humility. We need to love in truth and action.

As Nicholas Papadopulos, Dean of Salisbury, has said, “There is much for us to open our eyes to. For years, the merest sniff of a question or the first hint of an allegation sent church leaders hurrying to circle the wagons and defend the institution and its staff. Far too often we have reacted with – at best – ostrich-like complacency to those of our own who have posed grave threats to others.” “Terrible things have happened in the churches, as in all our best-loved institutions; we share a responsibility for ensuring that they cannot happen again.”

Those terrible things meant that the Church of England, as with other denominations, has been guilty of the kind of hypocrisy that Jesus criticises in today’s Gospel reading (Matthew 23.27-32). Like those who presented as whitewashed tombs, which on the outside look beautiful but inside are full of all kinds of uncleanness, so the Church of England has tried to present itself as being whiter than white, while the reality has been very different, both in terms of those who abused others and those who failed to support the victims of abuse.

As a result, many people in our communities and in our churches live daily with physical, emotional, mental and spiritual scars of abuse. If this sermon prompts any safeguarding concerns or raises any safeguarding issues you would like to discuss, please contact our Parish Safeguarding Officer or get in touch with our Diocesan Safeguarding Team. You can find their contact details on the Diocesan website: www.chelmsford.anglican.org under the safeguarding tab.

As Nicholas Papadopulos has also said, “We cannot live out the great commandment to love God and love neighbour if those who would harm their neighbour find a secure hiding-place in our common life … the great commandment … [is] right there … when we do whatever we can to ensure that the vulnerable are kept safe, remembering that any of us can be vulnerable. That, surely, is the bare minimum that loving one another requires of us.”

Through Jesus, God relates to us in love and friendship. And this is how Jesus wants us to relate to others. “Just as I have loved you, you also should love one another.” Jesus’ primary action is to love: not to judge, condemn, criticise, belittle or dismiss. He loves. A love that goes beyond boundaries and that is without agenda. A love that is about equality and mutual respect. A love that refuses power and abuse; that washes tired, dirty feet. A love that lets everyone sit down to eat.

Faithful discipleship is known by love. Jesus calls upon his disciples to mirror the love that God has for him and the love that he has for the Father and for his disciples. To lay down one’s life is to put the needs of others before our own, to live for the good of others, to make time for them, to be present for them in times of trouble and crisis, to listen to them, to witness to their hurts. “Love one another as I have loved you.” Following Jesus means taking love seriously. As the first letter of John stresses: “We know love by this, that he laid down his life for us… love one another just as he commanded us… all who obey his commandments abide in him, and he abides in them.”

We are also compelled to live truthfully. This means going beyond addressing issues of harm and abuse and protecting against them. It means being willing to face hard truths, to stand with victims of injustice and - if required – to speak up and out with them and for them. We know that abuse devastates lives, that it has and does take place in the church and that its consequences are profound and long-lasting. The task of Safeguarding is to acknowledge this hard truth and to do everything possible to ensure that abuse no longer happens, now or in the future. In all that we do, particularly in balancing our responsibilities, we must continually seek to place survivors and victims at the heart of our concern.

We long to be a refuge for the hurting and vulnerable, and to do this we must listen to those who feel voiceless and empower everyone in our communities to remain safe, within their families, places of work and of worship. “Let us love, not in word or speech, but in truth and action.” Jesus’ command to love as he loves is an invitation into relationships of profound mutuality and interdependence.

These kinds of relationships contribute to healthy communities, modelled on the example of Christ’s own humility and sacrifice. This is a way of being that says, who I am is caught up in who you are. We are members together of the same body of people. Whatever affects one of us affects all of us. We are all God’s children; Jesus calls us all friends; we are all brothers and sisters. So, if I am your sister, your brother, I have a responsibility for how I behave towards you and that has implications for the choices I make about how I live and love in the world. This is the kind of integrity that is the reverse of the hypocrisy criticised by Jesus in today’s Gospel reading.

As we reflect, we remember that the kingdom of God is not for the strong but the weak; it is not for the rich but for the poor; it is not for the powerful but for the powerless; it is not for the proud but for the meek. The Church is where the least, the lost and the broken – all God’s children - should be able to find the safest of places in a loving community that lives out its faith in truth and action. May that be true for us, here in Wickford and Runwell. Amen.

(Based on 'love in truth and action' by Venerable Ruth Patten, Archdeacon of Colchester)

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Howard Hewett - The Journey (Think About It).

