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Tuesday, 11 November 2025

In the silence we begin to assemble a dream of a new world out of the rubble of the old

Here's the reflection I shared during this morning's Armistice Day Service held at St Catherine's Wickford:

On the original Armistice Day, November 11, 1918, a profound and immediate silence fell across the battlefields of the Western Front at exactly 11:00 a.m., the moment the armistice officially came into effect.

This was the first time in more than four years that the continuous sound of warfare ceased in that region. The armistice had been signed by Allied and German representatives in a railway carriage in the Forest of Compiègne, France, at 5:00 a.m., but fighting was ordered to continue until the appointed hour of 11:00 a.m..

For the soldiers at the front, the transition was abrupt and eerie:
  • A sudden cessation of noise: The relentless "cough" and "fume" of artillery and the rattle of machine guns stopped instantly.
  • Mixed emotions: There was little immediate celebration; the dominant feelings were a combination of relief, disbelief, and a profound sense of emptiness after 52 exhausting months of war.
  • The sound of peace: One of the most noted aspects of the immediate aftermath was the sudden audibility of nature, such as a bird singing, a sound completely drowned out by the constant barrage moments before.
Inspired by a rare document in the Imperial War Museum's collections, a graphic record recreates the moment the guns fell silent on the 11th hour after the signing of the Armistice. The artillery activity it illustrates was recorded on the American front near the River Moselle, one minute before and one minute after the Armistice. The track is not a 1918 recording but it isn't a fake either. A painstaking process was used to make a realistic recreation of the moment. The sounds of gunfire and shells were reconstructed using the data recorded on the Western Front by the British Army's leading edge sound ranging equipment. Experts, including the Smithsonian Museum say that is a very realistic recreation.

https://www.facebook.com/share/v/1BSLQ7wCpc/
https://www.youtube.com/watch?v=jwisj9WqWc0 

The singer-songwriter Judee Sill sings:

‘Every way beauty is slain, it's seen
Though no word is uttered, a grave silence rings
Underfoot innocents on the scene
With humble hearts shudder, assembling a dream

And in each one a manger is seen
Where the dark, by the spark, is redeemed’ (‘Til Dreams Come True’)

It is in silence, unannounced and on the edge, that the gospel finds the soil to take root and begin to grow in real lives. We begin to assemble a dream of a new world out of the rubble of the old not with explanation or information, but by sharing silence – opening up before one another and before God, our unknowing.

In silence, we become aware of our own noise, movement, and conflicts, being enabled to lay those things aside, while also encountering the peace into which God longs to draw us.

We are formed by this silence. As we enter into silence, we place ourselves in the presence of Christ. We create the place and space for a deeper listening to God, the longings of our own souls and a deep compassion for the world.

In silence we make our home with God. We are spiritually and physically turning to Christ and allowing the preoccupations of self to get out of the way so we can allow Christ to dwell at our very centre. Silence is that which allows room for the gift of self and for the gift of Christ to fill that space. The soul empties itself of all its own contents in order to receive the gift of humanity and divinity.

May we use the silence in this service to receive that gift and begin to assemble a dream of a new world out of the rubble, devastation and noise of war. Amen.

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Judee Sill - Til Dreams Come True.

Seen and Unseen - The dot and the dash: modern art’s quiet search for deeper meaning

My latest article for Seen and Unseen is '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:

'Enabling such contemplation was the aim of these three and this exhibition reveals how and why they followed that aim. In doing so, the exhibition reveals more to us about the connections found and made between art and spirituality early on in the development of modern art. These are connections which have been overlooked in earlier discussions and presentations of Neo-Impressionism but which are being helpful and rightly rediscovered and represented in the present.

Visit this exhibition to gain that understanding but also to take the opportunity, as Bremmer, Kröller-Müller and Van de Velde desired, to meditate in silence ‘to inscribe the mysterious Meaning’ of the works you will see.'

For more on Vincent van Gogh see here and here, on Jan Toorop see here, on Post-Impressionism see here and here, and on Symbolism see 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.

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The Beatles - Here Comes The Sun.

Monday, 10 November 2025

HeartEdge: Making room for Christ through Advent

 



Making room for Christ through Advent

This Advent, HeartEdge invites individuals, families, and communities to pause, reflect, and make space. Heartbeat of the Incarnation brings together three distinct but deeply connected Advent resources designed to help us live into the mystery of God with us – Emmanuel – in ways that are hopeful, and rooted in everyday life.

