Wikio - Top Blogs - Religion and belief

Saturday 5 October 2024

Amethyst Review: 'Pleshey'

My latest poem to be published by Amethyst Review is entitled 'Pleshey' and is part of a series of poems on thin places and sacred spaces in Essex called 'Four Essex Trios'. The poem celebrates the Diocesan Retreat House at Pleshey in Essex and the legacy of Evelyn Underhill as a retreat director.

The first poem in the sequence to be written - 'Runwell' - was also published by Amethyst Review and has recently been included in the Amethyst Press anthology, Thin Places and Sacred Spaces, This poem takes the reader on a visit to St Mary's Runwell, while also reflecting on the spirituality of the space plus its history and legends.

The second poem in the sequence to be published is at International Times and is entitled 'Broomfield' 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. My poem reviews their stories, work, legacy and motivations. For more on the artists of Broomfield, all of whom are commemorated there with blue plaques, see here, here, here, here and here. I will be giving a talk on 'Rosemary Rutherford's Religious Art' at St Mary with St Leonard Broomfield in November, together with Kathy Rouse (see below).

The final poem in this sequence - 'Bradwell' - will be published shortly.

Amethyst Review is a publication for readers and writers who are interested in creative exploration of spirituality and the sacred. Readers and writers of all religions and none are most welcome. All work published engages in some way with spirituality or the sacred in a spirit of thoughtful and respectful inquiry, rather than proselytizing.

The Editor-in-chief is Sarah Law – poet (mainly), tutor, occasional critic, sometime fiction writer. She has published five poetry collections, the latest of which is 'Thérèse: Poems'. Her novel, Sketches from a Sunlit Heaven is a 2023 Illumination Book Award silver medal winner. She set up Amethyst Review feeling the lack of a UK-based platform for the sharing and readership of new literary writing that engages in some way with spirituality and the sacred.

Four of my poems have appeared in Amethyst Review, in addition to 'Pleshey'. They are: 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'. To read my poems published by Stride Magazine, click here, here, here, here, and here. My poem entitled 'The ABC of creativity' is at International Times. It covers attention, beginning and creation and can be read here.

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.



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Launch of Thin Places & Sacred Spaces: an anthology of new poetry

Thursday 3 October 2024

Launch of Thin Places & Sacred Spaces: an anthology of new poetry


The September 2024 online launch of Thin Places and Sacred Spaces: an international anthology of new poetry edited by Sarah Law and published by Amethyst Press is now available to be viewed on YouTube. This launch features many of the contributors reading their work, especially from the first part of the anthology which features poetry related to Sacred Locations, Sacred Nature, and Sacred Architecture. I feature among those reading, with my poem 'Runwell'.

In this important and wide-ranging new anthology from Amethyst Press, with contributions by over 150 contemporary poets, readers are invited to reflect on and experience the poetry of ‘thin places’. The ‘thin place’ is a Celtic term, originally indicating a specific geographical location where the veil between heaven and earth seems exceptionally thin or lifted altogether. The anthology embraces and expands the concept of thin places and sacred spaces, including:
  • Sacred Locations
  • Sacred Nature
  • Sacred Architecture
  • Sacred Times & Holy Hours
  • The Thin Veil Between Life & Death
  • The Holy Unexpected
  • Thin Places in Art, Poetry & Language
If you have ever felt the touch of eternity in nature or sacred architecture; at specific times of the day or year; in stillness, movement, art, silence or surprise – this collection is for you.

'Runwell', the poem of mine which has been included in Thin Places and Sacred Spaces, is part of a series of poems on thin places and sacred spaces in Essex. 'Broomfield' has just been published by International Times and the other poems in this sequence - 'Bradwell' and 'Pleshey' - will be published shortly by International Times and Amethyst Review respectively.

I also had a poem included in All Shall Be Well: Poems for Julian of Norwich, the first Amethyst Press anthology of new poems. 'All Shall Be Well' is an anthology of new poems for Mother Julian, medieval mystic, anchoress, and the first woman to write a book in English. Lyrical, prayerful, vivid and insightful, these poems offer a poetic testament to Julian's enduring legacy of prayer and confidence in a merciful God who assured her that 'All Shall Be Well, and All Shall Be Well, and All Manner of Thing Shall Be Well.' The anthology has been edited by and comes with an introduction by Sarah Law, editor of Amethyst Review.

My poem for that anthology is based on a large painting 'The Revelations of Julian of Norwich' by Australian artist Alan Oldfield which is to be found at the Belsey Bridge Conference Centre in Ditchingham, Norfolk.

Amethyst Review is a publication for readers and writers who are interested in creative exploration of spirituality and the sacred. Readers and writers of all religions and none are most welcome. All work published engages in some way with spirituality or the sacred in a spirit of thoughtful and respectful inquiry, rather than proselytizing.