Tears in the Fence: Review - Late Inscriptions by David Miller (Knives, Forks and Spoons Press)

My latest review for Tears in the Fence is of 'Last Inscriptions' by David Miller:

'each word used is significant because each word bears meaning. Miller leans on and stresses each word because they bear the weight of sorrow. Jebb says that Miller creates ‘with a balance of minimalism, repetition and the abstract, words isolated and ringing.’

A similar minimalism is also to be found in the content of these poems. In the words of the Del Amitri song, in these poems ‘nothing ever happens, nothing happens at all’. Harriet Neville notes the happenings as being: a bird landing on the door, waiting to be fed; a dog entering the bedroom through an open back door; and Belgian waffles and eggs Florentine shared with old friends. Although nothing significant seems to happen, actually everything happens and we, as is the poet, are changed.'

For more on David Miller, see my interview with him for ArtWay and other reviews of his poetry collections - here, here, and here.

Also mentioned in the review is a series of poems published by Stride Magazine that were inspired by The Prayer, an art-installation that tries to explore the supernatural through artificial intelligence. My poem 'The algorithms of prayer?' was also part of this series. 

Tears in the Fence is an internationalist literary magazine based in the U.K. Publishing a variety of contemporary writers from around the world, it provides critical reviews of recent books, anthologies and pamphlets and essays on a diversity of significant modern and contemporary English and American poets. Each issue features a number of regular columnists adding wide focus and independent thought on the contemporary poetry world. A wide range of book and pamphlet reviews are also published on the magazine’s blog.

My first review for Tears in the Fence was of 'Modern Fog' by Chris Emery. My second review was of 'The Salvation Engine' by Rupert Loydell. My third review 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 poetry-related pieces for IT are: an interview with artist, poet, priest Spencer Reece, an interview with the poet Chris Emery, plus reviews of: 'Collected Poems' by Kevin Crossley-Holland; 'Breaking Lines' at the Estorick Collection of Modern Italian Art, albums by Deacon Blue, Mumford and Sons, and Andrew Rumsey, 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. For thoughts on the links between poetry and prayer see here and here.

My poems to have been published in Amethyst Review are: 'Prayer', '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.

To read my poems published by Stride, click here, here, here, here, here, and here. International Times have also published other of my poems, including 'Spencer Reece at Bemerton' which is based on the visit that I made to Bemerton in 2026 with Spencer Reece, '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.

Several of my short stories have also 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.

For more of my poems, see here, and for my poetic meditations, see here.

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David Miller Multi-Media Reading.

Windows on the world (583)

Holme, 2026

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Marvin Gaye - Sparrow.

 

Essex to Norfolk

At Ranworth Broad and Marshes an accessible wooden pathway ambles through wet carr woodland before opening into reed fen. This short walk allows the experience of being deep in a reedbed, with reed warbler and Cetti’s warbler nesting close to the boardwalk. It is also excellent for seeing close-hand many of the unusual and interesting plants that grow in Broadland habitats. Royal fern, decades-old tussock sedges, orchids, and six-foot-tall marsh sowthistle are found here, and many other fenland plants.

The spring 2026 season 'What is the Meaning of Life?' at Sainsbury Centre delves into the fundamental questions of human existence, from rule-making, to time and play. Living by the Rule: Contemporary meets Medieval vividly presents the richness and complexity of the dialogue between medieval experiments in a different way to live, and modern reflections upon how life is (and might yet be) organised. Play Power showcases a variety of manifestations of play, both past and present, ranging from board games, games of chance, physical activity, creativity, video games and make believe, as well as ritual gambling and divination, the exhibition highlights the enduring role of play in shaping human societies. Joy Like Time explores how memory, ritual and renewal intersect through the work of internationally renowned artists by featuring works by Marina Abramović, Kalliopi Lemos and Gillian Wearing. Woven from hand-dyed sisal rope, the tactile and immersive Tree of Life installation invites visitors to move in and around the tree’s central hollow trunk. Life in the Multiverse: Libby Heaney includes a two-part digital installation and a new series of paintings to explore ideas around interconnectedness. 

See here for my article for Seen and Unseen on 'Living by the Rule: Contemporary meets Medieval' at the Sainsbury Centre. For my Artlyst review of the 'What is the Meaning of Life?' series at Sainsbury Centre, of which 'Living by the Rule' is part, click here. For more on the Sainsbury Centre see here, here, here, For my interview with Jago Cooper, Executive Director of Sainsbury Centre, see here.

