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Showing posts with label askey. Show all posts
Showing posts with label askey. Show all posts

Sunday, 26 January 2025

Mary, the mother of Jesus










Yesterday we had an excellent Parish Study Day at St Andrew's on 'Our churches and their Patron Saints'. Our churchwardens and members of the ministry team enabled us get to know our three churches, the buildings and the people. We found out more about their history and reflected on the lives of the saints that they are dedicated to.

This is what I had to say about Mary, the mother of Jesus:

The Revd Matthew Askey has said of Mary: “Mary, the mother of Jesus, who is one of the most significant, but neglected, figures in our shared cultural story. Mary was remarkable for the time and she has many things to show us and inspire us with today. She was an unmarried teenage mother, on the run, a refugee really, and at the same time through both her vulnerability and her determined strength she embodies so many positive characteristics of motherhood and what it means to be a woman today. Mary ultimately said ‘yes!’ to life, and gave herself into the hands of God’s love, and this is something that resulted in the life of the most inspiring person who has ever lived, Jesus, and then the birth of the world-wide Church that followed. The Church has 2 billion members today world-wide, is still growing, and about 32% of the world’s population are involved in some way with its acts of charity and life-transforming message of forgiveness and love for all people. Mary is right at the root and start of this movement of love.”

Mary was engaged to Joseph when the annunciation occurred. As she was found to be with child before they lived together, Joseph planned to dismiss her quietly. He had his own meeting with Gabriel which changed that decision but, if the man to whom she was betrothed, could not believe her without angelic intervention, then it would be no surprise if disbelief and misunderstanding characterised the response to Mary wherever she went.

We can learn much from Mary’s faith, trust and persistence in the face of disbelief, misunderstanding and probable insult. Our experience in times of trouble and difficulty will be similar as, on the one hand, God asks us to trust and persevere while, on the other, he will provide us with moments of support and strengthening. So, let’s look at some of her experience in more detail.

‘Here am I, the servant of the Lord,’ said Mary, ‘let it be with me according to your word.’ Mary said ‘Yes’ to God. As we have already begun to reflect, there is much more to saying that simple one syllable word ‘yes’ than we might at first imagine.

The poet-priest Malcolm Guite describes the Annunciation as follows:

‘a young girl stopped to see
With open eyes and heart. She heard the voice;
The promise of His glory yet to be,
As time stood still for her to make a choice;
Gabriel knelt and not a feather stirred,
The Word himself was waiting on her word.’

Victoria Emily Jones has reflected that ‘When Gabriel came to Mary to tell her she would bear a son, she was at first troubled, afraid, guarded. How was it possible that she, being a virgin, could become pregnant? But with the angel’s words of reassurance and promise, she yielded to the divine plan …” This is known as Mary’s fiat (Latin for “let it be”)—her consent to become the mother of God—and it’s celebrated by the church as the moment at which God became flesh, setting salvation in motion.

Theologians have debated the nature of Mary’s fiat—whether she really had a choice in the matter. After all, Gabriel comes speaking in terms of what will happen, without mentioning any conditions. However, most believe in the criticality of Mary’s “yes,” of her willing bodily and spiritual surrender. Between the angel’s ‘Hail’ and Mary’s ‘Let it be’ was a moment of supreme tension, one that Luci Shaw explores in her poem ‘The Annunciatory Angel’:

‘… We worry that she might faint.
Weep. Turn away, perplexed and fearful
about opening herself. Refuse to let the wind
fill her, to buffet its nine-month seed into her earth.
She is so small and intact. Turmoil will wrench her.
She might say no.’’

