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Sunday, 28 July 2024

Meeting God in the dark night of the soul

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

The book of Job is the record of one man’s dark night of the soul. In the story Job loses everything that gave his life meaning. His family are wiped out, his home, money and possessions are lost, he experiences severe and painful illnesses and is left alone, except for three friends who are more hindrance than help as they offer only platitudes that essentially pin the blame for his condition on Job himself.

Job knows that the diagnosis offered by his friends is wrong. He knows there is nothing he has done to deserve his suffering. He knows that it is not punishment for something he has done and this gives us one of the reasons why this is such a significant book to find within the pages of the scriptures. The book of Job tells us that much suffering in this world is undeserved. There are times in life when we do reap what we sow and bear the consequences of our choices, as Job’s friends assume must be the case for him. But this is not one of those times and the story is told, in part, to warn us against making the assumptions made by Job’s friends. Not all suffering is brought on by our actions, sometimes life simply deals us a bum hand - and that’s the way it is!

Job is understandably angry about this situation. In the section of the poem we heard read today (Job 19:1-27), he says that he has been broken down on every side and that he has been pursued by both his friends and by God. God accepts Job’s arguing with him and affirms him in so doing. In the final chapter of the book, God says that he is angry with Job’s friends because they did not speak the truth about him, the way his servant Job did. So, the friends who said “it’s all your fault and God is right to punish you” were condemned and Job, who argued his case with God is affirmed.

The book of Job is important, therefore, because it tells us that it is ok to argue with God and to complain to him when life seems unfair. That is important because it is not how we have been brought up to think about relationship with God. Most of us instinctively think that submission to the will of God rather than arguing the toss with God is what makes for a good Christian. Job tells us that that is not so. And, in fact, if we read scripture carefully, we will finish that stories are told of all the heroes of the faith - from Abraham through Moses, Jeremiah and Habbakuk to Jesus and Paul - arguing with God. Why? Because it means we are in real relationship with God. Our virtuous mask comes off and we say what we really mean. We are honest with God in a way that we cannot be when we are trying to be righteous. That is real relationship and that is what God wants more than anything.

This is something which has been acknowledged and understood throughout Church history. The phrase which I used of Job at the beginning of this sermon - the dark night of the soul - was coined by St John of the Cross while imprisoned in a tiny prison cell for his attempts to reform the Church. He was a sixteenth-century Spanish mystic who wrote many of his poems on a scroll smuggled to him by one of his guards. After escaping his captors, he wrote the Dark Night of the Soul, a poem about the painful experience that people endure as they seek to grow in spiritual maturity and union with God.

Similarly, the poet Gerard Manley Hopkins wrote of “That night, that year / Of now done darkness I wretch lay wrestling with (my God!) my God.”

I wake and feel the fell of dark, not day.
What hours, O what black hours we have spent
This night! what sights you, heart, saw; ways you went!
And more must, in yet longer light's delay.
With witness I speak this. But where I say
Hours I mean years, mean life. And my lament
Is cries countless, cries like dead letters sent
To dearest him that lives alas! away.
I am gall, I am heartburn. God's most deep decree
Bitter would have me taste: my taste was me;
Bones built in me, flesh filled, blood brimmed the curse.
Selfyeast of spirit a dull dough sours. I see
The lost are like this, and their scourge to be
As I am mine, their sweating selves; but worse.

At the end of the Book of Job, Job says, “I talked about things I did not understand, about marvels too great for me to know.” Through his dark night of the soul, he comes to understand that God is not who or what he had thought him to be. God is more than he had imagined or conceived. Human beings can know God but cannot know God fully because is always more than we can imagine or conceive. Every image or idea we have of God is inadequate because God is always more than any human definition. We can say, for example, that God is Father but to say that cannot fully define God as God can also be understood as Mother and as child and as Spirit (without gender). All these different things are true of God at one and the same time. So, God is both known to us and yet unknowable. In the dark night of the soul, all that we had thought we knew of God is taken away from us and we experience something of the mystery of God.

