Between

Wednesday, 2 September 2026

Music update

My latest set of album reviews for International Time s includes albums by Switchfoot, Jon Foreman and NEEDTOBREATHE:

'Switchfoot have been part of a generation of bands, including Lifehouse and NEEDTOBREATHE, whose lead singers and main songwriters have each developed solo careers to explore different styles of music to that for which their bands are principally known. Switchfoot have in the past collaborated and toured with NEEDTOBREATHE, a band who have achieved similar levels of success through their own distinctive blend of Americana, alt-rock, and spiritual depth.'

I have also had a profile of Andrew Rumsey published by Seen and Unseen:

See here and here for my reviews of Rumsey's most recent albums.

For more of my writing on music, see my article for Seen and Unseen entitled 'Rock ‘n’ roll’s long dance with religion' and my co-authored book with Peter Banks, ‘The Secret Chord’, which has been described as an impassioned study of the role of music in cultural life written through the prism of Christian belief. The book can be purchased from Lulu - https://www.lulu.com/shop/jonathan-evens-and-peter-banks/the-secret-chord/paperback/product-1pey2g67.html?q=peter+banks&page=1&pageSize=4. Covering a range of musical styles and influences, from gospel music to X Factor, The Secret Chord conveys enthusiasm for music and its transformative powers. The book asks is there really a 'Secret Chord' that would both please the Lord and nearly everybody else as described in Leonard Cohen's popular song 'Hallelujah'? Posts related to the themes of 'The Secret Chord' can be found here.

Check out the following too, to explore further:

Read also my other posts on CCM. In a series of blog posts for Deus Ex Musica I shared rock and pop songs for Easter, Lent, Epiphany and New Year. Each year I post a Top Ten listing of albums I have enjoyed that year. My Top Ten's can be found here - 2025, 2024, 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013 and 2012.

Also see my Seen and Unseen article on 'Rock ‘n’ roll’s long dan ce with religion', as well as pieces on Natalie Bergman, Mumford and Sons, Annie Caldwell, David Ackles, Bob Dylan, Nick Cave, Rev Simpkins and Corinne Bailey Rae. For International Times, I have also written on: 'Moving Pictures' and 'Close-Ups' by Steve Scott, 'Never Mind the Ballads Here's Nick Battle' by Nick Battle and 'Blank Arcades' by Andrew Rumsey; 'Springsteen: Deliver Me from Nowhere'; 'Down River: In Search of David Ackles' by Mark Brend; The La st Supper: Art, Faith, Sex and Controversy in the 1980s; In Another World: The Four Seasons of Talk Talk; 'Headwater' by Rev Simpkins; albums by U2, Mumford and Sons' and Mo by; 'Lux' by Rosalía; Deacon Blue, Mumford an d Sons, and Andrew Rumsey, also by Joy Oladokun and Michael Kiwanaku; plus Joseph Arthur in concert; Mavis Staples in concert at Union Chapel; T Bone Burnett's 'The Other Side' and Peter Case live in Leytonstone. I have also written on Mavis Staples for Church Times. See also my profile of singer-songwriter Bill Fay.

I worked with Steve Scott, through commission4mission, to organize some of the different `Run with the Fire’ art exhibitions and events held in and around London, during the Olympic summer of 2012. You can learn more about `Run With The Fire’ by clicking here, here, and here. My own dialogues with Steve can be read here, here, here, here, and here.

Steve's recording career began through working with Larry Norman. Although known as the ‘Father of Christian Rock’, Larry Norman was originally lead singer of People! (whose ‘I Love You’ was a hit single in 1968) and a writer of Sixties musicals, who recorded three classic albums for Capital and then MGM (Upon This Rock, Only Visiting This Planet and So Long Ago the Garden). Frustrated with mainstream labels, he formed his own label and demonstrated his acute understanding of creativity by recruiting to Solid Rock Records a series of innovative singer-songwriters and bands including Randy Stonehill, Mark Heard, Tom Howard, Daniel Amos and Steve Scott. A fundamental lack of business acumen combined with other factors then led to delays in the label issuing key recordings, including Moving Pictures by Steve Scott, and the eventual demise of the label itself. Moving Pictures and Closeups are revealed as classic CCM albums which possess the potent combination found on the key Norman albums of accurate social commentary, poetic spiritual insight and powerful evangelical appeals.

