Proverbs that persuade or tease into Wisdom

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

The young King Solomon may have been around 20 when he became King and asked for wisdom instead of long life, riches, or the death of his enemies (1 Kings 2.10-12, 3.3-14). God was pleased with Solomon's request and personally answered his prayer. This has often been understood as being because Solomon did not ask for self-serving rewards.

1 Kings 4. 32-34 tells us that: “God gave Solomon wisdom—the deepest of understanding and the largest of hearts. There was nothing beyond him, nothing he couldn't handle. Solomon's wisdom outclassed the vaunted wisdom of wise men of the East, outshone the famous wisdom of Egypt. He was wiser than anyone—wiser than Ethan the Ezrahite, wiser than Heman, wiser than Calcol and Darda the sons of Mahol. He became famous among all the surrounding nations. He created 3,000 proverbs; his songs added up to 1,005. He knew all about plants, from the huge cedar that grows in Lebanon to the tiny hyssop that grows in the cracks of a wall. He understood everything about animals and birds, reptiles and fish. Sent by kings from all over the earth who had heard of his reputation, people came from far and near to listen to the wisdom of Solomon.”

Solomon’s reputation rested not only on his own brilliance but also his patronage of learning and the arts. The Queen of Sheba, who visited him because of his reputation for wisdom (1 Kings 10), was just one of a stream of visitors who poured into Israel to hear him and put him to the test, and from whom he learned as well. He and his wise men culled the wisdom of the east, but incorporated nothing that was not in line with God’s standards.

Solomon is credited in the Bible with writing an entire book of Proverbs based on the wisdom that God gave him through his experience of life. The book of Proverbs begins by setting out what wisdom is for:

“These are the wise sayings of Solomon,
David's son, Israel's king—
Written down so we'll know how to live well and right,
to understand what life means and where it's going;
A manual for living,
for learning what's right and just and fair;
To teach the inexperienced the ropes
and give our young people a grasp on reality.
There's something here also for seasoned men and women,
still a thing or two for the experienced to learn—
Fresh wisdom to probe and penetrate,
the rhymes and reasons of wise men and women.”

Wisdom, in the Old Testament, tends to be the voice of reflection and experience, rather than of bare command or preaching. Through Wisdom, we are persuaded, even teased, into seeing a connection between God’s order in the world and his orders to human beings. That includes the absurdity or foolishness of going against the grain of God’s creation.

Proverbs gives us the key to wisdom. “Start with God,” it says, “the first step in learning is bowing down to God; only fools thumb their noses at such wisdom and learning.” Or in other translations, “the fear of God is the beginning of wisdom.”

The ‘fear of God’ is the starting point of Proverbs and the pivot of all Wisdom literature in the Bible. Secular philosophy tends to measure everything by human beings, and comes to doubt whether wisdom is to be found at all. But the Old Testament with this motto – ‘the fear of God is the beginning of wisdom’ – turns the world the right way up, with God at its head, his wisdom the creative and ordering principle that runs through every part; and human beings, disciplined and taught by that wisdom, finding life and fulfilment in his perfect will. Knowledge in its full sense is a relationship with God, dependent or revelation or wisdom and inseparable from character or discipline.

So how can be we best use the proverbs and wisdom that we are given in the Bible? It is important to bear in mind that proverbs are by nature generalisations. They state what is generally true, not invariably true. The writers do not deny that there are exceptions. But exceptions are not within the scope of proverbial sayings. For instance, Proverbs states that those who live by God’s standards will prosper in the world. This is generally the truth (and we have statistical evidence today about the health and general well-being of churchgoers to back this up). But it is not an ‘unconditional’ promise, as the example of Job and the life of Jesus clearly show us.

So, these proverbs are not a set of commands or laws that must be followed to the letter in order that we benefit from wisdom. Instead, they are given to persuade us or tease us into seeing a connection between God’s order in the world and his orders to human beings. The style of the proverbs is to provoke thought, getting under the skin by thrusts of wit, paradox, common sense, and teasing symbolism. They are a bit like the parables of Jesus, something to make us think about life rather than being a set of clear and simple instructions to follow.

As a result, it is good to digest or study them a few saying at a time, weighing one saying against another and getting an idea of the general teaching on a particular topic. One resource that I have which helps in doing this is a calendar which has a different proverb for each day together with a very brief relational reflection on that day’s proverb.