Why might Mary have said ‘No’? In the same poem Luci Shaw suggests there was a ‘weight of apprehension’ at the Annunciation because what had to be announced would ‘not be entirely easy news.’ As a result, Alan Stewart, in an Annunciation monologue, has Mary say ‘I said yes to my God / And I have come to question those words / For I did not know where they would lead’:

It was a day like any other day
Kneading bread. Lost in my thoughts
And then from behind
This light
An amazing light that filled the room
I turned round, holding my hand to my eyes
Backing away from it
And from inside this light, the figure of a man
Standing there. Looking at me
I felt I should run
I wanted to run
But his gaze fixed me to the spot
Like some rabbit charmed by a fox
But actually
His eyes were kind
And I felt strangely safe
‘is this an angel?’ I suddenly thought
have I sinned?
Has he mistaken me for someone?
Someone of importance
And then he spoke
‘Mary’
he knew my name
‘Mary’, he said ’don’t be afraid’
‘I have news for you’
‘in 9 months you will have a child and you are to call him Jeshua; God saves’
before I knew it, I was speaking
‘but I’m not married yet, I don’t…’
‘the child will be fathered by the Holy Spirit and he will save his people
the lord God will give him the throne of his father David’
the Saviour?, the Messiah?
I knelt down
And whispered
Simply
‘may it be to me as you have said’
I said yes
I said yes to my God
And I have come to question those words
For I did not know where they would lead

Where they led was to an immediate future of gossip, rumours and insult from those who thought of Jesus as illegitimate and in the longer term to a life of gathering gloom, ultimately one of sorrowing and sighing before a stone-cold tomb after the experience of viewing her son’s torture and cruel death; which was like a sword piercing her heart.

And yet, although she did not know it and could not have articulated it, there is a sense that she accepted all this when she accepted the challenge that the angel Gabriel brought from God. It may also have been that for having Jesus as her son she was, like many parents, more than glad that she had said yes, accepting the trauma, the gossip, the exile, the insults that she might bear her child, the promised Saviour.

Mary could have said ‘No’ but her ‘Yes’ was a ‘Yes’ to new life, to growth, to new birth. As we have already noted, Matthew Askey says that: ‘Mary ultimately said ‘yes!’ to life, and gave herself into the hands of God’s love, and this was something that resulted in the life of the most inspiring person who has ever lived, Jesus, and then the birth of the world-wide Church that followed. The Incarnation was predicated on the willingness of the teenage Mary to respond to God’s call.’ Mary, he says, is right at the root and start of this movement of love. This means that every act of Mary is an act of love:

Love is saying yes to God without knowing what that choice entails.

Love is waiting for your man to realise that what you have said is true and to support you.

Love is enduring the arch looks and snide comments from those who know you are bearing a child conceived out of wedlock.

Love is support from your cousin, your child leaping in your womb, and your magnifying God.

Love is enduring the discomfort of travel to your husband’s hometown when you are close to full-term.

Love is accepting a stable when there is no room at the inn.

Love is laying your newborn child in a manger when there are no extended family around to support you.

Love is being welcoming when shepherds unexpectedly arrive in the night soon after you’ve given birth.

Love is treasuring all their words and pondering them in your heart.

Love is giving your child the name an angel requested.

Love is fleeing to another country knowing that the life of your newborn child is under threat.

Love is making a life to bring up your child separated from friends and family.

Love is saying yes to God without knowing what that choice would entail
and it is that choice which creates a cannonball of love that,
from that first Christmas ever onwards,
explodes love throughout the Universe and in us.

Let’s finish with a brief story of Mary’s inspiration on a later ministry. John Bosco was a priest and Founder of the Salesians. He had a particular call to help young men and pioneered new educational methods, for example, in rejecting corporal punishment. His work with homeless youth received the admiration even of anticlerical politicians and his promotion of vocational training, including evening classes and industrial schools, became a pattern for others to follow. To extend the work, he founded in 1859 a religious community, the Pious Society of St Francis de Sales, usually known as the Salesians. It grew rapidly and was well-established in several countries by the time of his death on this day in 1888.

John Bosco’s certainty that, in the face of desperate circumstances, he would nonetheless build a thriving religious community for boys came from a vision received as a dream. In his dream he saw Our Lady directing him in the way he should go; a way that involved walking on thorns. Friends, lay and clergy, were alongside him but declined to also walk on thorns. Finally, a new group of followers arrived who were willing to walk with him. The Mother of God said to him: ‘The thorns on the ground represent the sensitive human affections, sympathies and antipathies that divert a teacher from his true goal, hurt him, hinder his mission and prevent him from forming and reaping wreathes for eternal life. Roses are the symbol of the ardent charity by which you and your associates must distinguish yourselves. The thorns symbolize the obstacles, sufferings and sorrows that await you. But do not lose heart. With charity and mortification you will overcome everything and will have roses without thorns!’

