A typical bit of Jesus' teasing

Here's the reflection I shared at St Peter’s Nevendon this afternoon and St Mary's Runwell this evening:

In his book, Surprised by Hope, N. T. Wright says, "Forgiveness is a way of life, God's way of life, God's way to life; and if you close your heart to forgiveness, why, then, do you close your heart to forgiveness. . . If you lock up the piano because you don't want to play to somebody else, how can God play to you?

"That is why we pray, 'Forgive us our trespasses, as we forgive those who trespass against us.' That isn't a bargain we make with God. It's a fact of human life. Not to forgive is to shut down a faculty in the innermost person, which happens to be the same faculty that can receive God's forgiveness."

Wright notes that Jesus has already taught his followers to pray for it (6.12), and has specified clearly that if you want forgiveness you've got to be prepared to give it (6.14-15). Now he returns to the theme. Peter's question and Jesus' answer say it all (verses 21-22). If you're still counting how many times you've forgiven someone, you're not really forgiving them at all, but simply postponing revenge. 'Seventy times seven' is a typical bit of Jesus' teasing. What he means, of course, is 'don't even think about counting, just do it' (Matthew 18.21-35).

Forgiveness takes practice, honesty, open-mindedness and a willingness (even if it is a weary willingness) to try. It isn't easy. Perhaps you have already tried to forgive someone and just couldn't do it. Perhaps you have forgiven and the person did not show remorse or change his or her behaviour or own up to his or her offences – and you find yourself unforgiving all over again. It is perfectly normal to want to hurt back when you have been hurt. But hurting back rarely satisfies. We think it will, but it doesn't. If I slap you after you slap me, it does not lessen the sting I feel on my own face, nor does it diminish my sadness over the fact that you have struck me. Retaliation gives, at best, only momentary respite from our pain. The only way to experience healing and peace is to forgive. Until we can forgive, we remain locked in our pain and locked out of the possibility of experiencing healing and freedom, locked out of the possibility of being at peace.

To forgive is not just to be altruistic. It is the best form of self-interest. It is also a process that does not exclude hatred and anger. These emotions are all part of being human. You should never hate yourself for hating others who do terrible things: the depth of your love is shown by the extent of your anger.

However, when I talk of forgiveness I mean the belief that you can come out the other side a better person. A better person than the one being consumed by anger and hatred. Remaining in that state locks you in a state of victimhood, making you almost dependent on the perpetrator. If you can find it in yourself to forgive then you are no longer chained to the perpetrator. You can move on, and you can even help the perpetrator to become a better person too.

The simple truth is, we all make mistakes, and we all need forgiveness. There is no magic wand we can wave to go back in time and change what has happened or undo the harm that has been done, but we can do everything in our power to set right what has been made wrong. We can endeavour to make sure the harm never happens again.

There are times when all of us have been thoughtless, selfish or cruel. But no act is unforgivable; no person is beyond redemption. Yet, it is not easy to admit one's wrongdoing and ask for forgiveness. "I am sorry" are perhaps the three hardest words to say. We can come up with all manner of justifications to excuse what we have done. When we are willing to let down our defences and look honestly at our actions, we find there is a great freedom in asking for forgiveness and great strength in admitting the wrong. It is how we free ourselves from our past errors. It is how we are able to move forward into our future, unfettered by the mistakes we have made.

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Sweetmouth - Forgiveness.

Tears in the Fence: Review - Late Inscriptions by David Miller (Knives, Forks and Spoons Press)

My latest review for Tears in the Fence is of 'Last Inscriptions' by David Miller:

'each word used is significant because each word bears meaning. Miller leans on and stresses each word because they bear the weight of sorrow. Jebb says that Miller creates ‘with a balance of minimalism, repetition and the abstract, words isolated and ringing.’

A similar minimalism is also to be found in the content of these poems. In the words of the Del Amitri song, in these poems ‘nothing ever happens, nothing happens at all’. Harriet Neville notes the happenings as being: a bird landing on the door, waiting to be fed; a dog entering the bedroom through an open back door; and Belgian waffles and eggs Florentine shared with old friends. Although nothing significant seems to happen, actually everything happens and we, as is the poet, are changed.'

For more on David Miller, see my interview with him for ArtWay and other reviews of his poetry collections - here, here, and here.

Also mentioned in the review is a series of poems published by Stride Magazine that were inspired by The Prayer, an art-installation that tries to explore the supernatural through artificial intelligence. My poem 'The algorithms of prayer?' was also part of this series. 

Tears in the Fence is an internationalist literary magazine based in the U.K. Publishing a variety of contemporary writers from around the world, it provides critical reviews of recent books, anthologies and pamphlets and essays on a diversity of significant modern and contemporary English and American poets. Each issue features a number of regular columnists adding wide focus and independent thought on the contemporary poetry world. A wide range of book and pamphlet reviews are also published on the magazine’s blog.

My first review for Tears in the Fence was of 'Modern Fog' by Chris Emery. My second review was of 'The Salvation Engine' by Rupert Loydell. My third review was of 'For All That’s Lost' by David Miller

My poetry reviews for Stride include a review of two poetry collections, one by Mario Petrucci and the other by David Miller, a review of Temporary Archive: Poems by Women of Latin America, a review of Fukushima Dreams by Andrea Moorhead, a review of Endangered Sky by Kelly Grovier and Sean Scully, a review of John F. Deane's Selected & New Poems, a review of God's Little Angel by Sue Hubbard and a review of Spencer Reece's 'Acts'.