The Editor-in-chief is Sarah Law – poet (mainly), tutor, occasional critic, sometime fiction writer. She has published five poetry collections, the latest of which is 'Thérèse: Poems'. Her novel, Sketches from a Sunlit Heaven is a 2023 Illumination Book Award silver medal winner. She set up Amethyst Review feeling the lack of a UK-based platform for the sharing and readership of new literary writing that engages in some way with spirituality and the sacred.

Four of my poems have appeared in Amethyst Review. They are: 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'. To read my poems published by Stride, click here, here, here, here, and here. My latest poem to be published, 'The ABC of creativity', is at International Times. It covers attention, beginning and creation and can be read here.

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Iona - Treasure.

Wednesday 2 October 2024

ArtWay.eu: A Powerful Resource for Faith and the Arts



ArtWay.eu has been hailed "a jewel in the crown of work in Christianity and the arts," and having come under the custodianship of the Kirby Laing Centre, the much-loved publication is entering an exciting new chapter in its story with the launch of a new website in September. 

Since its founding, ArtWay has published a rich library of materials and resources for scholars, artists, art enthusiasts and congregations concerned about linking art and faith. Founded by Marleen Hengelaar-Rookmaaker in 2009, ArtWay's significance is reflected in its designation as UNESCO digital heritage material in the Netherlands. 

In the video above, the ArtWay team recounts the history of this much-loved resource and looks ahead to an exciting future for ArtWay.

Back in 2018, I interviewed ArtWay founder Marleen Hengelaar-Rookmaaker for Artlyst on the legacy of ArtWay itself. I have written frequently for the site with my most recent piece being an interview with British artist Hannah Rose Thomas, who is also an author, human rights activist and a UNESCO PhD Scholar at the University of Glasgow. 

My visual meditations for ArtWay include work by María Inés Aguirre, Giampaolo Babetto, Marian Bohusz-Szyszko, Alexander de Cadenet, Christopher Clack, Marlene Dumas, Terry Ffyffe, Jake Flood, Antoni Gaudi, Nicola Green, Maciej Hoffman, Gwen John, Lakwena Maciver, S. Billie Mandle, Giacomo Manzù, Sidney Nolan, Michael Pendry, Maurice Novarina, Regan O'Callaghan, Ana Maria Pacheco, John Piper, Nicola Ravenscroft, Albert Servaes, Henry Shelton, Anna Sikorska, Alan Stewart, Jan Toorop, Andrew Vessey, Edmund de Waal and Sane Wadu.

My Church of the Month reports include: All Saints Parish Church, Tudeley, Aylesford Priory, Canterbury Cathedral, Chapel of St. Thérèse of the Child Jesus and the Holy Face, Hem, Chelmsford Cathedral, Churches in Little Walsingham, Coventry Cathedral, Église de Saint-Paul à Grange-Canal, Eton College Chapel, Lumen, Metz Cathedral, Notre Dame du Léman, Notre-Dame de Toute Grâce, Plateau d’Assy,Romont, Sint Martinuskerk Latem, St Aidan of Lindisfarne, St Alban Romford, St. Andrew Bobola Polish RC Church, St. Margaret’s Church, Ditchling, and Ditchling Museum of Art + Craft, St Mary the Virgin, Downe, St Michael and All Angels Berwick and St Paul Goodmayes, as well as earlier reports of visits to sites associated with Marian Bohusz-Szyszko, Marc Chagall, Jean Cocteau, Antoni Gaudi and Henri Matisse.

Blogs for ArtWay include: Congruity and controversy: exploring issues for contemporary commissions; Ervin Bossanyi: A vision for unity and harmony; Georges Rouault and André Girard: Crucifixion and Resurrection, Penitence and Life Anew; Photographing Religious Practice; Spirituality and/in Modern Art; and The Spirituality of the Artist-Clown.

Interviews for ArtWay include: Matthew Askey, Sophie Hacker, Peter Koenig, David MillerBelinda Scarlett and Hannah Rose Thomas

I have also reviewed: Art and the Church: A Fractious Embrace, Kempe: The Life, Art and Legacy of Charles Eamer Kempe and Jazz, Blues, and Spirituals for ArtWay.

Other of my writings for ArtWay can be found here.

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Otto Bam - The Gift. 