Weekly Group Study THE ADVENT HEARTBEAT COURSE

The four-week Bible study series is written for small groups, churches, and HeartEdge communities. It can be used during Advent or in the weeks leading up to it. Each session explores a key theme of incarnation and belonging:
  • Saying ‘Yes’: Making Space in a World of Scarcity
  • The Womb as Holy Ground: Finding God in Hidden Places
  • The Cost of Love: Mary’s Labour, God’s Compassion
  • Birthing Christ Today: Church on the Edge
Daily Reflections 25 DAILY ADVENT WONDERINGS

The day-by-day journey through Advent draws inspiration from the mystery of pregnancy and the hidden development of Christ in the womb. Each day includes:
  • A reflection grounded in the developmental stages of pregnancy
  • A wondering
  • A reflective action – inviting heart, mind, and body to prepare room for Christ

This is more than a countdown to Christmas. It’s a call to transformation, to slow down and notice where Christ is already gestating in our midst – especially at the edges of our lives.

The books are available at £10 Please email heartedge@smitf.org to order with details of a postal address and HeartEdge will post and send an invoice with details of how to pay by BACS.


HeartEdge in Urban Communities - A Course of Discovery
A New Course for Urban Churches Exploring the HeartEdge Model


Are you part of a church in a town or city or suburb ? Do you long to see your local church thrive at the heart of your community—while staying faithful to your calling and context?

This new course has been created especially for urban churches, inspired by the HeartEdge 4Cs model of church . Compassion – Culture – Commerce – Congregational with a foundational trust in the God of Abundance.

This flexible and beautifully illustrated course can be run:

  • As a one-day event or over six 90-minute sessions or two half -days
  • Online or in person
  • Led by local leaders or HeartEdge staff

Who is the course for? Clergy, lay leaders, Church Councils and church members – accessible to all denominations

What does it cost? HeartEdge are inviting a contribution of £10 from each participant to include a course book plus the on-line preparation session for the leader(s) and an on-line session at the end for practical advice on following up the ideas that emerge. However grants are available if such charges are a problem. They do not want a shortage of money to be a barrier to taking part.

For more information contact heartedge@smitf.org


HeartEdge in Rural Communities - A Course of Discovery

This seven-session course is designed to help rural churches explore the HeartEdge principles developed by Sam Wells: compassion, culture, commerce, and congregation.

It begins with an introduction to the foundational concept of abundance, encouraging participants to move beyond a mindset of scarcity and embrace God’s overflowing grace.

Each session focuses on one of the 4Cs, offering biblical reflections, practical examples, and open discussions to inspire creative approaches to ministry.

The course culminates in a session that ties together the insights and actions from the previous weeks, followed by a reflective gathering several months later to evaluate how ideas have developed in practice.

This course equips rural churches to recognise and celebrate the unique opportunities and gifts present in their contexts, encouraging collaboration and innovation.

It is offered to churches with a ‘donation’ of £10 per participant. (Subsidies are available if this is prohibitive.)

This will provide an online session to introduce the course and explain how it runs. And a further online session at the end to offer advice on how to develop the vision that emerges from the course.

For more information or to order copies of the book please contact Sian or Andrew Yates on heartedge@smitf.org

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Bernadette Farrell - Christ, Be Our Light.

Stride Magazine: Five

Stride Magazine has a new series is called 'Five' which simply involves writing about five linked items. The first articles in the series can be found here and here. My piece for the series which is on entries in Prog 50 will be published on 24 November.

I recently wrote another article for Stride, this time about my 'Five Trios' series of poems. 'Five Trios' is a series of five long poems on thin places and sacred spaces in Essex and East London, each of which are also located within the Diocese of Chelmsford. The five poems in the series are:
These poems have been published by Amethyst Review and International Times.

The article explores the inspiration for the series and includes information about each of the locations included.

Several years ago, Stride published a series of texts by authors about themselves and their poetry called 'Deflated Ego'. My article on 'Five Trios was part of a new 'Deflated Ego' series. Authors were invited to choose their own approach to the piece, be that self-interview, review, manifesto, contextual/social material, statement of poetics, personal comment, or whatever. The first pieces in this new 'Deflated Ego' series can be read here and here.