My poetry-related pieces for IT are: an interview with artist, poet, priest Spencer Reece, an interview with the poet Chris Emery, plus reviews of: 'Collected Poems' by Kevin Crossley-Holland; 'Breaking Lines' at the Estorick Collection of Modern Italian Art, albums by Deacon Blue, Mumford and Sons, and Andrew Rumsey, and 'What Is and Might Be and then Otherwise' by David Miller. I have also published pieces on poetry at Seen and Unseen - a profile of the poet Theresa Lola - and the Journal of Theological Studies - a review of Faith, Hope and Poetry: Theology and the Poetic Imagination by Malcolm Guite. For more on poetry, read my ArtWay interview with David Miller here and my interview with Rupert Loydell here. See also Rupert Loydell's interview with poet and musician Steve Scott. My own dialogues with Steve can be read here, here, here, here, and here. For thoughts on the links between poetry and prayer see here and here.

My poems to have been published in Amethyst Review are: 'Prayer', 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'. I am among those whose poetry has been included in Thin Places & Sacred Spaces, a recent anthology from Amethyst Press. I also had a poem included in All Shall Be Well: Poems for Julian of Norwich, the first Amethyst Press anthology of new poems.

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

• 'Barking';
• 'Bradwell';
• 'Broomfield';
• 'Pleshey'; and
• 'Runwell'.

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

To read my poems published by Stride, click here, here, here, here, here, and here. International Times have also published other of my poems, including 'Spencer Reece at Bemerton' which is based on the visit that I made to Bemerton in 2026 with Spencer Reece, 'The ABC of creativity', which covers attention, beginning and creation, and 'The Edge of Chaos', a state of existence poem. Also published have been three poems from my 'Five Trios' series. 'Barking' is about St Margaret’s Barking and Barking Abbey and draws on my time as a curate at St Margaret's. 'Bradwell' is a celebration of the history of the Chapel of St Peter-on-the-Wall, the Othona Community, and of pilgrimage to those places. Broomfield in Essex became a village of artists following the arrival of Revd John Rutherford in 1930. His daughter, the artist Rosemary Rutherford, also moved with them and made the vicarage a base for her artwork including paintings and stained glass. Then, Gwynneth Holt and Thomas Bayliss Huxley-Jones moved to Broomfield in 1949 where they shared a large studio in their garden and both achieved high personal success. 'Broomfield' reviews their stories, work, legacy and motivations.

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

For more of my poems, see here, and for my poetic meditations, see here.

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David Miller Multi-Media Reading.

You shall not be overcome

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

Immediately before today’s Gospel reading (Matthew 14. 22 - 33) where the disciples are caught up in a storm, we read about the miracle of the feeding of the 5,000. The disciples had had a wonderful experience and had grown in their faith. This was immediately followed by their going through a storm.

This is a common experience in the lives of Christians and in church life. After enjoying positive experiences and developments in our faith, we then go through some kind of trial which tests our faith. It is easy to wonder why that should be so and there are no easy answers.

One of the people I have read and appreciated over the course of my ministry has been Julian of Norwich. She doesn’t answer that question but she does say this, God did not say 'You shall not be tempest-tossed, you shall not be work-weary, you shall not be discomforted'. But he did say, 'You shall not be overcome.'

So, our Gospel reading this morning has things to teach us about how to respond when storms come in our individual lives and as a church. Jesus comes to the disciples in the storm walking on the water. He doesn’t still the storm on this occasion instead he calls Peter to walk to him on the water. Peter begins to do this but then becomes afraid and begins to sink. At which point, Jesus supports him and they return to the boat and the storm is then stilled.

In the midst of this storm Peter is asked to do something which seems impossible. He is asked to do what Jesus is doing, to follow in Jesus’ footsteps. In his storm Peter was called to walk on water but what is the equivalent for us in our storms?

All Jesus’ disciples are called to follow in his footsteps by doing what Jesus did. Like Peter being called to walk on water, following in Jesus’ footsteps often seems impossible for us because what Jesus did was to give everything he had for the love of others. Out of love for all humanity, he left everything he had with God to become a human being, being born as a baby at Bethlehem, and he then gave up his own life on the cross when he was crucified out of love for all people everywhere. When we think through what following in Jesus’ footsteps actually means we quickly find, as individuals and as a church, that there are all sorts of reasons that prevent from fully doing what Jesus did and giving all that we have and are to others out of love for them. As a result, we are like Peter who began to walk on the water but couldn’t keep going. What Jesus calls us to do and to be by following in his footsteps seems impossible for us to achieve.

Yet we know of some, like St Francis of Assisi or Mother Teresa, who have followed in Jesus’ footsteps more fully than any of us have yet managed. So, we know too that it can be done to some extent and, with that in mind, we need to be prepared, like Peter, to make the attempt, even if that means we fail to fully follow through. As he was with Peter, Jesus will be alongside us and will restore us so that we are then able to try again.

The storms we face in life are times of trial, times when life seems at its most difficult or most challenging. The temptation in these times is to lose our focus on Jesus - on who he is, what he did and how he acted – when that happens, like Peter, the worries of life crowd in and distract and we fall. In the storms we face, the more we continue to follow in Jesus’ footsteps by giving all we can to our fellow Christians and in the wider community, the more we will experience the ability to walk on water and come through the storms instead of being overwhelmed by them.

Julian of Norwich reminds us of the importance of prayer in these circumstances when we feel buffeted by the storms of life and don’t feel God’s comforting presence alongside us. She wrote, “Prayer fastens the soul to God, making it one with his will through the deep inward working of the Holy Spirit. So he says this, 'Pray inwardly, even though you feel no joy in it. For it does good, though you feel nothing, see nothing, yes, even though you think you cannot pray. For when you are dry and empty, sick and weak, your prayers please me, though there be little enough to please you. All believing prayer is precious in my sight.' God accepts the good-will and work of his servants, no matter how we feel.”