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Adrian Snell - How Can I Explain.

Sunday, 8 December 2024

Matthew Askey: I, Santa


I, Santa: Contemporary representations of St Nicholas - Father Matthew Askey and Charles Williams and guests explore the Santa Claus mythology in painting.

5 – 24 December
studio1. 1
with
Father Matthew Askey, Dr Charles Williams, Phil King, Jake Clark, Andrew Seto, Rupesh Sudanshu, Brian Cheesewright, Matthew Collings, David R. Newton, Keran James and Jonny Green.

I, Santa interrogates Santa Claus’s layered symbolism, exploring themes of masculinity and social liminality. Williams’ paintings, influenced by early 20th-century British artists, present Santa as a pensive figure, embodying consumerism, mythology, and human longing. His works transform Santa from a jolly gift-giver into a complex cultural icon, navigating hope and despair.

In contrast, Father Matthew Askey’s works portray figures “playing at” Santa, using the character to explore human dualities: joy and sorrow, generosity and greed. His art questions the role of myth in an increasingly disenchanted world, reflecting on belief and belonging.

Through these diverse perspectives, the exhibition encourages viewers to reflect on Santa’s evolving significance in an age of consumerism and societal change. It’s a call to reconsider our collective mythology, explore the deeper narratives beneath the holiday icon, and contemplate what Santa represents in the broader human experience.

Matthew Askey spoke about his St Nicholas images in my interview with him for ArtWay.

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Bruce Springsteen - Santa Claus Is Coming' To Town.

Saturday, 30 March 2024

Index of Interviews

I've recently had interviews published with artist-priest Matthew Askey and poet and publisher Chris Emery. So, I am updating this index of interviews. My interview with Matthew is here and with Chris here.

I have carried out a large number of other interviews for Artlyst, ArtWay, Church Times and Seen and Unseen. They provide a wide range of fascinating insights into the approaches and practices of artists, arts professionals, clerics, curators, poets and writers.

They can be found at:

Artlyst
ArtWay
Church Times
International Times
Seen and Unseen
Also see my interviews with artist Henry Shelton here and here and David Hawkins, former Bishop of Barking, here, here and here.

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Depeche Mode - Higher Love.

Friday, 29 March 2024

ArtWay - Stations of the Cross in Hornsea: Jonathan Evens Interviews Artist Matthew Askey

My latest interview for ArtWay is with the artist-priest Matthew Askey:

"Painting is intrinsically spiritual and prayerful. It is an act of spiritual hope. I’ve been dressing up as saints for selfies (linking Biblical saints to specific super-heroes – e.g. St Thomas being Spider Man), and when I was artist-in-residence at Lincoln cathedral during 2019 I invited staff and visitors to identify with a biblical character, dress up as them and then I drew or painted their portrait."

The interview has a particular focus on the new Stations of the Cross that Matthew has created for St Nicholas Church, Hornsea:

"This is a site-specific commission of paintings that link each Station to a part of the town. At each location in the town itself there is a QR Code to link to information about each Station. His ‘Stations’ are egg-tempera on gesso panels and are traditionally made, just like Orthodox icons. The theological theme of these Stations (in addition to The Cross of course) is ‘water and blood’."

See also my interview with Matthew for HeartEdge exploring the theme of Imaging the Invisible.

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: Sophie Hacker, Peter Koenig, David Miller and Belinda Scarlett. I also interviewed ArtWay founder Marleen Hengelaar Rookmaaker for Artlyst.

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

Other of my writings for ArtWay can be found here. My pieces for Church Times can be found here. Those for Artlyst are here and those for Art+Christianity are here.

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Miles Davis & Sonny Stitt - Round Midnight.