That brings me on to another aspect of Solomon’s proverbs, which is that they are for the whole of life. There is no separation of the public and private or the sacred and the secular when it comes to the proverbs and wisdom in the Bible. Proverbs applies the principles of God’s teaching to: relationships, home, work, justice, decisions, attitudes, reactions, everything we do and say and think.

Proverbs 1. 20-21 says:

“Wisdom goes out in the street and shouts.
At the town centre she makes her speech.
In the middle of the traffic she takes her stand.
At the busiest corner she calls out.”

This open proclamation, made above the noise of the market, shows that the offer of wisdom is for the person in the street, it is for the business of living. So, for the Bible’s wisdom to really make sense we have to take and use it in everyday life; to apply to our Monday to Saturday lives rather than keeping it bottled up on Sundays alone. As Amy Carmichael prayed, “Holy Spirit, think through me till your ideas are my ideas.”

(Use made of material from The Lion Handbook to the Bible)

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NEEDTOBREATHE - What I'm Here For.

Seen and Unseen: When converts cracked open the culture’s polished surface

My latest article for Seen and Unseen is 'When converts cracked open the culture’s polished surface' in which I explore how faith’s outsiders disrupted the scene with unexpected force:

'Converts by Melanie McDonagh has been described a ‘thought-provoking examination of the literary stars who became Catholic’ in the twentieth century. Kathryn Hughes, in her review of the book, notes that: ‘In the five decades between 1910 and 1960, more than half a million people in England and Wales became Catholics. Among them were a clutch of literary stars: Oscar Wilde, Evelyn Waugh, Muriel Spark and Graham Greene.’ But there were also a whole host of other poets, artists and public intellectuals who are less-well known to us today, although, perhaps, no less interesting.

The book offers 16 biographical sketches interspersed with analysis of some of the reasons for this phenomenon, including the impact of earlier converts such as John Henry Newman, migration, the influence of prominent Catholic clerics, and the traumas caused by two World Wars. In his review, Dan Hitchens suggests that Converts, ‘in its cheerfully unsentimental way’, demonstrates ‘not only why the floodgates [of conversions] opened for a few decades, but also why the stream has never quite dried up’.'

For more on the period explored by this article see the following:

• 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
• 5 - Gauguin and Bernard
• 6 - Vincent Van Gogh
• 7 - Maurice Denis
• 8 - Symbolism II
• 9 - Jacques Maritain
• 10 - Albert Gleizes
• 11 - Sérusier, Severini and Gleizes
• Moreau, Rouault and Chagall in Paris
• Cocteau Chapel: Notre Dame de Jerusalem
• Matisse Chapel: Chapelle du Rosaire Vence
• Musée National Marc Chagall
• Notre Dame de France and the murals of Jean Cocteau

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

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.

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John Gray - Ad Matrem: I

Windows on the world (557)

 

South Woodham Ferrers, 2026

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The Frames - Sad Songs.

The sin of counting and trusting our own material resources

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

Our Old Testament story from 2 Samuel 24: 9-17 seems a rather strange one. David has the number of fighting men is Israel numbered but then realises that he has sinned in doing so and the punishment for this sin is a pestilence that kills 70,000. In our day and time when census’ and statistics are commonplace, we see no sin in counting people and certainly struggle to comprehend why doing so should result in punishment.

The issue would seem to be that becoming aware of the size of one’s army is likely to reduce trust in God and increase trust in one’s own resources. David’s early career was entirely based on trust in God as he went up alone against the most powerful of the Philistine soldiers wearing no armour and carrying only a slingshot yet, through trust in God, triumphed against the odds. Now, though, he feels the need of the reassurance that 800,000 men are available to form his army.

Like David, the Church of England has become obsessed about numbers. In the past, when the Church of England trusted in Parish ministry and Parish priests, there was no need to count the numbers attending church services because Parish ministry meant that everyone in the Parish was a Parishioner regardless of whether they attended Church or not. At that time, the Church of England trusted that God was at work within the lives of Parishioners whether they were to be found in Church of not.

Now, the Church of England has lost that sense of trust in God and in the parish system, becoming instead obsessed with numbers in Church services on a Sunday and pouring vast amounts of money into initiatives that try, generally unsuccessfully, to significantly increase the numbers to be found in churches on a Sunday.

As a result, a Parish like ours which impacts people in the community seven days a week through Schools ministry, Care Home ministry, pastoral visiting, social action, wellbeing and cultural initiatives is overlooked and underfunded by the central Church, while money is instead poured into initiatives that set up new churches in existing Parishes.

