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Friday, 28 February 2025

Resources for Lent and Holy Week






This year the Ministry Team in the Wickford and Runwell Team Ministry have once again written our own Lent Course, a five week course looking at journeys in the Bible.

The Bible is full of journeys made by people guided by God. Some are shorter and some are longer. All are transformational. Life is often thought of as a journey. There are high points and low points, paths where we travel swiftly and paths where we feel bogged down, there are some times when we feel like we have come to a dead end and some times when the future ahead looks far away. In this course we look at five particular biblical journeys and think about how the people involved might have felt, and what responses they evoke in us when we hear them. Do they remind us of our own journeys with God? Week 1: Abraham’s wanderings Week 2: The Exodus Week 3: Ruth and Naomi Week 4: Jesus journey to Jerusalem (based on St Luke’s gospel) Week 5: Paul’s missionary journeys (based on Acts) 

These sessions will be offered on Tuesday evening and Thursday afternoon and evening, depending on numbers, starting the week of 10th March. 

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

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

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

Jesus dies on the cross

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

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

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Julie Miller - How Could You Say No.

 

Thursday, 27 February 2025

Seen and Unseen: The journey Bob Dylan biopics fail to capture

My latest article for Seen and Unseen is entitled 'The journey Bob Dylan biopics fail to capture'. In it I argue that the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey:

"Throughout Dylan’s career, he writes songs about people travelling through life in the face of apocalyptic storms seeking some form of relief or salvation or entry to heaven. So, what we have in the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey, undertaken in the eye of the Apocalypse, to stand with the damned at the heart of the darkness that is twentieth century (and then twenty-first century) culture.”

For more on Bob Dylan see here, here, here, here, here, here, here, here, here, here, and here. See also my co-authored book 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. For more of my writings on music click 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

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Wednesday, 26 February 2025

Quiet Days in 2025 - St Mary’s Runwell & St Nicholas Rawreth



Reflect in the beautiful and historic surrounds of St Mary’s Runwell and St Nicholas Rawreth. St. Mary’s is often described by visitors and by regular worshippers as a powerful sacred space to which they have been drawn. St Nicholas provides times of quiet and reflection in a beautiful setting.

Themes for 2025 include: Rogation Days; A Path with a Heart; Sabbath; Our Lady; and Lancelot Andrewes (at St Nicholas).
 
All are 10.30 am – 3.30 pm. Runwell Rd SS11 7HS/Church Rd SS11 8SH.
  • Wednesday 28 May – Rogation Days: Rogation Days precede Ascension Day. Traditionally, they are days of prayer and fasting observed with processions and 'beating the bounds’ when God’s blessing is asked on agriculture and industry, and were. Led by Revd Sue Wise.
  • Saturday 28 June – A Path with a Heart: Seeking inspiration from the Nazareth Community - Silence and Service are at the very heart of the Nazareth rule of life. Led by Revd Catherine Duce, Assistant Vicar for the Companions of Nazareth, St Martin-in-the-Fields.
  • Saturday 12 July – Sabbath: Explore Sabbath as both a day of rest and the coming kingdom of God. Led by Mike Tricker, LLM.
  • Wednesday 13 August – Our Lady: Reflect on the experiences, inspiration and support of Our Lady, the Mother of Jesus. Led by Revd Sue Wise.
  • Saturday 27 September – Lancelot Andrewes: Discover the influence and example of Lancelot Andrewes (who lived in Rawreth) who helped define Anglican doctrine, translate the Bible, and shape the liturgy. Led by Revd Jonathan Evens & Revd Steve Lissenden. To be held at St Nicholas Rawreth.
Cost: £8.00 per person, including sandwich lunch (pay on the day). To book: jonathan.evens@btinternet.com / 07803 562329 (28/06, 12/07, 27/09) or sue.wise@sky.com / 07941 506156 (28/05, 12/07). 

Parking available: Church Hall (Runwell) or Village Hall (Rawreth). Nearest station: Wickford (for Runwell) or Battlesbridge (for Rawreth).

http://wickfordandrunwellparish.org.uk/

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Bill Fay - The Healing Day.

Talking the talk and walking the walk

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

If we say that someone talks the talk but does not walk the walk, we mean that they do not act in a way that agrees with the things they say.

In politics, Dan Hodges has written, “there are a multitude of forgivable sins. Cheat on your wife. Lie about your record. Stab your colleague in the back. Lie with your colleague’s back-stabbing wife. The voters will tut, shake their heads, and move on. But there is one offence for which there is no pardon. Never, ever, under any circumstances, get caught preaching one thing at the public while practising another. Incompetence, duplicity, arrogance – each one hurts. Hypocrisy kills.”

Consistency also applies in business. William C. Taylor, author of Practically Radical: Not-So-Crazy Ways to Transform Your Company, Shake Up Your Industry, and Challenge Yourself, has written that, “One of the most ubiquitous aphorisms in business is that the best leaders understand the need to “walk the talk” — that is, their behavior and day-to-day actions have to match the aspirations they have for their colleagues and organization.”