Recently I also posted a series of guest posts by and an interview with Rupert Loydell which has added to the material about Jesus Rock, CCM and spirituality in rock music published here previously. The first post in this series was a listing of previous posts on these themes - click here. The second post was an interview with musician Nick Battle, click here. The third post was the interview with Rupert Loydell - click here. The fourth post was a new interview by Rupert with Nick Battle - click here. While the final post in the series was an interview by Rupert with Steve Scott - click here. Finally, my review of Andrew Rumsey's earlier album 'Collodian' can be read here.

Rupert's original interview with Nick Battle was undertaken as part of his research on christian rock. This research resulted in several interviews, reviews and articles that were published in Punk & Post-Punk journal, an acdemic publication, as well as feeding into a piece for Ship of Fools. Nick has had a long and varied career in the music business, including spells in significant Post-Punk christian rock bands such as After The Fire (ATF) and Writz. Rupert's interview with Nick explores the moment when Contemporary Christian Music (CCM) and mainstream rock diverged, and bands like ATF and Writz headed into the latter, perhaps paving the way for U2 and others writing about faith and doubt. Rupert's work has also included writing about Larry Norman, Steve Scott and Revolutionary Army of the Infant Jesus.

This short series added to the material about Jesus Rock, CCM and spirituality in rock music which has been published here previously. This material includes a recent article for Seen and Unseen 'U2’s music shows surrender can still sound like joy' which explores the spirituality of U2: 'Each element of U2’s spirituality also derives from Christianity: movement, from the Fall and pilgrimage; improvisation, from the inspiration of the Holy Spirit; allusiveness, from the fragments of story that have been meshed together to form the canon of scripture; and reconciliation, from the theme of surrender that is central to the Crucifixion.' I also reviewed U2's 'Days of Ash' for International Times (see here), while my original essay on the spirituality of U2 'Tryin' to throw your arms around the world' can be read here - 1, 2, 3, 4, 5, 6, 7.

Rock ‘n’ Roll merged blues (with its spiritual strand) and Country music (tapping its white gospel) while Soul music adapted much of its sound and content from Black Gospel. For both, their gestures and movements were adopted from Pentecostalism. Some, such as Jerry Lee Lewis and Sam Cooke, felt guilt at secularising Gospel while others, like Johnny Cash, arrived at a hard earned integration of faith and music. All experienced opposition from a Church angry at its songs and influence being appropriated for secular ends. This opposition fed a narrative that, on both sides, equated rock and pop with hedonism and rebellion. The born again Cliff Richard was often perceived (both positively and negatively) as the only alternative. Within this context the Biblical language and imagery of Bob Dylan and Van Morrison was largely overlooked, although Dylan spoke eloquently about the influence of scripture within the tradition of American music on which he drew.

With the majority of Soul stars having begun singing in Church, many of the most effective integrations of faith and music were found there with Marvin Gaye’s What’s Going On and the Gospel-folk of the Staple Singers being among the best and most socially committed examples. Gospel featured directly with Billy Preston, Edwin Hawkins Singers and Aretha Franklin’s gospel albums. Mainstream use of Christian themes or imagery in rock were initially either unsustained (e.g. Blind Faith’s ‘Presence of the Lord’ and Norman Greenbaum’s ‘Spirit in the Sky’) or obscure (e.g. C.O.B.’s Moyshe McStiff and the Tartan Lancers of the Sacred Heart and Bill Fay’s Time of the Last Persecution).