One of the key factors in this change of practice and emphasis was the decision, like that made by David, to begin counting our people. Not only did this run the risk, which has now clearly come about, of focusing on our own resources or their perceived lack, rather than focusing on God and his provision, but it also had the effect of undermining our understanding of parishioners as everyone within the Parish by focusing our statistical attention on those in church on a Sunday. The latter is a congregational focus, rather than a Parish focus, and ignores or overlooks or obscures all the ongoing ministry with which a Parish like ours in engaged.

Trust in God is not engendered, as many within the Church of England currently seem to believe, by large numbers of people attending services or supposedly being converted – as is the focus of many mission conferences and agencies. Instead, trust in God is most clearly found in initiatives, where like David facing Goliath, the resources we have seem pitiful and meagre – inadequate to the task – and yet achieve impact because God is with us.

God is not only with us when material resources are poured out in abundance or when large numbers are to be found in services. God is with us in every situation and circumstance within our Parish because God’s Spirit is at work within every part of and person in our Parish. As we engage with our community, we see that truth realised in each place to which we go and each person we meet. That is what true Parish ministry involves and it is undermined when, like David and the Church of England centrally, we begin numbering our resources in order to trust in what we have, rather than trust in God alone.

The challenge of this strange story is to place our trust when it should always be – in God – rather than in the human resources available to us. May it be so for each one of us. Amen.

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MercyMe - Even If.

Artlyst: The Art Diary February 2026

For the February 2026 Art Diary for Artlyst begins with the contrasts of light (Lakwena Maciver) and dark (Tracey Emin), before highlighting exhibitions at the National Gallery, Auckland Castle, St Andrew’s Wickford, St Peter’s Nottingham, and Elizabeth Xi Bauer that explore these themes in relation to spirituality. A further series of exhibitions featuring the Quilters of Gee’s Bend, Titus Kaphar, and Yinka Shonibare explores aspects of black culture and heritage. Exhibitions at Studio Voltaire, Wimbledon Museum, Dorchester Museum & Art Gallery and Chappel Galleries examine the poetics of everyday actions, while exhibitions featuring work by Sean Scully, Leiko Ikemura, Yona Verwer, Brian Whelan, and Hady Boraey explore the relationship between human beings and the natural world.

For more on Lakwena see here, here and here, on Roger Wagner see here and here, on David Sowerby see here, on Jean Lamb see here, on the Quilter's of Gee's Bend see here, here and here, on Titus Kaphar see here, on Sean Scully see here and here, on Brian Whelan see here. 

My other pieces for Artlyst are:

Interviews -

• Michael Petry Discusses In League With Devils with Revd Jonathan Evens
• Sean Scully A Humility Towards Nature
• Winslow Homer: American Passage An Interview With Biographer Bill Cross
• Grayson Perry Tapestries On Show At Salisbury Cathedral
• Sidney Nolan’s Africa: Interview With Andrew Turley
• Ilona Bossanyi: Tate’s Ervin Bossanyi Stained Glass Window Mothballed After 2011 Redevelopment
• Louis Carreon: Sampling Art History
• Modus Operandi - What Makes Successful Public Art: Vivien Lovell Interviewed
• Genesis Tramaine: A Queer Devotional Painter
• Lakwena Maciver: Review-Interview Hastings Contemporary
• Nicola Ravenscroft - Sculpture With A Peaceful Stillness
• Artist Hannah Rose Thomas – Tears of Gold – Interview
• Marcus Lyon: Human Atlas Explorations
• Elizabeth Kwant Interview
• Helaine Blumenfeld: Undulating Structures
• National Gallery Explores ‘Sin’ In New Exhibition – Interview Dr Joost Joustra Curator
• Betty Spackman: Posthumanism Debates
• Christopher Clack: Connecting The Material And Immaterial
• Peter Howson Artlyst Interview
• Marleen Hengelaar-Rookmaaker On The Legacy Of ArtWay
• Alastair Gordon A Testament To His Faith
• Katrina Moss Chaiya Art Awards Interview: Where is God in our 21st century world?
• Apocalypse Now: Michael Takeo Magruder Interviewed
• Jonathan Anderson: Religious Inspirations Behind Modernism
• Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
• Art Awakening Humanity Alexander de Cadenet Interviewed
• Michael Pendry New Installation Lights Up St Martin In The Fields
• Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar

Monthly diary articles -

• January 2026 Art Diary
• The December Art Diary
• The November Art Diary
• The October Art Diary
• The August/September Art Diary
• The July Art Diary
• The June Art Diary 2025
• The May Art Diary 2025
• The April Art Diary 2025
• The Art Diary March 2025
• The Art Diary February 2025
• The Art Diary January 2025
• The Art Diary December 2024
• The Art Diary November 2024
• The Art Diary October 2024
• The Art Diary September 2024
• The Art Diary August 2024
• The Art Diary July 2024
• The Art Diary June 2024
• The Art Diary May 2024
• The Art Diary April 2024
• The Art Diary March 2024
• The Art Diary February 2024
• The Art Diary January 2024
• The Art Diary December 2023
• The Art Diary November 2023
• The Art Diary October 2023
• The Art Diary September 2023
• Jeremy Deller In Rennes And Brittany Post-Impressionism – August Diary
• The Art Diary July 2023
• The Art Diary June 2023
• The Art Diary May 2023
• The Art Diary April 2023
• The Art Diary March 2023
• The Art Diary February 2023
• Surveying New Exhibitions With A Spiritual Twist January 2023 Art Diary
• Christmas: The Art Of Faith December 2022 Diary
• Soulages And Strange Clay November 2022 Art Diary
• Alexander de Cadenet And Michael Forbes October 2022 Diary
• Spiritual Joseph Beuys Plus More: September Diary
• Holiday Snaps – End Of Summer Art Diary
• Art Search: August 2022 Diary
• Re-imagining Essex July 2022 Diary
• Art Illuminating spirituality June 2022 Diary
• Venice To London May 2022 Diary
• Jacob Epstein, Louis Carreon, Titus Kaphar, Betty Spackman – April 2022 Diary
• Audrey Flack Carlo Crivelli And Robert Indiana – March Diary
• My Art Diary And Other Thoughts February 2022
• And On An Art Note: End Of Year Diary 2021
• International Autumn Art Exhibition Reviews
• And On An Art Note: End Of Year Diary 2021