Saturday, 9 March 2024

Artlyst - The Art Diary March 2024

My March Art Diary for Artlyst includes exhibitions at Kettle’s Yard, Gallery 1957, Dulwich Picture Gallery, National Portrait Gallery, Compton Verney, Stanley Spencer Gallery, Benjamin Rhodes Arts and covers artists such as Isaam Kourbaj, Nidhi Khurana, Woody De Othello, Polly Braden, Matthew Askey, Steve Whittle, Patrice Moor and Josh Tiessen:

"Steve Whittle’s retrospective at the Beecroft Gallery in Southend includes a series of Stations of the Cross and other crucifixion and resurrection images. Additionally, there are images of churches, including St Peter’s Chapel at Bradwell. M.L. Banting writes: “Asking what had drawn him to this ancient Chapel, Whittle says it’s almost impossible to put into words, he’d felt a primal and immediate connection on his first visit and had to return again and again. That powerful pull has resulted in a number of works, including charcoals, pastels, paintings and collages, all of which portray the extraordinary sense, or spirit, of place – remote, lonely, glorious and powerful – the austere silhouette of the Chapel monumental against the sea and sky.”"

Interviews -
Monthly diary articles -
Articles/Reviews -
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The Waterboys - Spirit.

Friday, 12 June 2020

HeartEdge and the visual arts

Lots of art-related resources have been added to the HeartEdge video resource over the past two weeks.

I have interviewed the artists Sophie Hacker and Matthew Askey on the theme of 'Imaging the Invisible'. View these interviews here and here.

Additionally I have begun a new ongoing series entitled 'Seeing Salvation - Art in churches' shares practical approaches to using art in church settings.

Initial sessions are:
  • 5 June - Session 1: Art Trails.
  • 12 June - Session 2: Art and contemplation.
  • 19 June - Session 3: Art workshops.
  • 26 June - Session 4: Art meditations.
  • 3 July - Session 5: Arts Festivals.
  • 10 July - Session 6: Art exhibitions.
  • 17 July - Session 7: Art projects.
The first two sessions in the series can be viewed here and here. Register for a zoom invitation for the remainder of the series at https://www.eventbrite.co.uk/e/seeing-salvation-art-in-churches-tickets-108959314242?fbclid=IwAR38qSNIiWLSwIL1rCp5YX6zOOqIVZsMBUHlJo2YPHMU-UfoK1BB9yDY9Mc.

Inspired to Follow: Art and the Bible Story uses fine art paintings that can be found in the collection of the National Gallery as a spring board for exploring these two questions. The course provides a way of deepening one’s Christian faith and exploring what it means to follow Jesus today.

What’s the programme?
  • 7 June: Luke 1:26-38 / ‘The Annunciation’ Fra Filippo Lippi, about 1450-3, NG666
  • 14 June: Luke 1:26-38 / ‘Mystic Nativity’, Sandro Botticelli, 1500, NG1034
  • 21 June: Mark 1: 1-12 / ‘The Baptism of Christ’; predella panel, Giovanni di Paolo, 1454, NG5451
  • 28 June: Luke 10:25-42 / ‘Christ in the House of Martha and Mary’, Diego Velásquez, probably 1618, NG1375
  • 5 July: Mark 11: 4-12 & 15-19 / ‘Christ driving the Traders from the Temple’, El Greco, about.1600, NG1457
  • 12 July: Mark 11: 4-12 & 15-19 / Christ washing the Feet of the Disciples, Jacopo Tintoretto, about.1575-80, NG1130
  • 19 July: Matthew 26: 36-54 / ‘The Agony in the Garden’ by Giovanni Bellini, about.1465, NG726
  • 26 July: Matthew 26:57-68 / ‘Christ before the High Priest’, Gerrit van Honthorst, about.1617, NG3679
  • 2 August: Luke 23:26-38 / ‘Christ carrying the Cross’, Italian, Venetian, about. 1500, NG6655
Email jonathan.evens@smitf.org for a zoom invite.

Additionally I was interviewed on art and HeartEdge today for 1.17 at All We Can. Every day at 1.17pm, All We Can is sharing positive and uplifting content on the theme of ‘Colossians 1:17 – All Things Hold Together’ – a series of encouraging broadcasts that you can watch and join in with from the comfort of your home. You can catch them every day on their Facebook page. View the interview that I gave here.

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Ola Gjeilo - Sanctus.