However, this changed in three ways. First, the Church began to appropriate rock and pop to speak explicitly about Christian faith. This led to the emergence of a new genre, Contemporary Christian Music (CCM), with interaction between CCM and the mainstream. Mainstream artists such as Philip Bailey, David Grant, Al Green, Larry Norman and Candi Staton developed CCM careers while artists originally within CCM such as Delirious?, Martyn Joseph, Julie Miller, Leslie (Sam) Phillips, Sixpence None The Richer and Switchfoot achieved varying levels of mainstream exposure and success.

Second, the biblical language and imagery of stars like Bob Dylan, Van Morrison and Bruce Springsteen began to be understood and appreciated (helped to varying degrees by explicitly ‘Christian’ periods in the work of Dylan and Van the Man).

Third, musicians such as After The Fire, The Alarm, T. Bone Burnett, The Call, Peter Case, Bruce Cockburn, Extreme, Galactic Cowboys, Innocence Mission, Kings X, Maria McKee, Buddy & Julie Miller, Moby, Over The Rhine, Ricky Ross, 16 Horsepower, U2, The Violent Femmes, Gillian Welch, Jim White, and Victoria Williams rather than singing about the light (of Christ) instead sang about the world which they saw through the light (of Christ). As rock and pop fragmented into a myriad of genres, this approach to the expression of faith continues in the work of Eric Bibb, Blessid Union of Souls, Creed, Brandon Flowers, Good Charlotte, Ben Harper, Michael Kiwanuka, Ed Kowalczyk, Lifehouse, Live, Low, Neal Morse, Mumford and Sons, Robert Randolph and the Family Band, Scott Stapp, Social Distortion, and Woven Hand.

I've created a playlist on Spotify called 'Closer to the light'. 'Closer To The Light' is a song by Bruce Cockburn that he said "was written addressed to the late Mark Heard ... He was a fantastic songwriter. His death sent a shockwave through our whole community, and what that did in me was that song." As a result, 'Closer to the Light' is a song that straddles both CCM and mainstream artists suggesting that both can bring us closer to the light. Similarly, this playlist, which includes blues, choral, classical, country, folk, gospel, jazz, pop, rap, rock, and soul music, aims to straddle music from both CCM and the mainstream which also brings us closer to the light.

----------------------------------------------------------------------------------------------------------

Switchfoot - Beautiful Life.

What is it that we must do?

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

I wonder what are the things that you feel you must do? I wonder whether those are also the things that you feel God is compelling you to do?

Jesus was so greatly appreciated by the people in Capernaum that when he went to a deserted place in the wilderness to pray, the people followed him there and tried to persuade him to stay with them rather than moving on somewhere new (Luke 4.38-44).

People's appreciation is a lovely thing but, in this case, was a distraction from the task Jesus needed to complete. ‘He said to them, “I must proclaim the good news of the kingdom of God to the other cities also, for I was sent for this purpose.” So he continued proclaiming the message in the synagogues of Judea.’

What is that we must do, that we are compelled to do and does that accord with what God wants us to do?

On Sunday in our joint service, Emma Doe, our LLM, spoke about her calling and the ways in which she had known God was calling her to licensed ministry but there were all sorts of reasons why she didn’t follow that call initially. She was speaking to and for all of us, as there often are ways in which we hear the call of God on our lives but don’t or don’t fully respond, whether that is about moving into some form of authorised ministry, as was the case for Emma, or simply feeling God prompt us to go and help someone else because they are in need.

I wonder whether you can think of times when God may have prompted you to offer help to someone else and you have found reasons not to do so or to offer some help but not all that was required.

In today’s reading we see Jesus being sure of what he is called to do – ‘I must proclaim the good news of the kingdom of God to the other cities also’ – and being absolutely committed to doing so – ‘So he continued proclaiming the message in the synagogues of Judea.’

Later in his ministry when he approaches the time of his crucifixion, we see again this same combination of knowledge and commitment in Jesus. On Sunday, the message Emma preached on was about Jesus knowing that he had to go to Jerusalem to die and his absolute refusal to be distracted from that task even when his own disciples were appalled at the prospect and Peter actively opposed him (Matthew 16.21-28).