Articles/Reviews -

• Into Abstraction Meaning Connection And Hope Firstsite
• Nigerian Modernism Explored Tate Modern
• Can We Stop Killing Each Other? – Sainsbury Centre
• Millet Life on the Land National Gallery
• Lubaina Himid With Magda Stawarska Kettle’s Yard
• Arpita Singh Social Observations Serpentine North
• Siena: The Creative Achievement Of Christendom
• An Uncommon Thread Hauser & Wirth Somerset
• Michelangelo Leonardo Raphael At The Royal Academy Review
• Modern Art Oxford Reopens After £2million Redesign
• Leonora Carrington Still Relevant Firstsite Colchester
• Ken Currie, Kehinde Wiley, Susie Hamilton Three Exhibitions About Communities
• The Victorian Radicals And Other Related Exhibitions
• Cedric Morris And Arthur Lett-Haines Gainsborough House
• Lunar Lullabies, David Lock and Concrete Dreams Three Shows To See At Firstsite
• Tate Expressionists Exhibition Reveals Spirituality and Past Gender Disparity
• The Last Caravaggio National Gallery
• Issam Kourbaj Kettle’s Yard And Heong Gallery Cambridge
• Li Yuan-chia And Friends Kettles Yard Cambridge
• Antony Gormley Explores Self Awareness White Cube Bermondsey
• Holbein: Politics Religion And Draughtsmanship – The Queen’s Gallery
• R B Kitaj And Philip Guston: Figurative Painting Celebrated
• Paula Rego And Lord Harries Respond To Art And Religion
• A World In Common: Contemporary African Photography Tate Modern
• Chris Ofili Exploring Sin At Victoria Miro
• Ai Weiwei - The Artist of Resistance - The Design Museum
• Saint Francis of Assisi A Timely Exhibition - National Gallery
• Why Critics Have A Problem With The Pre-Raphaelites?
• Religion and Spirituality in Post Impressionism National Gallery
• Black Artists From The American South Royal Academy
• Donatello: The Divine Fused With The Human V&A
• Lucian Freud And His Circle Surveyed In Two London Exhibitions
• A Question Of Clay: Strange Clay – Hayward Gallery
• William Kentridge: Merging Politics With Aesthetics – RA
• Winslow Homer: Beyond The Sea – National Gallery
• Hidden Depths: The Woman in the Window – Dulwich Picture Gallery
• Heavenly Visions: Churches As Spaces For Contemporary Art
• In The Black Fantastic London’s Best Summer Exhibition
• Hew Locke And The Christian Roots Of Carnival – Tate BritainLes Lalanne, Schütte And Gursky London Spring Exhibition Highlights
• Sensuous Sickert and Philpot Two Major UK Solo Exhibitions
• Raphael The Human And Divine – National Gallery
• Damien Hirst The Visceral Reality Of Death
• Ali Cherri: Artist in Residence National Gallery
• Surrealism Outside The Usual Story – Tate Modern
• Marcus Lyon Creates Fields of Vision At St Martin-in-the-Fields London
• Van Gogh Self Portraits The Infinite And The Ordinary
• Marvellous Icons: The London Jesuit Centre
• Albrecht Dürer Travels Of A Renaissance Artist – National Gallery London
• Diasporan Identities: Life Between Islands Caribbean British Art – Tate Britain
• Isamu Noguchi: Socially Engaged Art – Barbican Centre
• Pablo Bronstein: A This-World Vision Of Hell
• Bosco Sodi: In The Beginning Of Wisdom
• George Condo Lockdown Works Hauser & Wirth
• Theaster Gates Clay As A Profound Metaphor
• Mark Rothko: Mesmerising And Intimate Works On Paper
• Roger Cecil: A Once In A Generation Welsh Painter
• Tino Sehgal: Location, Nature And Pandemic – Blenheim Palace
• Michael Armitage And The Power Of Art – Royal Academy
• Marie Raymond And Post-War Avant Garde Painting In Paris
• Rachel Kneebone: A Complex Tableau Of Organic And Geometric Forms
• Rodin: Suffering And Conflict – Tate Modern
• Barbara Hepworth: Symbols Of Art & Life – Hepworth Wakefield
• 20th Century Women Artists Challenging Conventions In Britain
• Chaiya Art Awards 2021 Gallery OXO
• Marc Chagall’s Exquisite Stained Glass Window Commissions
• George Gittoes Equal parts artist and warrior
• Keith Haring: Personal Spiritual Imagery
• Sean Scully: Philosophical Poetic Pastoral The 12 / Dark Windows
• Arthur Jafa: The Art Of Cutting And Pasting
• Blackpentecostal Breath: Spirit-Led Movement Jumps From Music To Visual Art
• Made in USA Ed Ruscha An American Perspective
• Robert Smithson: The Archetypal Nature Of Things
• If Jesus Is A Man Of Colour Why Did We Make Him Aryan?
• Cosmic Patches And Quilts Five Exhibitions
• Everyday Heroes: Southbank Exhibition Celebrates Low-paid Key Workers
• Entwining Spiritualism And Art – Three Shows
• Of Church And The Visual Arts
• Has The Word Master Reached Its Sell-By Date?
• The People Behind Community Is Kindness Billboard Campaign
• André Daughtry: Art, Rebellion And Racial Justice
• Salisbury Cathedral 800 Years Of Art And Spirit
• Home Alone Together Twenty Five Artists
• Botanical Mind Online: Art, Mysticism and the Cosmic Tree
• Salvador Dalí The Enigma of Faith
• Art And Faith A Time For Seeing
• Andy Warhol: Catholicism His Work, Faith And Legacy
• Kiki Smith: Embodied Art
• Art and Christianity Awards A Positive New Millennium Legacy
• Arnulf Rainer: 90th Birthday Exhibition Celebrated At Albertina Museum
• A Belonging Project And Exiles Loss and Displacement
• Robert Polidori: Fra Angelico Opus Operantis
• Art, Faith, Church Patronage and Modernity
• Contemplating the Spiritual in Contemporary Art
• Mat Collishaw Challenges Faith Perspectives With Ushaw Installation
• Waterloo Festival Launches At St. John’s Waterloo
• John Bellany Alan Davie Spiritual Joy and Magic
• RIFT Unites 17 Art and Science MA Graduates At Central St Martins
• Visionary Cities: Michael Takeo Magruder – British Library
• Van Gogh’s Religious Journey Around London
• William Congdon Holy Sites And The Kettle’s Yard Connection
• Mark Dean Premieres Pastiche Mass At Banqueting Hall Chelsea College of Arts
• John Kirby: The Torment
• Underlying The Civilised Facade
• Curating Spiritual Sensibilities In Changing Times
• Homeless Highlighted: New Beau Exhibition At St Martin-in-the-Fields
• Ken Currie: Protest Defeat And Victory
• Bosco Sodi: A Moment Of Genesis
• Bill Viola And The Art Of Contemplation
• Art In Churches 2018: Spiritual Combinations Explored
• Sister Wendy Beckett – A Reminiscence
• Guido Guidi: Per Strada Flowers Gallery London
• Peter Howson: The play is over – Flowers Gallery
• Camille Henrot: Scientific History And Creation Story Mash Up
• Nicola Green Explores Recent And Contemporary Religious Leaders – St Martin-in-the-Fields
• Art And The Consequences Of War Explored In Two Exhibitions
• Helaine Blumenfeld Translating Her Vision
• Sam Ivin: Physically Scratched Portraits Of Asylum Seekers Exhibited
• Sacred Noise: Explores Religion, Faith And Divinity
• Bill Viola: Quiet Contemplative Video Installation St Cuthbert’s Church Edinburgh
• The ground-breaking work of Sister Corita Kent
• Picasso To Souza: The Crucifixion Imagery Rarely Exhibited
• Michael Takeo Magruder: De / coding the Apocalypse – Panacea Museum
• Giorgio Griffa: The Golden Ratio And Inexplicable Knowledge
• Arabella Dorman Unveils New Installation At St James Church Piccadilly
• Can Art Transform Society?
• Art Awakening Humanity Conference Report
• Central St Martins in the Fields Design Then And Now
• The Sacramental And Liturgical Nature Of Conceptual Art
• Polish Art In Britain: Centenary Marked At London’s Ben Uri Gallery
• Refugee Artists: Learning from The Lives Of Others
• The Religious Impulses Of Robert Rauschenberg
• The Christian Science Connection Within The British Modern Art Movement
• Artists Rebranding The Christmas Tree Tradition
• Art Impacted - A Radical Response To Radicalisation
• The Art of St Martin-in-the-Fields
• Was Caravaggio A Good Christian?