As she reminds us, “God did not say 'You shall not be tempest-tossed, you shall not be work-weary, you shall not be discomforted'. But he did say, 'You shall not be overcome.'”

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Marketa Irglova - Point Of Creation.

Amazement at a rescue action

Here is the reflection that I shared during yesterday's Evensong at St Catherine's Wickford:

'Eleven Addresses to the Lord: I' by John Berryman.

This is the first of ’Eleven Addresses to the Lord’ written by the US poet John Berryman and published in 1970 in Love & Fame. Berryman was a major figure in American poetry in the second half of the 20th century and is often considered one of the founders of the Confessional school of poetry. He was the author of The Dream Songs, which are playful, witty, and morbid. In 1970 he published the drastically different Love & Fame which, in its final section ‘Eleven Addresses to the Lord’, reflected his return to the Catholicism of his youth. Despite its negative reception, its colloquial style and forthrightness have influenced many younger poets.

I share this poem because of the difficulties posed for us by the stories of miracles in the New Testament (Acts 12.1-19). In this evening’s reading from Acts, Peter is miraculously rescued from prison by an angel, while James, the brother of John, another of the apostles is killed by King Herod. Why is one apostle saved from death and another allowed to die? We don’t know and we aren’t told. We face the same issue today, when miracles are claimed for some but many others for whom prayers are said do not survive.

At the centre of Berryman’s poem are these lines:

You have come to my rescue again & again
in my impassable, sometimes despairing years.
You have allowed my brilliant friends to destroy themselves
and I am still here, severely damaged, but functioning.

He said that his conversion came about because ‘of a rescue action – into the notion of a God who, at certain moments, definitely and personally intervenes in individual lives, one of which is mine.’ But why had God saved him and not his brilliant friends who had destroyed themselves?

Berryman can’t deny the help he has received from God and even feels sure God will assist him again but is unable to go any further than that. He says that all things are possible for God but that some miracles may have been a special case to establish the initiatory faith of the apostles.

This seems a reasonable stance for us to take; we know that we have been helped but we can’t pretend to know how and why God acts as he does. Whatever may come, Berryman says he stands in awe and wonder of God – ‘accept my amazement’ – and asks to:

stand until death forever at attention
for any your least instruction or enlightenment.

May we also do the same. Amen.

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Nick Battle - The Finish Line.

The good news encapsulated in one chapter

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

Romans 8 is one of the most important chapters in the whole of scripture. It begins with the wonderful reminder us that there is no condemnation for those who are in Christ Jesus. What Christ does for us on the cross frees us from the effects and consequences of sin. This is the fundamental good news of Christianity!

Next, we are told that we are children of God and therefore heirs of God and joint heirs with Christ. Not only are we saved from sin but we are accepted, loved, valued and welcomed by God. The good new of Christianity gets better and better!

Then, we read that being revealed as the children of God is not only good news for us but also good news for the planet because the creation is waiting with eager longing for the revealing of the children of God. Instead of the selfish and wasteful exploitation of creation’s resources – the domination and abuse – which characterises human engagement with the world, we are intended to creatively realise the inherent possibilities, the essential goodness, of creation through our imaginative ability as those who notice and name. We are able to do this because we have left our old, selfish way of life behind and have been adopted by God as his children, becoming brothers and sisters of Jesus, co-heirs with him of all he possesses.

Unfortunately, large numbers of people in our world have yet to realise that they are God’s children and live selfishly as a result. That impacts our world in many ways which are detrimental to it and, as we wait for further change, we can often feel inadequate to the work of realising the essential goodness of our world and therefore feel lost for words in praying for our world and its transformation.

I wonder how often you find yourself lost for words. While some of us are more garrulous than others, it is an experience that comes to us all, particularly when we have experiences that either raise us to the heights or plunge us into the depths.

I wonder how often you have had that the experience of being lost for words as you pray. In prayer, it is possible that we might feel inadequate as we have heard others pray publicly and think that we are unable to pray as eloquently, so may not pray at all. Equally, we may experience what artists and writers experience, that is the difficulty of beginning – of putting words together or making marks on a pristine page. Equally, in prayer, we may have the experience of feeling that our words cannot match the experience we are having, whether or exaltation or depression. Whatever the reason, we are promised in today’s New Testament reading that the Holy Spirit will help us in such moments.

St Paul acknowledges in this passage that such times come; that there are times when we find it hard to pray. We do not know how to pray he writes to the Church in Rome (Romans 8. 26) but in those times the Holy Spirit himself comes to help us by pleading with God for us in groans that words cannot express.

We are often quite restrained in our relationship with God and in our praying. Therefore, we will often praise God and say that we will obey or follow him but we rarely argue, protest, complain or question him, at least not publicly. Yet here Paul is saying that the Holy Spirit wishes to help us express our deepest feelings – the groans that words cannot express - to God. Doing so is part of our coming to know God more deeply.

Words, themselves, are sometimes inadequate to express how we feel, which may be why St Paul speaks here of groans that words cannot express. We will all have heard, for example, of the practice in some cultures of Keening.

Keening can mean making any long, sad, or wailing sound but is, most famously, the act of making a loud, high-pitched lament for the dead in the Gaelic tradition of Ireland and Scotland. As a ritualized form of mourning involving crying, wailing, and singing over a deceased person, it recognises that words cannot express our grief in the moment of death and that what is needed to feel adequate to the moment are groans that words cannot express.

I had a similar experience following the untimely death of my brother when, at the airport in Pristina towards which the plane on which he had been travelling had been headed, I heard stories of the impact he had had on people in the Disaster Response Team with which he had been working in Kosovo and on the Kosovan people whom he had been helping to rebuild their homes following the conflict in their country. As those stories were told, all I could do was to cry continually; both at the sense of loss and because of a sense that God had received my brother Nick into his presence saying ‘Well done, good and faithful servant’. On that occasion, my tears were the groans that words cannot express.