Investors in People argue that “Everybody needs someone to look up to in the workplace. They want role models. This may seem like a daunting responsibility for a manager or employer, but it needn't be. It's largely just a matter of what we call ‘walking the talk’” and leading by example. “A manager's behaviour has an impact on everyone around them, and an effective manager is one who inspires their team by showing the way with their own actions.”

So, if we say that someone talks the talk but does not walk the walk, we mean that they do not act in a way that agrees with the things they say. The phrase “if you’re going to talk the talk, you’ve got to walk the walk” is a modern version of old sayings like “actions speak louder than words” and “practice what you preach.” Another early form of the expression was “walk it like you talk it.” Many people now condense this to “walk the talk.”

All these are essentially versions of James 1. 22, “be doers of the word, and not merely hearers” (James 1.19-27). If we are hearers of the word and not doers, we are like those who look at themselves in a mirror and immediately forget what they were like. “A first century mirror was not the silvered glass one without which no bathroom is complete today. It was beaten bronze and gave a fuzzy image. If you wanted to be sure your face was not dirty a quick glance was not sufficient. You would need to peer intently, work out what was required, then go and find some clean water to do something about it. The same is true of the way we react to encountering God. The real blessing of the Christian faith does not lie in listening to sermons or reciting liturgies, but in dwelling on what is true until it transforms what we do. A genuine encounter with Jesus provokes action.”

The action it produces is “care for orphans and widows in their distress.” Jesus said, in the Parable of the sheep and goats (Matthew 25.31-46), that God’s judgement on us will be based on our actions; giving food to the hungry, drink to the thirsty, welcoming the stranger, clothing the naked and visiting those in prison. These actions are to be the end result of our faith. If our looking deeply into God’s word does not result in our doing these things, our faith is not genuine and we are not walking the walk as Christians.

Too often we live life, James says, like people who look in the mirror and then immediately forget what we are actually like. The confession which precedes our Eucharist is our weekly opportunity to acknowledge the reality that we often talk the talk without walking the walk. It is our opportunity to turn away from insincerity and to seek the consistency in our faith to which James calls here. “Be doers of the word, and not merely hearers who deceive themselves.”

God’s vision for human beings is that we become holy servants. But this is not something that we can do by ourselves. It is something that happens together with God. It is God who has provided the mirror and God who has come into our world to show us in Jesus what living as a holy servant looks like. We see in Jesus’ life what that way of being human looks like in practice. But more than that, in Jesus, God is reaching out to us to show us that we are loved by him and that he sees our potential for change and for beauty.

In Jesus’ story of the Prodigal Son (Luke 15. 11-32), the son rejects his identity as a child of his Father and leaves home to waste his life. Finally, when he is eating the food of pigs the son looks in the mirror to see himself as he actually is and decides to return home to his father and ask to become one of his servants. But the Father rejoices at his return and welcomes him home as the son he has always been although for a time he rejected that identity. This is a story about us and God. We reject our rightful identity as children of God living as holy servants. We forget what we really look like in the mirror and live as we choose. But when we come to see ourselves as we truly are and return to God we are welcomed as God’s children with all of our potential for becoming the people that he wants us to be.

David Runcorn has said that “the deepest awakening of all is to the discovery that we are loved with a wild, prodigal love – without condition.” We are then able to become those who love God with all their being and who love their neighbours as ourselves, because God has first loved us.

James says that if we look closely at ourselves in the mirror of God’s perfect law, paying attention and knowing ourselves to be sinners loved by God then we will go on to become the holy servants that God intended all human beings to become. May it be so for each one of us. Amen

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Tuesday, 25 February 2025

Bill Fay R.I.P.

Dead Oceans recently announced the passing of Bill Fay, who died peacefully in London, aged 81.

They wrote: "Bill was a gentle man and a gentleman, wise beyond our times. He was a private person with the biggest of hearts, who wrote immensely moving, meaningful songs that will continue to find people for years to come.Bill’s first two albums, Bill Fay and Time of the Last Persecution, found a modest but loving audience upon their release at the dawn of the 1970s. While they weren’t considered commercial successes at the time, they continue to inspire devotion decades on, now known as overlooked classics from the era.

With enormous help from producer Joshua Henry, who tracked Bill down and convinced him to make another album, Bill later went on to make three more albums with Dead Oceans: Life is People (2012), his first release for forty years; Who is the Sender? (2015); and Countless Branches (2020), enjoying his cult status in real time.

Only a month before his passing, Bill was busy working on a new album. Our hope is to find a way to finish and release it, but for now, we remember Bill’s legacy as the “man in the corner of the room at the piano”, who quietly wrote heartfelt songs that touched and connected with people around the world."

'Bill Fay Was a Hidden Gem. One Musician Made Finding Him a Mission.' was the New York Times headline for an article exploring the background to Fay's album 'Countless Branches.'

Bill Fay made two albums at the beginning of the 1970s before losing his contract and disappearing from the scene. The strength of these albums, particularly the second 'Time of the Last Persecution,' led several musicians and producers to find Fay and assist in releasing more of his music.

Fay’s first two albums since his rediscovery, “Life Is People” in 2012 and “Who Is the Sender?” in 2015, were both profitable and effective follow-ups to the records he’d made 40 years earlier resulting in the recording of the most recent 'Countless Branches.'