Saturday, 6 June 2020

Seeing Salvation, Imaging the Invisible and Inspired to Follow

Seeing Salvation is a new weekly session on visual arts which I am leading each Friday at 2.30 pm as part of the HeartEdge Living God's Future Now programme. 

Seeing Salvation will examine a different initiative for connecting art and church. The series began by looking at art trails and continues on Friday 12 June by exploring art and contemplation. The first session in the series can be viewed here - https://www.facebook.com/theHeartEdge/videos/982654498816775/?v=982654498816775.

Also part of the growing library of Living God's Future Now videos are two interviews on the theme of Imaging the Invisible with the artists Sophie Hacker and Matthew Askey. These can be viewed at https://www.facebook.com/theHeartEdge/videos/298207657875091/?v=298207657875091 and https://www.facebook.com/theHeartEdge/videos/864429110744217/?v=864429110744217.

A further art related element to the Living God's Future Now programme is Inspired to Follow: Art and the Bible Story. This programme of hour-long gatherings covers the Biblical story from Creation to Apocalypse. It uses fine art paintings that can be found in the collection of the National Gallery as a spring board for exploring two questions; What does it mean to follow Jesus today? How can I deepen my faith in God?  The course provides a way of deepening one’s Christian faith and exploring what it means to follow Jesus today.

What’s the programme?
  • 7 June: Luke 1:26-38 / ‘The Annunciation’ Fra Filippo Lippi, about 1450-3, NG666
  • 14 June: Luke 1:26-38 / ‘Mystic Nativity’, Sandro Botticelli, 1500, NG1034
  • 21 June: Mark 1: 1-12 / ‘The Baptism of Christ’; predella panel, Giovanni di Paolo, 1454, NG5451
  • 28 June: Luke 10:25-42 / ‘Christ in the House of Martha and Mary’, Diego Velásquez, probably 1618, NG1375
  • 5 July: Mark 11: 4-12 & 15-19 / ‘Christ driving the Traders from the Temple’, El Greco, about.1600, NG1457
  • 12 July: Mark 11: 4-12 & 15-19 / Christ washing the Feet of the Disciples, Jacopo Tintoretto, about.1575-80, NG1130
  • 19 July: Matthew 26: 36-54 / ‘The Agony in the Garden’ by Giovanni Bellini, about.1465, NG726
  • 26 July: Matthew 26:57-68 / ‘Christ before the High Priest’, Gerrit van Honthorst, about.1617, NG3679
  • 2 August: Luke 23:26-38 / ‘Christ carrying the Cross’, Italian, Venetian, about. 1500, NG6655
For both Seeing Salvation and Inspired to Follow email me at jonathan.evens@smitf.org for a zoom invite.

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Michael McDermott - No Matter What.

Friday, 21 September 2018

HeartEdge: Bill Viola and the art of contemplation









The latest HeartEdge event was hosted by the Parish Church of St Cuthbert in Edinburgh and sought to support churches in their cultural programming, particularly as it relates to visual art, by exploring approaches to curating exhibitions in churches, Bill Viola's church-located installations, and art as contemplative or meditative practice.

At HeartEdge, we have been inspired by the example of St Cuthbert’s in their installation of Bill Viola's 'Three Women'. This had been a particularly successful installation as a contribution to the Edinburgh Festival, in the connections it has forged with the Arts community and the local community, and in the positive press coverage received. All this has been with an understanding of the way in which the installation connects with the spirituality of St Cuthbert's.

HeartEdge seeks to share good practice and ideas with our members, so it made good sense to hold an event here exploring ways in which the mission of the church can be enhanced through art and the Christian narrative re-imaged and re-imagined.

Laura Moffatt, Director of Art & Christianity, reviewed Bill Viola's various installations in churches considering how and why they connect with our sacred buildings. Matthew Askey shared his experiences of curating significant exhibitions at Southwell Minster in recent years, considering ways of bringing exciting and varied work into churches by utilising sacred space well and connecting sympathetically with the spirituality of our churches.