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.

IT have also published several of my poems, beginning with 'The ABC of creativity', which covers attention, beginning and creation, and lastly 'The Edge of Chaos', a state of existence poem.

Stride magazine was founded in 1982. Since then it has had various incarnations, most recently in an online edition since the late 20th century. You can visit its earlier incarnation at http://stridemagazine.co.uk.

I have read the poetry featured in Stride and, in particular, the work of its editor Rupert Loydell over many years and was very pleased that Rupert gave a poetry reading when I was at St Stephen Walbrook.

Rupert Loydell is a poet, painter, editor and publisher, and senior lecturer in English with creative writing at Falmouth University. He is interested in the relationship of visual art and language, collaborative writing, sequences and series, as well as post-confessional narrative, experimental music and creative non-fiction.

He has edited Stride magazine for over 30 years, and was managing editor of Stride Books for 28 years. His poetry books include Wildlife and Ballads of the Alone (both published by Shearsman), and The Fantasy Kid (for children).

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Sunday, 9 November 2025

Remembering to maintain peace


Here's the Address I shared as part of the Act of Remembrance held this morning at Wickford's War Memorial:

In this Act of Remembrance, we honour all those from this town who laid down their lives in the two World Wars and subsequent conflicts. We will remember them. We also honour all from these shores who died in these conflicts. We will remember them. We also honour all those from the Commonwealth who fought and died for freedom. We will remember them. And we honour those from our Allies who also lost their lives. We will remember them. Although the counting of casualties can never be fully accurate, the number of Allied lives sacrificed in the two World Wars is thought to be in the 10's of millions. We will remember them.

What does it mean to remember, particularly when we were not present and may not have lived through those times. What is it that we need to remember. All these died in the cause of peace. They died to bring about the peace we continue to enjoy today. The work to build and maintain peace was the legacy of all those who laid down their lives in the two World Wars. Therefore, as well as remembering the sacrifice of all who died (both military and civilians), we must also remember all that was put in place after the World Wars to build and maintain peace.

There was a recognition among the Allies following the war that global cooperation between nations was necessary for the maintenance of peace and institutions such as the United Nations and agreements such as the Universal Declaration of Human Rights were quickly set up and agreed to form the foundation for maintaining peaceful relations between nations. The actions that were taken then by those who had lived through the two World Wars brought about what has become known as the Long Peace. The actions taken to build and maintain peace were taken by those who knew firsthand the horrors of war and those actions were the active legacy of those who died.

In a world where tensions between nations are growing ever more acute and where the institutions and agreements put in place to maintain peace are also being questioned and challenged, it is more important than ever to remember the reason why so many died and the understanding of how peace is achieved and maintained learnt by those who lived through the two World Wars.

Jesus called his followers to be peacemakers and that was the intent of those who died and also of those built the long peace that we still enjoy. Jesus said that those who acts as peacemakers are the children of God. If we are to live as God’s children by being true to the call to be peacemakers, it remains vital that we do remember; remembering that peace was the goal of all who died and remembering, too, how peace has been built and maintained following the two World Wars. May it be so for each one of us. Amen.

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Judee Sill - The Living End.

The Resurrection of the Soldiers

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

The acclaimed war artist Sir Stanley Spencer painted an epic series of large-scale murals after World War II for the Sandham Memorial Chapel. “Built to honour the 'forgotten dead' of the First World War, who were not remembered on any official memorials, the series was inspired by Spencer’s own experiences as a medical orderly and soldier on the Salonika front, and is peppered with personal and unexpected details. The paintings took six years to complete in all, and are considered by many to be the artist’s finest achievement, drawing such praise as 'Britain’s answer to the Sistine Chapel'.”

“Spencer painted scenes of his own wartime experiences, as a hospital orderly in Bristol and as a soldier, also on the Salonika front. His recollections, painted entirely from memory, focus on the domestic rather than combative and evoke everyday experience – washing lockers, inspecting kit, sorting laundry, scrubbing floors and taking tea – in which he found spiritual resonance and sustenance ...

the paintings ... describe the banal daily life that, to those from the battlefield, represented a ‘heaven in a hell of war.’ For Spencer, the menial became the miraculous; a form of reconciliation.”