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Raphael Ravenscroft & Tenebrae - Forgiveness.

Windows on the world (556)

London, 2026

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The Horrible Crowes - Behold The Hurricane.

 

Stride Magazine: Attention speaking attachment

My latest review of poetry for Stride Magazine is on Breath Notes, edited by Linda Kemp, amd The Moral Theology of the Devil / Clothed with the Sun by Linda Kemp:

'Breath Notes is a chapbook that gathers responses to a call for poems attending to religion, faith and spirituality. This focus is an interesting, but entirely appropriate, one for a Press that also publishes a journal of experimental poetics. A similar engagement with religion, faith and spirituality is also to be found in the recent work of the anthology’s Editor, Linda Kemp, including her most recent collection of poems, The Moral Theology of the Devil / Clothed with the Sun.'

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 articles for Stride Magazine include 'Five entries in Prog 50' - a piece about five entries found in Prog 50 an encyclopaedia of Prog Rock edited by artist and musician Maurizio Galia - and an article about my 'Five Trios' series of poems. 'Five Trios' is a series of five long poems on thin places and sacred spaces in Essex and East London, each of which are also located within 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. 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. International Times have also published several of my poems, beginning with 'The ABC of creativity', which covers attention, beginning and creation, and most recently 'The Edge of Chaos', a state of existence poem.

Stride magazine was founded in 1982. Since then it has had various incarnations, most recently in an online edition since the late 20th century. You can visit its earlier incarnation at http://stridemagazine.co.uk. I have read the poetry featured in Stride and, in particular, the work of its editor Rupert Loydell over many years and was very pleased that Rupert gave a poetry reading when I was at St Stephen Walbrook.

Rupert Loydell is the editor of Stride magazine, contributing editor to International Times and a writer and abstract artist. He has many books of poetry and several collaborative publications in print, and has edited anthologies for Shearsman, KFS and Salt. His critical writing has appeared in Punk & Post-Punk (which he is on the editorial board of), Journal of Writing and Creative Practice, New Writing, English, Text, Axon, Short Fiction in Theory and Practice, Musicology Research, Revenant, The Quint: an interdisciplinary journal from the north and Journal of Visual Art Practice. He has also contributed chapters to Brian Eno. Oblique Music (Bloomsbury, 2016), Critical Essays on Twin Peaks: The Return (Palgrave Macmillan, 2019), Music in Twin Peaks: Listen to the Sounds (Routledge, 2021) and Bodies, Noise and Power in Industrial Music (Palgrave Macmillan, 2022).

Rupert has recently contributed several guest posts to 'Between'. These have been interviews musicians including Nick Battle and Steve Scott who contributed to the early days of christian rock in the UK. I have also published an interview with Rupert himself in which he shares his thoughts on that same period of christian rock, as well as speaking about other aspects of his career and interests. These posts can be read here, here, and here.

I have also written reviews of poetry for Tears in the Fence beginning with '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 pieces for International Times 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.

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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Linda Kemp - Poetry reading.