In Chapter 9 and verse 15 of his Gospel, Luke notes that “As the time approached for him to be taken up to heaven, Jesus resolutely set his face toward Jerusalem.” Jeremy Berg writes that “Many have made a connection with Luke’s mention of Jesus ‘setting his face toward Jerusalem’ with Isaiah’s account of the Suffering Servant who ‘sets his face like flint’ toward his own suffering.” Isaiah spoke of one who offered his back to those who beat him, his cheeks to those who pulled out his beard; who did not hide his face from mocking and spitting, and who set his face like flint towards these things knowing he would not be put to shame.

Jesus’ commitment to God’s plans and purposes for his life is absolute. Our faith is unlikely to be as strong and our knowledge of God’s plans and purposes for our lives may well be less well developed and sure. Nevertheless, the example that Jesus sets is one that challenges us to learn as fully as we can about God’s plans and purposes for our lives and to being as fully committed as we can to his calling on our lives.

I wonder what is that we must do, that we are compelled to do and the extent to which that accords with what God wants us to do? May we all seek to bring those two things as close together in our lives as we can. Amen.

-----------------------------------------------------------------------------------------------------

Michael McDermott - But For The Little Moments.

Seen and Unseen: Andrew Rumsey and the particular places

My latest article for Seen and Unseen is a profile of Andrew Rumsey:

'Andrew Rumsey is not your average Church of England Bishop. For starters, since becoming Bishop of Ramsbury, he has recorded three well-reviewed albums each recorded at a different church in Wiltshire. Now appointed as Bishop of St Albans, he comes to his new Diocese with a theology of parish, place, local identity, and the everyday that has seen expression in four books, in addition to the three albums.'

My reviews of his most recent albums can be read 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.

My 43rd article 'The Magdalene we rarely see' was about the painting 'Magdalene at the Base of the Cross' by Chris Gollon.

My 44th article was 'U2’s music shows surrender can still sound like joy' which explores the spirituality of U2.

My 45th article was 'Cathedrals, confessionals, and the strange allure of spiritual fiction' about the return of Susan Howatch.

My 46th article was on the exhibition 'Living by the Rule: Contemporary meets Medieval' at the Sainsbury Centre.

---------------------------------------------------------------------------------------------------------

Andrew Rumsey - Eunice Winds.

Tuesday, 1 September 2026

Artlyst: September Art Diary 2026

For my September 2026 Art Diary for Artlyst, we go travelling – to a variety of different locations and countries, across thresholds, and into the past. Locations visited include: Colchester, Durham, London, Melbourne, Milan, New York, Pollença, Salisbury, Salzburg, and Southampton. Featured artists include: Balraj Khanna, Anselm Kiefer, Luis Maraver, Andrea Modica, Isabel Nolan, and Sean Scully. Also highlighted are sculpture exhibitions including ‘Frieze Sculpture’ and installations by Rachel Kneebone and Zak Ové.

See also my review of 'Walls and Windows' at The Minories in Colchester, while pieces on Sean Scully can be read here, here and here, Rachel Kneebone here and here, and Anselm Kiefer here.

My other pieces for Artlyst are:

Interviews -

Monthly diary articles -

Articles/Reviews -

-------------------------------------------------------------------------------------------------------------

Buddy Miller - Don’t Look Back (with Dan Penn).

Monday, 31 August 2026

International Times: Letting the music lead the way

Here's my latest set of album reviews for International Time s, which includes albums by Switchfoot, Jon Foreman and NEEDTOBREATHE:

As a result, like Switchfoot who have said the songs on Forever Now are ‘incredibly meaningful to us’ and are ‘increasingly relevant in the “strange, strange times” we live in’, Rinehart hopes ‘that this record brings rest to people navigating the strangeness of the world’: ‘I feel like there’s a lot of people who feel lost or overwhelmed, but haven’t felt seen. That’s one of the many powerful things about art. It gives our stories a place to overlap.’ On this occasion, it is the inspirations and songs of these two bands that are overlapping.'