Summing all this up, what can we say? We need to be careful about the advice we offer to those who are suffering. In particular, not to assume that they have in some way brought their suffering on themselves. God said to Job’s friends, “you did not speak the truth about me, the way my servant Job did.” Then, to understand that we do not have to suffer in silence. To argue or complain to God actually brings us into a deeper relationship with him and is a valid part of prayer. Job says, “I still rebel and complain against God; I cannot keep from groaning.” Finally, we need to be prepared to have our understandings of God brought into question as he challenges us to engage with the mystery of who he is, the One who is always more than we can ever conceive or image. And so, like Job, we say “I talked about things I did not understand, about marvels too great for me to know.” May it be so for each one of us. Amen.

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Saturday, 27 July 2024

Windows on the world (476)


Colchester, 2024

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Mavis Staples - Build A Bridge.

 

Friday, 26 July 2024

Seen and Unseen: Paradise cottage: Milton reimagin’d

My latest article for Seen & Unseen is entitled 'Paradise cottage: Milton reimagin’d' and reviews the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles):

'In Webb’s view, “Paradise Regain’d is about overcoming impossible situations” while, in Samson Agonistes, Milton’s Redeemer shows “Samson, the blind and foolish man”, “that we can always find hope in our living God even when society does not”. These poems moved Webb out of despair to discover hope because he knew they were heading towards redemption. As a result, he sees Milton as “a great English poet who gives hope, which in itself is a creative act for these difficult times”.'

For more on Webb's work, see my Church Times review of his 2023 exhibition at Benjamin Rhodes Arts by clicking 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

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John Milton - Paradise Lost.

Wednesday, 24 July 2024

Abundant, profligate, indiscriminate, and reckless love

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

The Royal Horticultural Society says that sowing seeds outdoors is very straight forward – just think of how many plants scatter their seeds and they grow where they land as soon as it is moist and warm. The secret to success when sowing seeds outside is to prepare a good seedbed, free of weeds and with a crumble-like soil-surface texture. Beds should be dug over in advance to allow time for the soil to settle. Cover the bed to suppress weeds then level the surface and create a crumble-like tilth picking off any remaining weeds and debris. Other problems to be addressed include pigeons and other birds which can be a pest.

Just as in the Parable of the Sower (Matthew 13. 1 – 23), the RHS guidance is that seeds are less likely to grow well where there are weeds, debris like rocks and stones, or where birds can eat the seeds. Seeds are likely to grow well in good, well-prepared soil. So far, so good; so far, so similar – the secrets of growing good crops were really no different in the time of Jesus from those of today. Given that as much was known then about sowing seeds as is known now, there is just one strange element to Jesus’ story and that is the fact that the sower deliberately sows seeds in the areas where seeds are less likely to grow, as well as in the prepared soil where the seeds are more likely to grow well. The sower is profligate with the seeds in a way that goes counter to the advice from the RHS which, as we have seen, is consonant with the understanding of sowing demonstrated by the parable. So why does the sower ignore good practice and deliberately sow seeds on the path, the rocky ground and among the thorn bushes? Does this strange aspect to the story tell us something significant about God?

The seed is the Word of the kingdom and the Word, John’s Gospel tells us, is Jesus himself. So, it is Jesus himself who is being scattered throughout the world as the seed being sown in this parable (perhaps in and through the Body of Christ, the Church). As the seed was sown indiscriminately, even recklessly, there was a breadth to what was going on here as the places that were known to be poor places for seed to grow were nevertheless given the opportunity for seeds to take root.

This suggests to us the indiscriminate and reckless nature of God’s love for all. It means that no part of our community or our world is off limits to Jesus or to us as the body of Christ. Within HeartEdge, the international, ecumenical movement for renewal within the broad church that has been initiated by St Martin-in-the-Fields and of which we are part, we express this in terms of churches seeking to be at the heart of their communities whilst also being with those who are on the margins or at the edge. By being at the heart and on the edge our mission and ministry will have something of the breadth with which the sower scatters the seed in this parable.