I had the opposite experience as a young Christian when, following a service, I spent along time confessing by sins to God and then felt an overwhelming sense of joy that meant I was laughing continuously without being able to stop. I was at a campsite at the base of the Malvern Hills at the time and spent the evening wandering around that beautiful site laughing uncontrollably because of the sense of joy that words could not express that God had put into my heart that night.

Being lost for words is not a problem when it comes to prayer, instead it can be an opportunity for us to become open to God in a new way that allows emotions, whether of joy or grief, to flow through us and from us in ways that touch both the depths and heights of our emotions.

Next time you encounter that sense of being lost for words when you are praying ask the Spirit to help you in your weakness, as you do not know how to pray as you ought, and the very Spirit will intercede in you with sighs too deep for words. And God, who searches the heart, will know what is the mind of the Spirit, because the Spirit intercedes for the saints according to the will of God.

The fact that God is with us in this way is a confirmation that, despite the challenges of life and the depressing effects of conflict and climate change in our world, nothing can separate us from the love of God and nothing will separate us because, as Julian of Norwich, all shall be well, all shall be well, and all manner of thing be well. As St Paul writes: ‘I am convinced that neither death, nor life, nor angels, nor rulers, nor things present, nor things to come, nor powers, nor height, nor depth, nor anything else in all creation will be able to separate us from the love of God in Christ Jesus our Lord.’

So, here is the good news of Christianity encapsulated in one chapter. There is no condemnation for us as welcomes us into his family as his children, giving us all that Jesus also possesses. Our world too can and will be transformed and changed as more are revealed as children of God and live as children of God. While we wait for that change to come God speaks in and through us as his Spirit prays in us for that time of transformation to come. This reality is confirmation that the selfishness we see impacting our world currently is not the final story and will not ultimately dominate life of this planet. Instead, our world will know transformation through the love of Christ which ultimately overcomes and changes all that stands in its way. Love wins! Nothing can separate us from the love of God in Christ Jesus our Lord. All shall be well, all shall be well, and all manner of thing be well. Amen.

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Jonathan Evens - Meditation on Alan Oldfield's Revelations of Divine Love of Julian of Norwich.

Amethyst Review: Connections and contemplation in poetry and prayer

'Connections and contemplation in poetry and prayer', a brief survey of the connections between poetry and prayer has been published by Amethyst Review today. It looks at the connections between the two and highlights both poems about prayer and poems that are prayers. This piece was originally written as the introduction to a Quiet Day I ran recently on Poetry and Prayer. On the same day, I also wrote a new poem entitled 'Prayer' which was published recently by Amethyst Review.

The references for the article are:

• [1] D. Yezzi, ‘“Power of some sort or other”: on poems and prayers’ in The New Criterion, April 2012 - https://newcriterion.com/article/power-of-some-sort-or-other-on-poems-and-prayers/ [accessed 27 April 2026]
• [2] D. Rotty, ‘Poetry as Prayer’ in Catholic Exchange, 10 October 2022 - https://catholicexchange.com/poetry-as-prayer/ [accessed 27 April 2026]
• [3] J. Kranz, ‘Poetry and Wisdom Books of the Bible: The Beginner’s Guide’ in overviewbible.com, 4 March 2020 - https://overviewbible.com/poetry/ [accessed 27 April 2026]
• [4] G. Heugh, ‘How poetry can help us pray’, tear fund, 19 March 2021 - https://www.tearfund.org/stories/2021/03/how-poetry-can-help-us-pray [accessed 27 April 2026]
• [5] D. Yezzi, ‘“Power of some sort or other”: on poems and prayers’ in The New Criterion, April 2012 - https://newcriterion.com/article/power-of-some-sort-or-other-on-poems-and-prayers/ [accessed 27 April 2026]
• [6] J. Ramazani, ‘Poetry and Prayer’ in Poetry and Its Others: News, Prayer, Song, and the Dialogue of Genres, University of Chicago Press, 5 November 2013 - https://academic.oup.com/chicago-scholarship-online/book/15853/chapter-abstract/170723284?redirectedFrom=fulltext&login=false [Abstract accessed 27 April 2026]
• [7] ‘Poetry and Prayer: Continuities and Discontinuities’, An international conference organized jointly by the Institute of English Studies and Heythrop College, University of London, 29–30 June 2012 - https://academic.oup.com/litthe/article-abstract/26/2/242/1028143?redirectedFrom=PDF [Abstract accessed on 27 April 2026]
• [8] E. McGrath Smith, ‘Poetry as Prayer’ in talking writing, January 27, 2014 - https://talkingwriting.com/poetry-prayer [accessed 27 April 2026]
• [9] S. Weil, Gravity and Grace, Routledge, 12 September 2002.
• [10] A. Carroll, ‘Vocabulary of the Heart – What Poetry Taught Me About Prayer’ in Chronic Joy - https://chronic-joy.org/vocabulary-heart-poetry-taught-prayer/ [accessed 27 April 2026]
• [11] A. Baker, ‘A Conversation with Gregory Orr’, Image, Issue 66 - https://imagejournal.org/article/conversation-gregory-orr/ [accessed 27 April 2026]
• [12] M. Guite, Faith, Hope and Poetry: Theology and the Poetic Imagination, Routledge, 28 March 2012
• [13] G. Heugh, ‘How poetry can help us pray’, tear fund, 19 March 2021 - https://www.tearfund.org/stories/2021/03/how-poetry-can-help-us-pray [accessed 27 April 2026]
• [14] G. Heugh, ‘How poetry can help us pray’, tear fund, 19 March 2021 - https://www.tearfund.org/stories/2021/03/how-poetry-can-help-us-pray [accessed 27 April 2026
• [15] ‘Oasis: Poetry’ in explorefaith.org - http://www.explorefaith.org/oasis/poetry/otherwise.html [accessed 27 April 2026]

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

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

My poems to have been published in Amethyst Review are: 'Prayer', 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'.