Grayson Haver Currin notes that Fay's: 'self-titled 1970 debut featured idealistic odes to friendship, nature and peace swaddled in swooping strings and cascading horns. But only a year later, he’d turned to thorny rock for “Time of the Last Persecution.” Fueled by the horrors of the Vietnam War and the violence of the Jim Crow South, Fay railed against social corruption for 14 fractured songs, framing life as a revolving door of chances to get right with God.'

With the more recent albums Fay is: 'still writing about his distrust of governments and his belief in the goodness of people. Henry smartly dressed those songs in chamber-pop elegance. Tweedy lent his voice to a jangling tune called “This World,” while Spiritualized’s Jason Pierce added subtle harmonies to “Bring It On Lord,” a paean to valuing the days you have left. Fay’s voice wavered and rasped with age, the seams worn like proud wrinkles of wisdom.'

A Bill Fay song is often a 'deceptively simple thing, which carries more emotional weight than its concision and brevity might imply.' They are musical haikus on 'his recurring themes: nature, the family of man, the cycle of life and the ineffable vastness of it all.' The most recent releases being 'as pointed and as poignant as anything he’s ever recorded, as if songs waiting for their time have finally found their rightful place within our current zeitgeist.'

Bill Fay - Countless Branches - 'Countless Branches is the third of Fay's later-period albums, following Life Is People (2012) and Who Is the Sender? (2015). It might just be the best, too. It's palatable and concise, comprising ten tracks with bonuses pushing the total to 17. An incorrigible grouch might bridle at these guileless, gently philosophical songs, but they're delivered with such obvious sincerity that the rest of us will be charmed. As ever, Fay focuses on the search for meaning and substance in everyday life.'

Bill Fay's 'beautifully hymnal fourth studio album' Who is the Sender? 'contains sublime, heartfelt ruminations on nature and the world.' With less light and shade than Life is People but with a more consistently meditative tone, With profound simplicity, like that of Chance in Being There, Fay mourns the inhumanity of our warlike impulses while prayerfully calling for a new world to be manifest.

The song 'Who Is The Sender?' on Bill Fay's album of the same title is about the phenomenon which Fay sees as 'songfinding' rather than songwriting:

'Ask Bill Fay about his relationship with his instrument and he says something revealing, not "Ever since I learnt to play the piano", but "Ever since the piano taught me..."

What the piano taught him was how to connect to one of the great joys of his life. "Music gives," he says. And he is a grateful receiver. But, it makes him wonder, "Who is the sender?" ...

joy and sadness are indeed deep in this material, which Bill describes as "alternative gospel". Though it clearly stems from his belief, he doesn't seek to proselytise or convert anybody, but just hopes to share the concerns he puts into the words and the feelings that he receives from the music:

"Goodness, beauty, comfort. If something gives in the world, that's a good thing, isn't it? Maybe that's what music wants to do."'

Bill Fay’s songs on Life is People are simply astonishing - simple and melodic yet with unusual imagery and insights delivered with gravity and grace. 'Cosmic Concerto (Life Is People)' is a highlight from a collection of stand-out tracks; a celebration of the miracle of ordinary life, the infinite variation in each human face, which stirs his soul.

'Aside from Fay's plaintive cover of Wilco's Jesus Etc, Life Is People also continues with the lyrical themes established back in 1969-70 ... "They need space to convey," he stresses, "but, in a simple way, biblical prophecy. Not in some extreme or fanatical way but fundamentally, that this world - in the hands of different leaders, competing with each other economically - it can't carry on. It's belief in a change. There's comfort in that. I'm not so sure how you could handle the world if you didn't have that. It's God's world, yet we walk around as if it's ours."' (Mojo)

Bill Fay's Life Is People is an album to treasure produced by a man of real humility with a wonderful back story. The story is as follows:

"Bill Fay was born in North London, where he still lives. His debut on the underground Decca Nova label, Bill Fay (1970), included spacious big band jazz arrangements by Mike Gibbs, but it was the follow-up, Time Of The Last Persecution (1971), that cemented his reputation — a harrowing, philosophical and painfully honest diagnosis of an unhealthy society and a messed-up planet, that featured the cream of London's fieriest jazz session players such as guitarist Ray Russell. Unable to make ends meet as a musician, Fay wandered through a succession of jobs for years, writing songs privately. His albums were reissued in 1998 after being deleted for 27 years, and when the likes of Jeff Tweedy and David Tibet (Current 93) began singing his praises in the early 2000s, Bill began to come back into view. A third album, recorded piecemeal in the late 70s, was released in 2005 as Tomorrow Tomorrow And Tomorrow, by The Bill Fay Group. And Wilco even convinced the shy singer to join them onstage in London in 2007.

A CD of Bill's early demos and home recordings has also since emerged, but Life Is People is his first properly crafted studio album since 1971. He was motivated by American producer Joshua Henry, a fan who had grown up listening to the Bill Fay albums in his Dad's record collection. Spooling through Bill's home demos, Joshua discovered an incredible trove of material and decided to do something about it. Guitarist Matt Deighton (Oasis, Paul Weller, Mother Earth) assembled a cast of backup musicians to bring out the songs' full potential, Tim Weller (who's played drums for everyone from Will Young to Noel Gallagher and Goldfrapp), and keyboardist Mikey Rowe (High Flying Birds, Stevie Nicks, etc). In addition, Bill is reunited on several tracks with Ray Russell and drummer Alan Rushton, who played on Time Of The Last Persecution."