The scheme is dominated by a “Resurrection scene behind the altar, in which dozens of British soldiers lay the white wooden crosses that marked their graves at the feet of a distant Christ.”

“Painted on canvas adhered to the wall of the high altar at Sandham,” the 'Resurrection' took Spencer nearly a year to complete. “It dominates the Chapel and all the other scenes are subordinate too it. The picture is a reminder of the relationship between war, death and Christianity, not merely a convenient and familiar religious image behind the altar. The composition is based on a complex pattern of wooden crosses which was suggested to Spencer by his habit of squaring up the canvas in order to work out the design. As a living soldier hands in his rifle at the end of service, so a dead soldier carries his cross to Christ, who is seen in the middle distance receiving these crosses. Spencer's idea was that the cross produces a different reaction in everybody;” so we see these crosses serving as an object of devotion; ... or marking a grave from which a soldier emerges; or framing a bewildered face. “This is Spencer’s vision of the end of war, in which heaven has emerged from hell.”

So, Spencer gives us two versions of heaven in a hell of war. The first, the mundane acts of service that people do for each other, while the second is the new life that we receive in Christ following our resurrection from the dead. The first is, in some ways, a taster for the second.

Our readings today focus on the second of these, the resurrection from the dead (Job 19. 23 – 27a and Luke 20. 27 – 38), but, before thinking about that briefly, I would like to think a little about the first.

When Jesus spoke to his disciples shortly before his own death, he said they had been chosen and appointed to bear fruit – fruit that will last (John 15. 16). The fruit that he was talking about was his characteristics of love, joy, peace, patience, kindness, goodness, faithfulness, humility, and self-control. Christlike behaviour and actions he said lasts or endures. Similarly, St Paul wrote in 1 Corinthians 13 that actions which are based on faith, hope and love remain. The word he used for remain hints that such actions continue beyond the grave into eternity i.e. that we can take something with us when we die, that the fruit or acts of faith, hope and love grown in this life continue into, and continue to bear fruit in, the next.

So there is a connection here between the two things which Stanley Spencer described as being heavenly; acts of loving service in the here and now and our future resurrected life in eternity.

Poppies were one of the few flowers able to survive in areas severely damaged by fighting. The flowering of poppies from seeds which germinated in the mud of the World War I battlefields (and Flanders, in particular) became a symbol of hope on the battlefields, and after the war it became associated with Remembrance, a sign of life continuing after the horrors of conflict.

As Christians, we believe that we will grow into new life through death because of Jesus. Jesus was a seed sown into our world which died and was buried only to live again. As Paul puts it in 1 Corinthians 15, “the truth is that Christ has been raised from death, as the guarantee that those who sleep in death will also be raised.” The tomb therefore becomes a womb, a place of new birth, not just for Jesus but, through Jesus, for each one of us as well.

St Paul writes that, “This image of planting a dead seed and raising a live plant is a mere sketch at best, but perhaps it will help in approaching the mystery of the resurrection body — but only if you keep in mind that when we’re raised, we’re raised for good, alive forever! The corpse that’s planted is no beauty, but when it’s raised, it’s glorious. Put in the ground weak, it comes up powerful. The seed sown is natural; the seed grown is supernatural — same seed, same body, but what a difference from when it goes down in physical mortality to when it is raised up in spiritual immortality!”

Stanley Spencer painted a vision of that future life in his Resurrection of the Soldiers. The resurrection life is different from this life because the soldiers are leaving war behind – handing in their rifles to Christ as these are no longer required – and contemplating with devotion the cross on which he died for their salvation. Their acts of loving service – washing lockers, inspecting kit, sorting laundry, scrubbing floors and taking tea – have not been left behind however; as they look out from their scene of resurrection it is these things that they see in the Chapel before them. It will be the same for us - our acts of faith, hope and love will continue to be with us in our resurrected future – and this can be a source of inspiration and encouragement as we seek to bear fruit for Christ in the here and now by living Christlike lives; lives which are characterised by love, joy, peace, patience, kindness, goodness, faithfulness, humility, and self-control.

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Mark Knopfler - Remembrance Day.

Saturday, 8 November 2025

Windows on the world (544)


Colchester, 2025

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Judee Sill - Crayon Angels.