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

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

• 'Barking';
• 'Bradwell';
• 'Broomfield';
• 'Pleshey'; and
• 'Runwell'.

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

To read my poems published by Stride, click here, here, here, here, here, and here. International Times have also published other of my poems, including 'Spencer Reece at Bemerton' which is based on the visit that I made to Bemerton in 2026 with Spencer Reece, 'The ABC of creativity', which covers attention, beginning and creation, and 'The Edge of Chaos', a state of existence poem. Also published have been three poems from my 'Five Trios' series. 'Barking' is about St Margaret’s Barking and Barking Abbey and draws on my time as a curate at St Margaret's. 'Bradwell' is a celebration of the history of the Chapel of St Peter-on-the-Wall, the Othona Community, and of pilgrimage to those places. Broomfield in Essex became a village of artists following the arrival of Revd John Rutherford in 1930. His daughter, the artist Rosemary Rutherford, also moved with them and made the vicarage a base for her artwork including paintings and stained glass. Then, Gwynneth Holt and Thomas Bayliss Huxley-Jones moved to Broomfield in 1949 where they shared a large studio in their garden and both achieved high personal success. 'Broomfield' reviews their stories, work, legacy and motivations.

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

For more of my poems, see here, and for my poetic meditations, see here.

My first review of poetry for Tears in the Fence was of 'Modern Fog' by Chris Emery. My second review was of 'The Salvation Engine' by Rupert Loydell and my third was of 'For All That’s Lost' by David Miller. My poetry reviews for Stride include a review of two poetry collections, one by Mario Petrucci and the other by David Miller, a review of Temporary Archive: Poems by Women of Latin America, a review of Fukushima Dreams by Andrea Moorhead, a review of Endangered Sky by Kelly Grovier and Sean Scully, a review of John F. Deane's Selected & New Poems, a review of God's Little Angel by Sue Hubbard and a review of Spencer Reece's 'Acts'.

My poetry-related pieces for IT are: an interview with artist, poet, priest Spencer Reece, an interview with the poet Chris Emery, plus reviews of: 'Collected Poems' by Kevin Crossley-Holland; 'Breaking Lines' at the Estorick Collection of Modern Italian Art, albums by Deacon Blue, Mumford and Sons, and Andrew Rumsey, and 'What Is and Might Be and then Otherwise' by David Miller. I have also published pieces on poetry at Seen and Unseen - a profile of the poet Theresa Lola - and the Journal of Theological Studies - a review of Faith, Hope and Poetry: Theology and the Poetic Imagination by Malcolm Guite. For more on poetry, read my ArtWay interview with David Miller here and my interview with Rupert Loydell here. See also Rupert Loydell's interview with poet and musician Steve Scott. My own dialogues with Steve can be read here, here, here, here, and here. For thoughts on the links between poetry and prayer see here and here.

My key literature posts (including poetry) are:

• There were giants in those days (1)
• There were giants in those days (2)
• There were Giants in those days (3)
• There were giants in those days (4)
• The Modern & Contemporary Catholic Novel (1)
• The Modern & Contemporary Catholic Novel (2)
• The Modern & Contemporary Catholic Novel (3)
• The Modern & Contemporary Catholic Novel (4)
• The Modern & Contemporary Catholic Novel (5)
• The poetry of connection
• Debate: Has Fiction Lost It's Faith?
• Jesus is having a moment in literary fiction
• Endo & Scorsese: Approaching Silence
• Contemporary Fiction and Christianity
• Debate: Has Fiction Lost It's Faith? (2)
• Jack Clemo: The Invading Gospel
• Dealing with faith and with secularism is difficult but necessary now
• The poet’s eloquently passionate struggle at the junction of doubt and devotion
• Christian Arts renaissance: Major or minor?
• T.S. Eliot: Christianity, fragmentation and reconciliation
• Jesus Novels & Films: The Greatest Story Ever Told
• Acts of the Assassins and Jesus Novels
• Czeslaw Milosz, Oscar Milosz and Simone Weil
• Blogs: cryingforavision & Stride magazine
• Tasos Leviaditis: The Blind Man with the Lamp
• Religious concerns in Greek poetry
• Thomas Merton and Latin American poets
• American Catholic poets & writers
• Connections of Sister Corita Kent and Norman Nicholson
• Ernesto Cardenal RIP
• Czeslaw Milosz, Jerzy Andrzejewski, Oskar Milosz, and Aleksander Wat
• Faith, Mystery & Poetry
• Elizabeth Jennings & David Gascoyne: Mystical Experience and the Making of Poems
• Roots of the Catholic Literary Revival

See also 'Art and Faith: Decades of Engagement: Introduction, 1880s, 1890s, 1900s, 1910s, 1920s, 1930s, 1940s, 1950s, 1960s, 1970s, and 1980s.

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Gideon Heugh - Love - An Easter Poem.

Amethyst Review: Prayer

My latest poem to be published by Amethyst Review is entitled 'Prayer' and was written during a Quiet day I ran recently on Poetry and Prayer. 

For the same day, I also wrote 'Connections and contemplation in poetry and prayer', a brief survey of the connection between poetry and prayer that will be published by Amethyst Review on 16 July. This piece was originally written as the introduction to the Quiet Day.

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

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

My other poems to have been published in Amethyst Review are: 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'.