Fay's humility seems to run throughout this project - in his low-key, almost hestitant delivery, in lyrics such as "The never ending happening / Of what's to be and what has been / Just to be a part of it / Is astonishing to me" ('The Never Ending Happening')) and "I don't ask much, for myself / But for the one's I love" ('Thank You Lord'), and in liner notes which simply express profound gratitude for the support he has received from others in the making of this album.

His songs are simply astonishing - simple and melodic yet with unusual imagery and insights delivered with gravity and grace:

"Ranging from intimate to cosmic, epic but never grandiose, Bill's deeply committed music reminds you of important, eternal truths, and the lessons to be drawn from the natural world, when the materiality and greed threaten to engulf everything.

From the Eden-like hope for a better world in the opening "There Is A Valley" to the street sweeper gazing past the neon lights to the heavens in "City Of Dreams"; from the grand historical sweep of "Big Painter" to the compassionate hopefulness of "The Healing Day"; Bill's perceptive songs strike at the heart of the big issues facing us all today. But they're humble and down to earth too, full of striking images: witness the panoramic "Cosmic Concerto (Life Is People)", with its windblown seeds and grandmas blowing kisses into prams: as rapturous and soul-stirring as any music you'll hear this year."

'Cosmic Concerto (Life Is People)' is a highlight from a collection of stand-out tracks; a celebration of the miracle of ordinary life, the infinite variation in each human face, which stirs his soul. This is music to stir the soul, as Jim O'Rourke has stated "Bill Fay has quietly held his head high above the fray of chaos for years with the beauty of his music and the power of his spirit."

Bill Fay's classic Time Of The Last Persecution displays empathy in the face of apocalypse. Fay's songs are simply astonishing - simple and melodic yet with unusual imagery and insights (both whimsical and surreal bearing comparison with Syd Barrett and Nick Drake) delivered with gravity and grace.

Bill Fay was profoundly influenced by Teilhard de Chardin:

"Shortly after his debut was released, Fay stumbled across an old biblical commentary and quickly developed a fascination with the books of Daniel and Revelation. With the Vietnam War still escalating and the Kent State massacres in the headlines, the dark, apocalyptic tone of the ancient prophetic literature seemed disturbingly relevant. About this same time, Fay also began reading the writings of Pierre Teilhard de Chardin, a mid-twentieth century Jesuit, scientist, and philosopher, who believed that all of reality, both human and non-human, is rapidly evolving toward an eternal state of unity and peace. The earth’s present travails (war, poverty, injustice), however overwhelming they may seem, are really the birth pangs of the coming paradise—evidence of both the deficiencies of our current existence and the imminence of the world to come.

Armed with these new intellectual resources, Fay fashioned a second recording that was darker and more desperate but ultimately more hopeful than the first. Time of the Last Persecution is dominated by Fay’s vision of the coming apocalypse, vividly described in songs like “’Til the Christ Come Back,” “Plan D,” and the bleak, bombastic title cut. Fay’s eschatology on the recording is a far cry from the Us-vs.-Them cynicism of religious orthodoxy, in which the chosen people are eternally rewarded while the rest of us are cast into a bottomless lake of fire. For Fay, as for Teilhard before him, deliverance is deliverance for all (hippie and soldier, young and old, human and non-human) from the structures and institutions that oppress and alienate us. And the coming of the messiah signifies that all of reality—however senseless it may now seem—ultimately has value and significance. “The album was a commitment,” Fay recently explained, “albeit a reluctant one at first, to the belief that there will be, and has to be at some point, some spiritual intervention in the world.”'

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Bill Fay - Thank You Lord.

Sunday, 23 February 2025

Realising the worth that God sees in us

Here's the sermon I shared this evening at St Catherine’s Wickford:

“Ever since God created the world his invisible qualities, both his eternal power and his divine nature, have been clearly seen, they are perceived in the things God has made.” (Romans 1. 20) That is the claim which St Paul makes in the first chapter of Romans and that understanding forms the basis of the teaching about worry that Jesus gives us in the Sermon on the Mount (Matthew 6. 25 - 34).

The teaching Jesus gives us is based on lessons drawn from his understanding of nature and creation. Firstly, he looks at the cycle of existence – the circle of life - which enables all creatures to live and flourish in their way and time. 

Birds provide his specific example, possibly because they would have been prolific and yet are not reliant on human beings for their survival. The birds don’t do any of the things that human beings do to provide food for themselves – they “do not sow seeds, gather a harvest and put it in barns” – yet, in the circle of life there is a sufficiency of the food that they need in order to survive. 

In this way, Jesus says, we see that God the Father is taking care of them. For Jesus, God’s provision for the birds is a sign of the worth that he sees in his creation as a whole and in each specific part. Just as the creation as a whole is “good,” so are the birds which are found within it. If that is true of birds, then is it not also true of human beings? “Aren’t you worth much more than birds?” Jesus asks. 