Artlyst: October Art Diary

My October Art Diary for Artlyst highlights artist monographs, which increasingly appearing on the market as we approach Christmas. So I begin the October Art Diary with several, which are also linked to launch exhibitions. I also feature several exhibitions in sacred spaces before ending with some interesting thematic shows. Among the works featured you will find Leonora Carrington, Ken Currie, Tracey Emin, Susie Hamilton, Ana Maria Pacheco, Michael Petry, and Lancelot Ribeiro, among others:

'Another fascinating monograph to be published shortly is ‘Nolan’s Africa’ by Andrew Turley. In this monograph, Turley takes readers on a journey with Sidney Nolan from the United Nations Headquarters in New York to a suspected assassination on the Congo border, from the crematoria of Auschwitz to the formation of the World Wildlife Fund and on to the plains of the Serengeti. He walks in Nolan’s footsteps across Tanzania, Uganda and Ethiopia, seeing the world through the artist’s eyes. Written over twelve years and across three continents, this is the first book based on the newly opened Sidney Nolan Archives at the National Library of Australia, containing never-before-seen diaries, photographs and personal notes.

The result is a rich narrative that weaves together art, adventure, philosophy, global politics and world history. Artistic influences and processes, breathtaking in their scope, are laid bare as the thoughtful balance of text and images urges readers to consider the effect that the Holocaust, animal extinctions, colonial disenfranchisement and human conflict had on the artist and society. ‘Nolan’s Africa’ is a compelling picture of one of the most complex and famous painters of the twentieth century, shining new light on his examination of nature, human nature and the nature of modern civilisation.'

For more of my writing on artists included in my October Art Diary see here: Susie Hamilton; Ken Currie; Marcus Lyon; Micah Purnell; Michael Petry; Sidney Nolan; Brian Whelan; Ana Maria Pacheco; and Michael Takeo Magruder.

Interviews -
Monthly diary articles -

Articles/Reviews -

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Ed Kowalczyk - Angels On A Razor.

A real relationship and conversation with God

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

Although he doesn’t deserve it, Job is a man on whom all the troubles of the world have come (Job 9.1-12, 14-16). In rapid succession he loses all his livestock, servants and children. Then sores break out all over his body and his wife tells him to curse God and die. If we think life is hard for us, we might want to look at the story of Job and think again.

The book of Job is told as a series of conversations. It begins with a conversation between God and Satan about Job, continues with a conversation between Job and his friends about God and his response to suffering and ends with a conversation between Job and God himself. 

Job asks in 9.14-16:

“How then can I answer him,
choosing my words with him?
… If I summoned him and he answered me,
I do not believe that he would listen to my voice.”

However, Job’s experience, as the story progresses, is that it is possible for him to discuss and debate with God and what changes Job in this story is not the arguments and words of other human beings but the experience of genuinely meeting and speaking with God himself. Job asks why good people suffer and his friends reply that people suffer because of their wickedness, because they have not helped others and that we are punished in order to repent and be healed. Job knows in his heart and in his conscience that he has helped others and has not done wrong. Job’s friends are only able to tell Job what they think about God what they aren’t able to do is to help him encounter God himself. The story is told as a series of conversation because Job entering in to a conversation with God himself is what the book is all about.

Job’s friends - and, to begin with, Job, himself - think that being in relationship with God is primarily to do with our keeping a set of rules and regulations. If we do the right things then we will have God’s favour. The problem with this view is that we can look around the world and see wicked people who seem to prosper and good people who experience tragedy. This problem is acute for Job because he is one of those good people who experience tragedy. This view is still apparent in many churches today despite our knowledge of God’s grace and forgiveness in Jesus. Yet, when we act like that we are, like Job’s friends, setting up a series of standards which we believe come from God, and saying that if you don’t meet those standards or don’t repent, then you are outside of God’s will and no longer a follower of God.

But at the end of this story, it is Job’s friends with whom God is angry, not Job. In fact, Job himself has to pray for his friends so that they are not disgraced by God. The problem God has with Job’s friends is that they have not spoken the truth about God, as Job did. And yet much of what they had to say about God is standard theology about God. So, what is the difference between Job’s friends and Job? The difference is that Job wants to speak with God while his friends want to speak about God.

Job’s friends have a black and white view of God with no shades of grey and this is actually a way of avoiding encounter with God. In this way of thinking if life is going well then you know you must be keeping the rules because you have God’s favour and if life is not going well then you know you must have done something wrong and need to repent. Life is very simple and when you understand life like that you can keep God at arms length and don’t need to talk with him because you know what you have to do and all that matters is doing it right.

Job, however, knows that life is not as simple as that and, as a result, he wants to ask God about it direct. And when he starts talking to God, God starts talking to him. And what God has to say isn’t about giving Job rules and regulations to follow; it isn’t even about answering Job’s questions. It is simply about allowing Job to experience the magnitude of being in a real relationship and conversation with God. May it be so for each one of us. Amen.

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Midnight Oil - World That I See.