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

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

• 'Barking';
• 'Bradwell';
• 'Broomfield';
• 'Pleshey'; and
• 'Runwell'.

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

To read my poems published by Stride, click here, here, here, here, here, and here. International Times have also published other of my poems, including 'Spencer Reece at Bemerton' which is based on the visit that I made to Bemerton in 2026 with Spencer Reece, 'The ABC of creativity', which covers attention, beginning and creation, and 'The Edge of Chaos', a state of existence poem. Also published have been three poems from my 'Five Trios' series. 'Barking' is about St Margaret’s Barking and Barking Abbey and draws on my time as a curate at St Margaret's. 'Bradwell' is a celebration of the history of the Chapel of St Peter-on-the-Wall, the Othona Community, and of pilgrimage to those places. Broomfield in Essex became a village of artists following the arrival of Revd John Rutherford in 1930. His daughter, the artist Rosemary Rutherford, also moved with them and made the vicarage a base for her artwork including paintings and stained glass. Then, Gwynneth Holt and Thomas Bayliss Huxley-Jones moved to Broomfield in 1949 where they shared a large studio in their garden and both achieved high personal success. 'Broomfield' reviews their stories, work, legacy and motivations.

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

For more of my poems, see here, and for my poetic meditations, see here.

My first review of poetry for Tears in the Fence was of 'Modern Fog' by Chris Emery. My second review was of 'The Salvation Engine' by Rupert Loydell and my third was of 'For All That’s Lost' by David Miller. My poetry reviews for Stride include a review of two poetry collections, one by Mario Petrucci and the other by David Miller, a review of Temporary Archive: Poems by Women of Latin America, a review of Fukushima Dreams by Andrea Moorhead, a review of Endangered Sky by Kelly Grovier and Sean Scully, a review of John F. Deane's Selected & New Poems, a review of God's Little Angel by Sue Hubbard and a review of Spencer Reece's 'Acts'.

My poetry-related pieces for IT are: an interview with artist, poet, priest Spencer Reece, an interview with the poet Chris Emery, plus reviews of: 'Collected Poems' by Kevin Crossley-Holland; 'Breaking Lines' at the Estorick Collection of Modern Italian Art, albums by Deacon Blue, Mumford and Sons, and Andrew Rumsey, and 'What Is and Might Be and then Otherwise' by David Miller. I have also published pieces on poetry at Seen and Unseen - a profile of the poet Theresa Lola - and the Journal of Theological Studies - a review of Faith, Hope and Poetry: Theology and the Poetic Imagination by Malcolm Guite. For more on poetry, read my ArtWay interview with David Miller here and my interview with Rupert Loydell here. See also Rupert Loydell's interview with poet and musician Steve Scott. My own dialogues with Steve can be read here, here, here, here, and here. For thoughts on the links between poetry and prayer see here and here.

My key literature posts (including poetry) are:

• There were giants in those days (1)
• There were giants in those days (2)
• There were Giants in those days (3)
• There were giants in those days (4)
• The Modern & Contemporary Catholic Novel (1)
• The Modern & Contemporary Catholic Novel (2)
• The Modern & Contemporary Catholic Novel (3)
• The Modern & Contemporary Catholic Novel (4)
• The Modern & Contemporary Catholic Novel (5)
• The poetry of connection
• Debate: Has Fiction Lost It's Faith?
• Jesus is having a moment in literary fiction
• Endo & Scorsese: Approaching Silence
• Contemporary Fiction and Christianity
• Debate: Has Fiction Lost It's Faith? (2)
• Jack Clemo: The Invading Gospel
• Dealing with faith and with secularism is difficult but necessary now
• The poet’s eloquently passionate struggle at the junction of doubt and devotion
• Christian Arts renaissance: Major or minor?
• T.S. Eliot: Christianity, fragmentation and reconciliation
• Jesus Novels & Films: The Greatest Story Ever Told
• Acts of the Assassins and Jesus Novels
• Czeslaw Milosz, Oscar Milosz and Simone Weil
• Blogs: cryingforavision & Stride magazine
• Tasos Leviaditis: The Blind Man with the Lamp
• Religious concerns in Greek poetry
• Thomas Merton and Latin American poets
• American Catholic poets & writers
• Connections of Sister Corita Kent and Norman Nicholson
• Ernesto Cardenal RIP
• Czeslaw Milosz, Jerzy Andrzejewski, Oskar Milosz, and Aleksander Wat
• Faith, Mystery & Poetry
• Elizabeth Jennings & David Gascoyne: Mystical Experience and the Making of Poems
• Roots of the Catholic Literary Revival

See also 'Art and Faith: Decades of Engagement: Introduction, 1880s, 1890s, 1900s, 1910s, 1920s, 1930s, 1940s, 1950s, 1960s, 1970s, and 1980s.

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George Herbert - Prayer I.

Signs that the Kingdom is coming

Here's the sermon that I shared tonight during the Healing Eucharist at St Andrew’s Wickford:

When Jesus walked the earth, he looked ahead to that future time when the Kingdom of God will be made perfect, and all suffering will come to an end. But he also announced that, because of him, there is a sense in which that Kingdom has already begun. When he healed sick people and brought good news to the poor it was a sign that the Kingdom had come. In the same way, when he overcame death by rising from the dead he became the first fruits of the Kingdom, an example of what we will all become in future.

Jesus wants us to be signs of God’s Kingdom in the same way that he was (Mark 16:14-20). He commanded us, his followers, to love in the way that he did. He wanted people to see us practically demonstrating love, so that we will clearly be recognised as men and women who belong to God.