In Eucharistic Prayer G we read that in the fullness of time God made us in his image, the crown of all creation. That gives us incredible worth and value, in and of ourselves and regardless of how we feel about ourselves. Jesus is saying that the power we have over creation and our unique position in creation - being conscious creators – speaks clearly to us of this incredible privilege of having been made in the image of God.

To what extent do we appreciate this reality? Often, we can be so caught up in the busyness of daily life that we do not stop to reflect on the wonder of existence and our existence. Stop for a moment to think about the incredible complexity of our physical bodies and of our conscious existence. 

Stop for a moment and think about the incredible achievements of the human race – the great art we have created, amazing technological developments and inventions, the cities we have built, the scientific and medical advancements we have seen, the depths of compassion and sacrifice which have been plumbed by the great saints in our history. While we are also well aware of the darker forces at work in human beings, our positive abilities and achievements reveal the reality of our creation as beings that resemble God in his creative power and energy. We can and should celebrate this reality – realising the worth that God sees in us – at the same time as giving thanks to our God for creating us in this way.                

Isn’t life worth more than food and isn’t the body worth more than clothes, Jesus asks us. Often, we can be so caught up in the busyness of daily life that we do not realise the wonder of our existence and do not realise all that we could achieve if we were to use our abilities and creativity more fully in his service. “We were meant to live for so much more” is how the rock band Switchfoot put it. Jesus challenges us to be concerned with more than the worries of daily life, to be “concerned above everything else with the Kingdom of God and with what he [God] requires of you.”

Stop for a moment and think of the unique way in which you have been created by God – the unique combination of personality and talents with which you have been blessed – and ask yourself how these things could more fully be used for the building up of the Kingdom of God on earth, as in heaven.

Stop for a moment and think about the Kingdom of God as described in the Beatitudes with which Jesus began the Sermon on the Mount. The Kingdom of God is a place of happiness for those who know they are spiritually poor, a place of comfort for those who mourn, a place of receptivity for those who are humble, a place of satisfaction for those whose greatest desire is to do what God requires, a place of mercy for those who are merciful, a place in which God is seen by the pure in heart, a place in which those who work for peace are called God’s children, and a place which belongs to those who are persecuted because they do what God requires. What might God be calling us to do for him to bring the Kingdom of God to others?

Jesus argues that the goodness and worth of all created things can be seen in the way that creation provides all that is needed for creatures and plants to live and thrive. Our worth is greater still because we are made in the very image of God having power over creation and innate creative abilities ourselves. It is incumbent on us then to use the power we possess for the good of others and for the good of creation itself. We are, as God says, in Genesis to cultivate, tend and guard creation. Bringing happiness, satisfaction and belonging by giving comfort, practicing humility, sharing mercy and working for peace are all powerful ways of tending and guarding creation and building the Kingdom of God on earth, as in heaven.

Stop for a moment to recognise the something more for which we are meant to live. Dedicate your life to be concerned above everything else with the Kingdom of God and with what God requires of you.    

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I believe in you

Here's the sermon that I shared at St Mary's Runwell this morning:

With Jesus in the boat,
we can smile at the storm,
smile at the storm,
smile at the storm.
With Jesus in the boat,
we can smile at the storm
as we go sailing home.

Who remembers that old children’s chorus? It’s based on the idea that Jesus stills our storms enabling us to sail serenely through life until we weigh anchor in heaven. But to read this story (Luke 8. 22-25) in that way you have to ignore everything else that happens in the story in order to focus only on Jesus’ stilling of the storm which the song then makes normative for our Christian lives.

In other words, it ignores Jesus sleeping through the storm, the disciples panic in the storm, and Jesus’ rebuke of them for their lack of faith. It would be a very different song if it took on board the rest of the story, maybe something along these lines:

With Jesus asleep in the boat,
we can panic in the storm,
panic in the storm,
panic in the storm.
With Jesus asleep in the boat,
we can panic in the storm
as we go swiftly under.

We don’t like the idea that God might be sleeping on the job while we are going through crises, so we naturally concentrate on the moment when Jesus saves the day and make that part of the story the part that we teach and remember. But to be true to scripture, we can’t simply pick and choose the bits that we like and ignore the rest. Instead we need to deal with all that is involved in a story like this and, when we do, then a very different point emerges.

Why is Jesus asleep during the storm? Presumably, he is able to sleep because he trusts his disciples to get him safely to the other side of Lake Galilee, even in the midst of a storm. After all, many of them are fishermen, experienced sailors, while he is, as a carpenter, a landlubber. The disciples know boats and they know the lake, it makes sense that he would trust them to sail safely from one side of the lake to the other. He trusts them enough that he can catch up on some sleep while they get on with doing what they are actually very good at doing. The disciples have skills and knowledge of sailing and Jesus expects them to use these and trusts that they will use them well.

The problem comes, of course, when they don’t use their skills and knowledge well. The strength of the storm is such that they panic and don’t take actions (like taking down the sail, bailing out the water, and steering against the storm rather than with it) which would have enabled them to ride out the storm and get to the other side of the lake. They made the situation worse by panicking and it was their panic which could have got them killed.