My earlier pieces for IT are: an interview with curator Jacquiline Creswell; an interview with the artist Alexander de Cadenet; an interview with artist, poet, priest Sp encer Reece, an interview with the poet Chris Emery, an interview with Jago Cooper, Director of the the Sainsbury Centre for Visual Arts, a profile of singer-songwriter Bill Fay, plus reviews of:

'Walls and Windows' at The Minories in Colchester
'The Perfect Moment: God, Sex, Art and the birth of America's Culture Wars' by Isaac Butler
'Moving Pictures' and 'Closeups' by Steve Scott, 'Never Mind the Ballads Here's Nick Battle' by Nick Battle, and 'Blank Arcades' by Andrew Rumsey
Michael Takeo Magruder -Reconstructed Landscape{s}
The Last Supper: Art, Faith, Sex and Controversy in the 1980s
In Another World: The Four Seasons of Talk Talk
Hulda Guzman: Please awake - asked Nature kindly' at Turner Contemporary;
'Devotions' by Lucy Caldwell and 'Catholic Modernism and the Irish ‘Avant-Garde’: The Achievement of Brian Coffey, Denis Devlin, and Thomas MacGreevy' by James Matthew Wilson;
the 'Stations' project from Dunlin Press;
'William Blake: The Age of Romantic Fantasy';
Joseph Arthur in concert;
installations by Chiharu Shiota and Yin Xiuzhen at Hayward Gsllery,
U2's 'Days of Ash', Mumford and Sons' 'Prize fighter' and Moby's 'Future Quiet';
'Collected Poems' by Kevin Crossley-Holland;
'Lux' by Rosalía;
'Springsteen: Deliver Me from Nowhere';
'Great Art Explained' by James Payne;
'Down River: In Search of David Ackles' by Mark Brend;
'Headwater' by Rev Simpkins;
'The Invisibility of Religion in Contemporary Art' by Jonathan A. Anderson;
'Breaking Lines' at the Estorick Collection of Modern Italian Art,
albums by Deacon Blue, Mumford and Sons, and Andrew Rumsey,
also by Joy Oladokun and Michael Kiwanaku;
'Nolan's Africa' by Andrew Turley;
Mavis Staples in concert at Union Chapel;
T Bone Burnett's 'The Other Side' and Peter Case live in Leytonstone;
Helaine Blumenfeld's 'Together' exhibition,
'What Is and Might Be and then Otherwise' by David Miller;
'Giacometti in Paris' by Michael Peppiatt,
the first Pissabed Prophet album; and
'Religion and Contemporary Art: A Curious Accord', a book which derives from a 2017 symposium organised by the Association of Scholars of Christianity in the History of Art.

Several of my short stories have been published by IT including three about Nicola Ravenscroft's EarthAngel sculptures (then called mudcubs), which we exhibited at St Andrew's Wickford in 2022. The first story in the series is 'The Mudcubs and the O Zone holes'. The second is 'The Mudcubs and the Clean-Up King', and the third is 'The mudcubs and the Wall'. My other short stories to have been published by International Times are 'The Black Rain', a story about the impact of violence in our media, 'The New Dark Ages', a story about principles and understandings that are gradually fading away from our modern societies, and 'The curious glasses', a story based on the butterfly effect.

IT have also published several of my poems, including '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.

To read my poems published by Stride, click here, here, here, here, here, and here. My poems published in Amethyst Review are: 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'.

I am among those whose poetry has been included in Thin Places & Sacred Spaces, a recent anthology from Amethyst Press. I also had a poem included in All Shall Be Well: Poems for Julian of Norwich, the first Amethyst Press anthology of new poems.

'Five Trios' is a series of poems on thin places and sacred spaces in the Diocese of Chelmsford. The five poems in the series are:

These poems have been published by Amethyst Review and International Times.

--------------------------------------------------------------------------------------------------------------

NEEDTOBREATHE - Strangeness Of It All.