As Christians, we are called to follow in Jesus’ footsteps by living under the rule and reign of God. We do this imperfectly, so can, at best, create temporary signs of what the kingdom of God looks like in practice but when we feed the hungry, give water to the thirsty, welcome strangers, clothe the naked, take care of those who are sick, and visit prisoners, we come as close as we possibly can.

When we put into practice the values of the Kingdom of God here and now, we become signs of what the Kingdom will be like when it is made perfect in eternity. That is what it means to pray, ‘Your Kingdom come on earth as it is in heaven.’

By the resurrection, Jesus has gone ahead of us in signing and establishing the Kingdom of God and calls us to follow where he leads. In this way, as the theologian Jurgen Moltmann says, the “resurrection of Christ does not mean a new possibility within the world and its history, but a new possibility altogether for the world, for existence, and for history.”

As Christ’s followers today, we inherit the task of putting into practice what Jesus has achieved through his life, death and resurrection. We are the people today who are called to work towards the Isaianic vision of nations streaming to learn what Israel’s God wants them to do, settling disputes among the great nations, hammering swords into ploughshares and spears into pruning hooks, and never again preparing to go to war.

The Holy Spirit – Jesus’ Spirit - is key in this because the Spirit is given to us as the first fruits of the kingdom of God. The kingdom is still to come but we have the Spirit as the guarantee that the kingdom will come. The Spirit comes from the future to anticipate the kingdom in the present by creating signs of what the kingdom will be like when it comes in full. So, the Spirit initiates the mission of God which is to bring humanity and creation to the completed perfection for which we were originally intended; the time when the whole world will freely return to God, worship him and become like him by living in him. As Colin Gunton wrote, “the Spirit is the agent by whom God enables things to become that which they were created to be.”

Our role is to become involved in this work of the Spirit to heal the broken creation, bring it to maturity and reconcile it in Christ. We get involved by creating signs of the coming kingdom here and now in the present.

So, Christ calls us to create signs of the kingdom of God in each generation. Such signs cannot simply repeat what has gone before. They need to be creative re-imaginings of the kingdom for the present time. So, we need to ask, where are the artists, the dreamers, the ideas people and creatives in this congregation and community? Where are energy, inspiration and initiative to be found in the wider community, beyond the congregation, with which we can partner for the future? These are questions we are seeking to answer through our cultural programming and partnerships with creatives locally.

If the Holy Spirit has stirred that fire, passion and desire in you then we need to cry out for the Spirit to come to us. To daily pray, “Come, Holy Spirit.” Come to stir up this desire and longing and yearning and passion in me.

Let us pray: We pray for the dreamers of this life, O God, for those persons who imagine new possibilities, who long for what others cannot perceive, who spin dreams of wonder and majesty in their minds. Defend them from ridicule and harsh criticism, from self-doubt and lack of faith in their dreams, and from abandonment of this call to make things new. Grant that from their dreams may come forth blessings for humankind to enrich the quality of life and the wonderment of us all. Amen (Ashley Marinaccio)

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The Voices Of East Harlem - Giving Love.

An imaginary poetry anthology

Here's an imagined poetry anthology for which I would pay good money:

• A, a, a, Domine Deus – David Jones
• A Glass Full – Sarah Law
• A Prayer in Spring - Robert Frost
• A Song of Derivations – Alice Meynell
• A Spell For Creation – Kathleen Raine
• A Theological Treatise - Czeslaw Milosz
• Advent – Brian Coffey
• Advent - Patrick Kavanagh
• Advent Calendar – Rowan Williams
• Advice to a Young Prophet - Thomas Merton
• The Altar at Isenheim - Steve Scott
• An Absolutely Ordinary Rainbow - Les Murray
• And death shall have no dominion – Dylan Thomas
• The Annunciation – Elizabeth Jennings
• At St Helen's, Ranworth - Chris Emery
• Baptism – Franz Wright
• Believe Me - Irina Ratushinskaya
• The bright field – RS Thomas
• Cain Reverses Time - Luke Kennard
• Christ in the Clay-pit – Jack Clemo
• Christmas and the Common Birth - Anne Ridler
• The City of Man – Charles Williams
• Conversations - Tasos Leivaditis
• Creed – Gabriela Mistral
• Creed – Steve Turner
• Crón Tráth na nDéithe - Thomas MacGreevy
• The Dark Path – David Miller
• The Duino Elegies – Rainer Maria Rilke
• Easter Monday - Eleanor Farjeon
• Eleven Addresses to the Lord – John Berryman
• Epiphany – Martin Wroe
• For One Who Is Exhausted, a Blessing - John O’Donohue
• Gloria in Profundis – GK Chesterton
• The Hastily Assembled Angel Considers What It Means to Be Made in the Image Of - Shane McCrae
• The Heart’s Desire is Full of Sleep - Ruth Pitter
• Holy the Firm – Annie Dillard
• Horae Canonicae – WH Auden
• Idiot Psalms – Scott Cairns
• In a Corner of Eden – Peter Levi
• Indifference - Geoffrey Studdert Kennedy
• Instructions for Angels – Rupert Loydell
• Jairus – Michael Symmons Roberts
• Journey – Kathleen Norris
• Kalymnos: November 29, 1968 - Robert Lax
• Kenosis – Luci Shaw
• Lachrimae Amantis – Geoffrey Hill
• Little Gidding – TS Eliot
• Look at the Revival – Theresa Lola
• Lough Derg – Denis Devlin
• The Maori Jesus – James K Baxter
• Miserere – David Gascoyne
• The Monk and Her Seaside Dreams - Fanny Howe
• Morning Worship – Mark Van Doren
• Not the Millennium – UA Fanthorpe
• On hold – Tim Cunningham
• On Religion – Khalil Gibran
• O Sapientia – Malcolm Guite
• Out Of The Blue - Michael O'Siadhail
• Peace in the Welsh Hills – Vernon Watkins
• The Peace of Wild Things – Wendell Berry
• Poem 133: The Summer Day – Mary Oliver
• The Portal of the Mystery of Hope - Charles Péguy
• Praying Drunk – Andrew Hudgins
• Prophecy – Dana Gioia
• The Quaker Graveyard in Nantucket – Robert Lowell
• The Redeemer - Siegfried Sassoon
• Resurrection – Noel Rowe
• The Road to Emmaus – Spencer Reece
• Sacramental - Kevin Crossley Holland
• The Sacraments - Louise Erdrich
• Shepherds' Carol - Norman Nicholson
• Still Falls the Rain – Edith Sitwell
• This Living Earth – Ernesto Cardenal
• To Live in the Mercy of God - Denise Levertov
• The Transfiguration – Edwin Muir
• Vanished Fire – James Matthew Wilson
• The Virgin at Noon - Paul Claudel
• Words of the Unknown Soldier - John F Deane
• Zen Poem – Daniel Berrigan