This, I think, is why they are rebuked by Jesus for lack of faith. Essentially, he was saying, “If you had trusted in God to see you through the storm, you would have done the sensible things that would have enabled you to survive. But, because you didn’t trust in God to see you through, you panicked, didn’t take sensible actions, nearly got us all drowned, and needed me to intervene to save you.”

God does not, and cannot, simply intervene to save us from crises and storms. If he did, he would take away our free will and we would be automatons rather than humans. John Shepherd, former Dean of Perth, writing in The Times put it like this:

“Why doesn’t God miraculously intervene, and take things over? Dictate how everything should go, and what we do, and how we live our lives?

But then, of course, we would have a world of fixed laws. Our lives would be totally regulated and controlled. We couldn’t decide anything for ourselves. We would not be allowed any choices, or any freedom of action.

So our lives would become non-lives ...

Knowing everything will be all right because God will make it so is no longer to have life.”

But, if God isn’t there to save us in any and every circumstance, what is the value and point of faith? Again, John Shepherd is very helpful in a way that links up with what we are discovering about this story:

“We all need someone to believe in. And we all need someone who’ll believe in us. Think of the number of times we’ve told someone we have faith in them — that we know they can do it, that they’ll achieve their goal, pass that exam, get that job, survive that relationship, recover from that bereavement. We tell people we have faith in them all the time. “You can do it,” we say.

“I believe in you.”

And it happens to us as well. Think of the people who have told us they believe in us. They gave us confidence. They told us they had faith in us, and they believed we could do it.

We know how important faith is, because we’ve known what it’s like for people to have faith in us. And we all have this faith, consciously or unconsciously. We’ve all given it, and we’ve all received it. We know what it is and how it works. Having faith in others, and others having faith in us, isn’t a sign of weakness or mental deficiency. It’s reasonable and logical.”

What we find through this story is that God has faith in us. Jesus trusts himself to his disciples by sleeping while they sail and expects them to act responsibly during the storm in order to keep them all safe and to survive. What annoys him is when they don’t do this, when they don’t trust in the skills and knowledge with which God has gifted them. He wants them to see that the skills and knowledge with which God has gifted them are enough for them to come through the storms of life. He has faith in them but at this point they don’t have faith in all that God has given to them. Later, after the Crucifixion, Resurrection, Ascension and Day of Pentecost, they do develop such faith and go on to do great things for God.

“This is faith,” John Shepherd writes, “trusting in God without specifying what will happen. God has let the darkness be, so we may have life. But as well, God has given us Jesus, so we may have faith that the darkness will not destroy us.” God will not, and cannot, continually intervene because then life would be fixed instead of being free. So we are not to depend on God to save every time we encounter difficulty but instead to trust that he is with us in the storms of life and that he has given us what we need to come through.

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Bob Dylan - I Believe In You.

Saturday, 22 February 2025

Bruton, Curry Rivel, Langport






















I've had a weekend of going back to the past with visits to family and friends in Somerset and some of the places we lived when I was a teenager. I've also visited Bruton to see Hauser and Wirth Somerset and Bruton Museum which has a display of work by the sculptor Ernst Blensdorf. The drive to Somerset provided views of Stonehenge and Glastonbury Tor.

All Saints Langport, built mainly in the fifteenth and sixteenth centuries, stands on a hill near the River Parrett, overlooking the remains of a Benedictine abbey. Its bold, pinnacled west tower, covered with gargoyles known locally as 'Hunky Punks', is a local landmark. The church's special treasure is its east window, containing the largest collection of medieval stained glass in Somerset. The saints are shown in gloriously coloured robes with both animated and serene expressions.

St Andrew's Curry Rivel was built around 1500. The entrance to the church is a handsome two storey porch, on either side of which are windows with superb tracery. The church has a battlemented roofline on which are carvings including people playing musical instruments such as bagpipes, fiddles, bagpipes and horns. There is an ornamental frieze across the front and the portcullis family badge, pointing to Lady Margaret Beaufort (mother of King Henry VII) who held estates nearby. Carved figures (grotesques), known as ‘hunky-punks’ look out from each top corner of the tower (rebuilt 1861). There is a peal of eight bells, tuned to E flat. The oldest is from 1610; the heaviest is 15cwt.

The inside of the church is full of interest, the oldest part being the 13th century north chapel, which has a tomb thought to be of Sabrina de Lorty, the chapel's founder. Behind railings, and under a semi circular canopy, are the beautifully made effigies of Marmaduke Jennings and his son Robert, and these date from the early 17th century. Recesses in north wall contain effigies. There is carved woodwork from the 15th and 16th centuries includes bench ends, two screens and the roof of the north aisle. In the nave is a hamstone arcade, pulpit with Byzantine colonettes and lovely carved ends on Victorian pews. The northeast window has Victorian glass, some older, depicting three kings with local connections: Ine (King of Wessex); Alfred (hid at Athelney) and Arthur. The east window has roundel 12th century glass from Canterbury Cathedral, a gift from daughter of Dean Farrar. The window on the south side of the altar has panels engraved 1987 by Laurence Whistler. The window near the late Victorian 2-manual organ is by CE Kempe and from 1913.