I spoke about the contemplative nature of the experience of viewing art and made connections with approaches to and understanding of prayer. Finally, Alexander de Cadenet spoke as an artist for whom meditation has become of increasing significance, to the extent that he has begun seeking out other artist's with similar experience with whom he work together in a new organisation called Awakened Artists.

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James MacMillan - A New Song. 

Thursday, 19 July 2018

Bill Viola and the art of contemplation


Bill Viola & the art of contemplation: a HeartEdge church & culture seminar, Thursday 20 September, 2.00 – 5.30pm, The Parish Church of St Cuthbert, 5 Lothian Road, Edinburgh EH1 2EP.

St Cuthbert's is currently showing Bill Viola's 'Three Women' (http://www.st-cuthberts.net/info/viola2.pdf) and this seminar has been organised as the final event that the church is hosting relating to the installation.

The seminar will focus on:
Register for free tickets at https://www.eventbrite.com/e/bill-viola-the-art-of-contemplation-tickets-48161881484.

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Jeff Buckley - I Shall Be Released.

Sunday, 24 December 2017

The Word himself was waiting on her word

Here is my sermon for the 10.00am Eucharist at St Martin-in-the-Fields this morning:

My grandson Joshua is two today. It is fascinating being part of the growth and development of a young child, particularly as a grandparent when you can remember what happened with your own children and also see the way in which, in this case, my daughter and son-in-law approach their role as parents. For several months now Joshua has been able to say ‘no’, often repeatedly and with much shaking of his head. He cannot yet say ‘yes’. Both are words of one syllable which one would expect that a child should find easy to learn, yet one is learnt early and the other much later. It may be, of course, that he has heard the word ‘no’ being said to him much more than he has yet heard the word ‘yes’!

‘Here am I, the servant of the Lord,’ said Mary, ‘let it be with me according to your word.’ Mary said ‘Yes’ to God. As we have already begun to reflect, there is much more to saying that simple one syllable word ‘yes’ than we might at first imagine.

The poet-priest Malcolm Guite describes the Annunciation as follows:

‘a young girl stopped to see
With open eyes and heart. She heard the voice;
The promise of His glory yet to be,
As time stood still for her to make a choice;
Gabriel knelt and not a feather stirred,
The Word himself was waiting on her word.’

Victoria Emily Jones has reflected that ‘When Gabriel came to Mary to tell her she would bear a son, she was at first troubled, afraid, guarded. How was it possible that she, being a virgin, could become pregnant? But with the angel’s words of reassurance and promise, she yielded to the divine plan …” This is known as Mary’s fiat (Latin for “let it be”)—her consent to become the mother of God—and it’s celebrated by the church as the moment at which God became flesh, setting salvation in motion.

Theologians have debated the nature of Mary’s fiat—whether she really had a choice in the matter. After all, Gabriel comes speaking in terms of what will happen, without mentioning any conditions. However, most believe in the criticality of Mary’s “yes,” of her willing bodily and spiritual surrender. Between the angel’s ‘Hail’ and Mary’s ‘Let it be’ was a moment of supreme tension, one that Luci Shaw explores in her poem ‘The Annunciatory Angel’:

‘… We worry that she might faint.
Weep. Turn away, perplexed and fearful
about opening herself. Refuse to let the wind
fill her, to buffet its nine-month seed into her earth.
She is so small and intact. Turmoil will wrench her.
She might say no.’’

Why might Mary have said ‘No’? In the same poem Luci Shaw suggests there was a ‘weight of apprehension’ at the Annunciation because what had to be announced would ‘not be entirely easy news.’ As a result, Alan Stewart, in an Annunciation monologue, has Mary say ‘I said yes to my God / And I have come to question those words / For I did not know where they would lead.’ Where they led was to an immediate future of gossip, rumours and insult from those who thought of Jesus as illegitimate and in the longer term to a life of gathering gloom, ultimately one of sorrowing and sighing before a stone-cold tomb after the experience of viewing her son’s torture and cruel death; which was like a sword piercing her heart.

And yet, although she did not know it and could not have articulated it, there is a sense that she accepted all this when she accepted the challenge that the angel Gabriel brought from God. It may also have been that for having Jesus as her son she was, like many parents, more than glad that she had said yes, accepting the trauma, the gossip, the exile, the insults that she might bear her child, the promised Saviour.