My first review of poetry for Tears in the Fence was of 'Modern Fog' by Chris Emery. My second review was of 'The Salvation Engine' by Rupert Loydell and my third was of 'For All That’s Lost' by David Miller. My poetry reviews for Stride include a review of two poetry collections, one by Mario Petrucci and the other by David Miller, a review of Temporary Archive: Poems by Women of Latin America, a review of Fukushima Dreams by Andrea Moorhead, a review of Endangered Sky by Kelly Grovier and Sean Scully, a review of John F. Deane's Selected & New Poems, a review of God's Little Angel by Sue Hubbard and a review of Spencer Reece's 'Acts'.

My other poetry pieces for IT are: an interview with artist, poet, priest Spencer Reece; an interview with the poet Chris Emery; plus reviews of': Collected Poems' by Kevin Crossley-Holland; 'Breaking Lines' at the Estorick Collection of Modern Italian Art and 'What Is and Might Be and then Otherwise' by David Miller. I have also published pieces on poetry at Seen and Unseen - a profile of the poet Theresa Lola - and the Journal of Theological Studies - a review of Faith, Hope and Poetry: Theology and the Poetic Imagination by Malcolm Guite. For more on poetry, read my ArtWay interview with David Miller here and my interview with Rupert Loydell here. See also Rupert Loydell's interview with poet and musician Steve Scott. My own dialogues with Steve can be read here, here, here, here, and here. For thoughts on the links between poetry and prayer see here and here.

IT have also published several of my poems, including 'The ABC of creativity', which covers attention, beginning and creation, and 'The Edge of Chaos', a state of current existence poem. Also published have been three poems from my 'Five Trios' series. 'Barking' is about St Margaret’s Barking and Barking Abbey and draws on my time as a curate at St Margaret's. 'Bradwell' is a celebration of the history of the Chapel of St Peter-on-the-Wall, the Othona Community, and of pilgrimage to those places. Broomfield in Essex became a village of artists following the arrival of Revd John Rutherford in 1930. His daughter, the artist Rosemary Rutherford, also moved with them and made the vicarage a base for her artwork including paintings and stained glass. Then, Gwynneth Holt and Thomas Bayliss Huxley-Jones moved to Broomfield in 1949 where they shared a large studio in their garden and both achieved high personal success. 'Broomfield' reviews their stories, work, legacy and motivations. 'Deflated Ego 18: Jonathan Evens on Jonathan Evens' is an article I wrote for Stride Magazine about the 'Five Trios' series of poems.

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

• 'Barking';
• 'Bradwell';
• 'Broomfield';
• 'Pleshey'; and
• 'Runwell'.

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

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.

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

For more of my poems, see here, and for my poetic meditations, see here.

My key literature posts (including poetry) are:

• There were giants in those days (1)
• There were giants in those days (2)
• There were Giants in those days (3)
• There were giants in those days (4)
• The Modern & Contemporary Catholic Novel (1)
• The Modern & Contemporary Catholic Novel (2)
• The Modern & Contemporary Catholic Novel (3)
• The Modern & Contemporary Catholic Novel (4)
• The Modern & Contemporary Catholic Novel (5)
• The poetry of connection
• Debate: Has Fiction Lost It's Faith?
• Jesus is having a moment in literary fiction
• Endo & Scorsese: Approaching Silence
• Contemporary Fiction and Christianity
• Debate: Has Fiction Lost It's Faith? (2)
• Jack Clemo: The Invading Gospel
• Dealing with faith and with secularism is difficult but necessary now
• The poet’s eloquently passionate struggle at the junction of doubt and devotion
• Christian Arts renaissance: Major or minor?
• T.S. Eliot: Christianity, fragmentation and reconciliation
• Jesus Novels & Films: The Greatest Story Ever Told
• Acts of the Assassins and Jesus Novels
• Czeslaw Milosz, Oscar Milosz and Simone Weil
• Blogs: cryingforavision & Stride magazine
• Tasos Leviaditis: The Blind Man with the Lamp
• Religious concerns in Greek poetry
• Thomas Merton and Latin American poets
• American Catholic poets & writers
• Connections of Sister Corita Kent and Norman Nicholson
• Ernesto Cardenal RIP
• Czeslaw Milosz, Jerzy Andrzejewski, Oskar Milosz, and Aleksander Wat
• Faith, Mystery & Poetry
• Elizabeth Jennings & David Gascoyne: Mystical Experience and the Making of Poems
• Roots of the Catholic Literary Revival

See also 'Art and Faith: Decades of Engagement: Introduction, 1880s, 1890s, 1900s, 1910s, 1920s, 1930s, 1940s, 1950s, 1960s, 1970s, and 1980s.

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Elizabeth Jennings - Answers.