Occupying a former farmstead in Bruton, Hauser & Wirth Somerset is home to a vibrant program of exhibitions, events, learning activities and artists’ residencies, which connect with the local community and landscape. Since the inaugural exhibition by British artist Phyllida Barlow, more than 250 artists have been brought to Somerset to create solo and group exhibitions in their galleries, including ‘Henry Moore. Sharing Form’ in collaboration with the Henry Moore Foundation, ‘Alexander Calder. From The Stony River To The Sky,’ ‘Unconscious Landscape. Works from the Ursula Hauser Collection’ and ‘Eduardo Chillida’ in collaboration with Chillida Leku Museum.

Piet Oudolf, the internationally renowned landscape designer from the Netherlands, designed the landscaping scheme for the entire site, including Oudolf Field—a large perennial meadow situated behind the gallery. Carefully shaped and planted, the garden echoes the tradition of classical gardens, but the variety of species and combination of plants creates a looseness, softening the formality of its appearance. Known for his use of perennials, Oudolf Field has visual interest year round. At the top of Oudolf Field sits the Radić Pavilion. Designed by Chilean architect Smiljan Radić, it was installed at Hauser & Wirth Somerset in 2015, following its unveiling the previous year as the Serpentine Gallery 2014 Pavilion.

Current exhibition ‘An Uncommon Thread’ features 10 contemporary artists living and working in the UK. The group exhibition highlights the transformative power of unconventional mediums in evoking personal and collective memories. Each artist demonstrates an unwavering commitment to the integral role materials and techniques play in their creative process; employing unexpected painting surfaces, adapting formal craft traditions and repurposing discarded products into compelling works. Through individual investigations of identity, tradition, nature, fantasy and the environment, the artists invite viewers to engage with the rich stories woven into each work.

Bruton Museum aims to tell the story of the Saxon town of Bruton in Somerset, what was here before the town and what came after its medieval heyday as an important ecclesiastical centre. Spectacular fossils, masonry from the site of Bruton Abbey, the unique sculptures of WWII German refugee, Ernst Blensdorf, and the writing desk used by the American writer John Steinbeck, who lived in Bruton in 1959, are among its many highlights. Their changing display CASESPACE is where they show contemporary art and collections. The current Casespace artist is Dorcas Casey.

German-born sculptor Ernst Blensdorf (1896-1976) worked in Somerset for 35 years producing a unique modern style utilising the swirling patterns of Somerset elm. He came to Somerset in 1941, after seven years in Norway, as a refugee from Nazi Germany where he had been denounced as a degenerate artist. His highly expressive work ranges from the 'totemic' style of his earlier and monumental pieces to the free-flowing, near abstraction of his later work. His works range from monumental pieces such as the larger than life-size 'Abraham's Sacrifice'(Downside School) to semi-abstract works which exploit the swirling grain of the elm such as 'Dance Rhythm' (Southampton Art Gallery). 'Last Work' (Somerset County Museum, Taunton), a poignant, unfinished piece on which he worked to within a few days of his death.

'Crucifix II' was purchased for St Mary's Church in Bruton by some local residents. The sculpture was made from a sycamore tree from the garden at Blensdorf's home near Bruton. I first encountered his work at St John's Church, Glastonbury, which has two large early carvings, each from a single elm tree, the 'Madonna with Child' and the 'Resurrection Christ'.

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Friday, 21 February 2025

Windows on the world (507)

 

Bruton, 2025

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Nickel Creek - Holding Pattern.


Church Times - Art review: Seeing the Unseen at Stanley Spencer Gallery, Cookham

My latest exhibition review for Church Times is on Seeing the Unseen: Reality and Imagination in the Art of Stanley Spencer at The Stanley Spencer Gallery:

'While the naivety of some of Spencer’s imagery and ideas can lead to a dismissal of his work as a whole, his affirmative, inclusive and reconciliatory impulses and images are surely close to the compassionate heart of the incarnation. For all his personal fallibilities and the shortcomings of some images, it is hard to think of many other modern artists in whose work the compassionate heart of Christ beats as steadily and fully, and for that we should be profoundly grateful.'

For more on Stanley Spencer, see here and here.

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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Sara Watkins - Take Up Your Spade.

Sunday, 16 February 2025

Christ has been raised from the dead, the first fruits of those who have died

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

On Wednesday Richard and I spoke to Year 4 classes at Hilltop Junior School as part of their RE lessons, where they are currently looking at the charitable and community work that churches undertake. We spoke about the Gateway Project, our collections for the Women’s Refuge, and the funds we collect for Positive Life Kenya but, through the questions the children asked, we also spoke about the ways in which the church is there for people and with people at all the key moments in life – at birth through Christenings, when people get married through wedding, and when people die through funerals. It’s sometimes, disparagingly spoken of as ‘hatch, match and dispatch’ but actually means the church ministers to people at every stage of their lives and at all the really important moments in life.

The children specifically wanted to ask about funerals, which is interesting as parents often try to protect children from the reality of death; although, as was clear to us on Wednesday, they are aware of the reality of death and can and will speak about it. That was also the case in the church at Corinth, to which St Paul wrote first and second Corinthians, as we have them recorded in the Bible.

The reality of the resurrection was the big issue or discussion that Paul addressed in the section of his letter that we heard read this morning (1 Corinthians 15.12-20). Paul makes the resurrection central to Christianity by arguing that if it did not happen, then the rest of our faith must be false.