Mary could have said ‘No’ but her ‘Yes’ was a ‘Yes’ to new life, to growth, to new birth. Matthew Askey says that: ‘Mary ultimately said ‘yes!’ to life, and gave herself into the hands of God’s love, and this was something that resulted in the life of the most inspiring person who has ever lived, Jesus, and then the birth of the world-wide Church that followed. The Incarnation was predicated on the willingness of the teenage Mary to respond to God’s call.’ So, the Annunciation is the moment when the creator of everything finds a way into flesh and blood. And in doing that, the meaning of all life enters into full humanity.

That is what we celebrate at Christmas and continue to experience as we say ‘Yes’ to God, as ‘the meaning of life enters humanity still. The meaning of life desires us. Watches our movements and listens to our hopes. The meaning of life is a lover whose gentle fingers occasionally touch and startle us, asking if we can love back, but never using force on us ... waiting to be invited to love. The meaning of life is love. Something intangible by nature. Something that cannot be possessed, bought, or sold.

And at Christmas we celebrate the fact that God, the source of all love and meaning, has so desired humanity that He has taken the risk of becoming vulnerable to what we might do if His life is left in our hands. God, the meaning of life, desires you and me in a way that one of us would desire our partner.’ (The Late, Late Service)

The poet Noel Rowe captures something of this in his Annunciation poem when he writes:

‘The angel did not draw attention to himself.
He came in. So quietly I could hear
my blood beating on the shore of absolute
beauty …

my heart, my heart, was wanting him,
reaching out, and taking hold of smooth-muscled fire.
And it was done.’

He says, ‘I used a slightly eroticised image not to suggest their encounter was sexual, but to reimagine spirituality as passionate and creative, a poetic of desire.’ This has been the experience of Christian mystics throughout Church history; God as the incomprehensible mystery that embraces everything making the goal of human life that of losing oneself in this divine mystery in love. As Karl Rahner wrote: ‘When I abandon myself in love, then you are my very life, and your incomprehensibility is swallowed up in love’s unity. When I am allowed to love you, the grasp of our very mystery becomes a positive source of bliss.’

‘Love and desire are about creative union. About being open and receptive to the other, letting them be fully themselves, working for their pleasure, receiving their gifts to you. And when we're open to being God's partner, we find the mystery of meaning ...

You and I have this choice. A chance to respond to the touch of our lover and receive this union in our souls ... the centre of who we are. A choice to live life for the meaning of the moment, not just the thrill, and to turn from anything that promises a thrill and delivers meaninglessness. God is still in Flesh and Blood. Now God is flesh and blood in partnership and love, and like Mary we must say "Yes" to that partnership and discover the meaning of our own individual (and communal) lives.’

Malcolm Guite writes that in her ’open ‘yes’’, as she heard God’s call, Mary ‘spoke aloud for every living soul.’ So ‘every Christian after her seeks to become in some small way a God-bearer, one whose ‘yes’ to God means that Christ is made alive and fruitful in the world through our flesh and our daily lives, is born and given to another.’ Christ is carried by Mary, both in her womb and in her arms, in order that he can then carry us to God by means of his death of the cross. In turn, we carry him to others by means of our daily life and witness. As Teresa of Avila said:

‘Christ has no body but yours,
No hands, no feet on earth but yours,
Yours are the eyes with which he looks
Compassion on this world,
Yours are the feet with which he walks to do good,
Yours are the hands, with which he blesses all the world.’

Similarly, it is through his actions that little Joshua says ‘yes’ at present, while he is as yet unable to speak the word. He is constantly embracing new experiences and the love of family and friends, but does so through his actions rather than his words.

Mary said, ‘Here am I, the servant of the Lord, let it be with me according to your word’ and then lived that out despite the challenges she faced. Will you do the same by saying, as the chorus to ‘I, the Lord of sea and sky’ puts it: ‘Here I am, Lord. Is it I, Lord? / I have heard you calling in the night / I will go, Lord, if you lead me / I will hold your people in my heart’?

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Luci Shaw - The Cosmos.