Seven Decades of Contemporary Art: Norfolk Contemporary Art Society at Norwich Castle celebrates the 70th anniversary of Norfolk Contemporary Art Society (ncas). Since its founding in 1956, ncas has supported the Castle to present work by innovative contemporary artists including Eduardo Paolozzi, Colin Self, Bridget Riley and Roger Ackling. Their work features in this display of more than thirty of the artworks ncas members have helped to collect over the past seven decades. Recently supported acquisitions include Florence Peake's performance-based figurative paintings and photographic work by Daniel & Clara, which explores imagined narratives in a country estate. Work from Wall Existing, a multi-layered photographic survey of Norwich's medieval city walls by Robert Filby and Glen Jamieson is also exhibited. These new additions to the collection are shown with highlights from the early decades of ncas' activity including Landscape with Farm Buildings (1954) by L.S. Lowry, a purchase which inspired the formation of ncas; and Man entering a Boiler House (c.1957) by Prunella Clough, which was the very first work collectively acquired by ncas members. Other artists featured in the exhibition include Ruth Ewan, Maggi Hambling, Nigel Henderson, Allen Jones, Frances Kearney, Penny Slinger, Mary Webb and many others.

Cromer is a traditional seaside resort and is famous for Cromer Pier, which is home to a lifeboat station and Pavilion Theatre, where the UK’s only remaining traditional end of the pier variety show takes place each summer and winter. The pier is an enduring example of Victorian architecture, having withstood many storms, tidal surges and even an attempt to blow it up by the Government in WW2 to prevent the pier being used as a landing strip for enemy invaders!

Home to the Bedingfeld family for 500 years, the Oxburgh Estate reveals one family's unshakable Catholic faith and story of endurance. Built by the Bedingfeld family in 1482 as a statement of power, Oxburgh and the family have endured turbulent times. Through religious persecution, Civil War devastation, near dereliction and threatened demolition, Oxburgh’s story is one of survival. Inside the house, the legacy of the 6th Baronet who created much of what can be seen today can be discovered, from the Victorian Gothic interiors to the ornate architectural additions that reflect a romantic view of Oxburgh's medieval past. Outside, the gardens are a mixture of formal and wilderness, with the kitchen garden, orchard and herbaceous border adding colour and seasonal interest. And for those wanting to explore further, one of the estate walks through woodland, along the River Gadder, and out into open meadows can be followed.

The Abbey of St Benet at Holme lies deep in the Broads, close to the meeting place of the rivers Bure and Ant. This was the only Norfolk monastery founded in the Anglo-Saxon period which continued in use throughout the Middle Ages, and is the only monastery in England which was not closed down by Henry VIII – the Bishop of Norwich is still the Abbot. As well as being of great historical interest, St Benet’s Abbey is also very atmospheric. For over 200 years it has been a favourite spot for artists, photographers, and tourists.

Cley and Salthouse Marshes is one of the best-known nature reserves in the UK. Purchased by NWT in 1926 to be held ‘in perpetuity as a breeding bird sanctuary’, it is a haven for a wide range of species and a hotspot for rare vagrant birds. Visited by birdwatchers, walkers and sightseers from around the country, Cley feels like a special place for everyone who visits. The vast swaying reedbed is alive with birds and insects in summer, and all year the huge skies, wide open marshes and long stretching beaches create a sense of freedom and space.

At the heart of the Norfolk Coast Area of Outstanding Natural Beauty, Blakeney National Nature Reserve boasts wide open spaces and uninterrupted views of the beautiful North Norfolk coastline. The four mile long shingle spit of Blakeney Point offers protection for Blakeney Harbour and the surrounding saltmarshes, providing a perfect habitat for the vast array of residential and migratory wildlife. Internationally important, the reserve is noted for its spectacular displays of the summer breeding tern colony and winter breeding grey seals ensuring delight for visitors all year round. Great for walkers, sightseers and wildlife enthusiasts alike, Blakeney National Nature Reserve guarantees an inspiring and memorable visit no matter the season. The best way to see the wildlife on Blakeney Point is to enjoy a ferry trip, departing from Morston Quay.

Flatford lies in the heart of the beautiful Dedham Vale. This charming hamlet was the inspiration for some of John Constable's most famous pictures, for example, the Hay Wain or Boatbuilding near Flatford Mill among many others. Wandering beside the River Stour or looking at Flatford Mill and Willy Lott's House feels as if you are actually walking through one of his paintings. An informative exhibition gives an insight into Constable's life at Flatford.

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NEEDTOBREATHE, The Red Clay Strays - Momma Loves Me (feat. The Red Clay Strays).