In this section of his letter, he doesn’t give his argument for the reality of the resurrection. He simply states that belief at the end of the passage - in fact Christ has been raised from the dead, the first fruits of those who have died. But in the section of the letter that was read last week he does set out his argument (1 Corinthians 15.1-11). So, let’s look briefly at some of the reasons for believing in the reality of the resurrection.

First, we need to be clear that those who say there is no evidence for the existence of God seek to disallow the very evidence which has helped convince us otherwise by saying that the only acceptable evidence is scientifically measurable evidence. This is the argument that science and its methods provide the only way of knowing that gives us true knowledge of the world around us. Yet, if that were to be the case then, for example, a wedding would make no real sense. Instead of being about the mutual celebration of love and affection between the couple, on the basis of measurable scientific knowledge what occurs when a wedding happens simply becomes about the survival of the fittest through the passing on of selfish genes in procreation. Our experiences of love and faith cannot be adequately captured through the language of scientific measurement. Instead, we need the languages of belief and imagination to give voice to what we truly experience of love and faith. As Richard Chartres once said, "Faith and committed relationships offer a door into the mystery of spiritual life.”

Second, we need to understand that faith is fundamental to all true knowledge and that applies to scientific knowing as much as to any other form of knowing. Scientists like Michael Polanyi have come to understand that faith is fundamental in the whole enterprise of understanding because all knowledge of reality rests upon faith commitments which cannot be demonstrated. As a result, scientists and philosophers of science are now rediscovering the vital role that the imagination has to play in their endeavours.

When there is an acceptance that other forms of knowing and other forms of evidence have validity, then two further arguments can be made. The first of these is that belief in God makes sense of our experiences of life and love in ways that give full weight to our experience of these things without contradicting the findings of science. On this basis, Christianity offers, as Lesslie Newbigin has argued, “the widest rationality, the greatest capacity to give meaning to the whole of experience.”

Second, the arguments for the resurrection made in the New Testament and also subsequently come into play. Many historians, lawyers and sceptics have testified to the convincing nature of this evidence when objectively considered. Many would, for example, agree with E. M. Blaiklock, , who said, “the evidence for the life, the death, and the resurrection of Christ is better authenticated than most of the facts of ancient history . . .”

One of the earliest records of Christ's appearing after the resurrection is given by Paul in 1 Corinthians 15. There, he appeals to his audience's knowledge of the fact that Christ had been seen by more than 500 people at one time. Paul reminded them that the majority of those people were still alive and could be questioned. Dr. Edwin M. Yamauchi, associate professor of history at Miami University in Oxford, Ohio, emphasizes: "What gives a special authority to the list (of witnesses) as historical evidence is the reference to most of the five hundred brethren being still alive. St. Paul says in effect, 'If you do not believe me, you can ask them.' Such a statement in an admittedly genuine letter written within thirty years of the event is almost as strong evidence as one could hope to get for something that happened nearly two thousand years ago." These New Testament accounts of the resurrection were being circulated within the lifetimes of men and women alive at the time of the resurrection; people who could certainly have confirmed or denied the accuracy of such accounts.

So, there is good reason for believing that Jesus rose from the dead but what difference does it make that he did? Paul addresses that at the end of today’s reading - in fact Christ has been raised from the dead, the first fruits of those who have died. This means that what Jesus experienced is like a template for our own experience in future when we, too, are raised from death.

The risen Jesus had a resurrection body and was recognisable to his disciples, although not always. He was able to come and go and move around in ways that had not previously been possible for him and he bore on his body the scars of his crucifixion. This means that there was a continuity between his earthly body and his resurrected body, although they were not one and the same. Later, in this chapter, Paul explains this by saying the perishable body must put on imperishability, and this mortal body must put on immortality.

Writers and theologians have explained this in a variety of different ways. One of those that I find most helpful is that of C.S. Lewis in the last book of The Chronicles of Narnia called 'The Last Battle'. There, he describes his characters dying and entering eternity. In eternity they find themselves back in the land of Narnia but it is a Narnia that has more depth and beauty than previously. As they explore this revitalised Narnia, their cry is one of exploration, 'Come further up and further in'. When they reach the garden at the centre of Narnia, they discover that this is a gateway to another Narnia that has yet more depth and beauty than that which they had just left. Lewis' idea that we abide in eternity in the world that we know but know it in ever increasing depth.

Lewis’ idea works with what we know of Jesus’ resurrected body in order to imagine a new heaven and new earth that is deeper and more beautiful and more real than this earth. Therefore, there is continuity between this world and the next with much that we will recognise but, because it is more real and more beautiful than this world there is much that is also new and unknown that we can discover and explore. In fact, Lewis’ idea is that, because God is inifinite, there is also more of the new heaven and new earth in which we will live our resurrected lives to be explored, discovered and enjoyed. By saying that the resurrection of Jesus is the first fruits of what we will experience, St Paul opens up that possibility to us.

So, as Paul states in 1 Corinthians 15, there are good reasons for believing in the resurrection and for having hope that that we will spend eternity living lives for which Jesus’ resurrection provides the template. Amen.

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Fiction Family - God Badge.