The sower scatters the seed indiscriminately because the life of Jesus can spring up and flourish anywhere. This means that the life of Christ grows outside the church as well as within it. As a result, our task as Christians is not simply to take the love of Christ to all parts of our community and world but also to be actively looking to see where the seed of Jesus is taking root, growing and bearing independently of anything that the church has done. Another of the key concepts for HeartEdge is that God is continually sending gifts to the church of people who we don’t expect or recognise as being Jesus. The renewal of the Church has not come from those already within it, so instead it is likely to come from those who are currently outside of or on the edge of Church.

There are many people and organisations of good will in our communities with which we, as churches, are not yet engaging who nevertheless are well disposed towards the Church and will give some form of support, if the right connection can be made.

There are also many people and organisations of good will in our communities with which we, as churches, are not yet engaging who nevertheless are acting in ways that bring Christ to others by giving food to the hungry, drink to the thirsty, welcoming the stranger, clothing the naked and visiting those in prison. We need to look for signs of God within our communities and then come alongside those people in solidarity and support for the ways in which they are bringing Christ to others.

The love of God as shown in the Gospels and in this parable is abundant, profligate, indiscriminate, and reckless. It is, as Jesus says elsewhere, pressed down, shaken together, poured out and overflowing. Jesus came to give us life in abundance, life in all its fullness, yet, within our churches we often operate with a mind-set of scarcity.

The church is getting smaller and becoming narrower. Those regularly attending worship are fewer. The church’s reputation and energy are becoming associated with initiatives that are introverted and often lack the full breadth of the gospel. In response we often focus on what our church doesn’t have, who isn’t there, and what problems it faces. In a deficit culture we begin with our hurts and our stereotypes, and find a hundred reasons why we can’t do things or certain kinds of people don’t belong. As churches we are often quick to attribute our plight to a hostile culture or an indifferent, distracted population or even a sinful generation; but much slower to recognise that our situation is significantly of our own making. In the imagery of this parable when we focus on our deficits, we are focusing on the path, the rocky ground and the thorn bushes.

By contrast, in HeartEdge, we believe that churches can do unbelievable things together by starting with one another’s assets, not our deficits. We believe churches and communities thrive when the gifts of all their members are released and they build one another’s assets. We are enough as local communities because God has given us what we need in each other. We also believe that God is giving the church everything it needs for the renewal of its life in the people who find themselves to be on the edge. Wisdom and faith are found in the places of exile and rejection. The rejected are to be sought out because they are the energy and the life-force that will transform us all. If you are looking for where the future church is coming from, look at what the church and society has so blithely rejected.

The life of the church is about constantly recognising the sin of how much we have rejected, and celebrating the grace that God gives us back what we once rejected to become the cornerstone of our lives. Thus is deficit turned to plenitude, threat turned to companionship, and fear turned to joy. This is the life of the kingdom. The life of the kingdom of God is found in recognising the abundance of the seed that is continually being sown. The life of the kingdom of God is found when we expect and look for the growth of that seed at the heart and on the edge, often in unanticipated ways, in surprising places and in unexpected people.

May we commit to being a people who live out of the abundance of God, rather than our scarcity, by beginning with our assets, not our deficits; both those within our church and those without. Amen.

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Tuesday, 23 July 2024

Artlyst: Cedric Morris And Arthur Lett-Haines Gainsborough House

My latest exhibition review for Artlyst is on Revealing Nature: The Art of Cedric Morris and Lett-Haines at Gainsborough's House:

'‘Revealing Nature: The Art of Cedric Morris and Lett-Haines’ extends our appreciation of Morris and Lett considerably by foregrounding Lett’s work alongside that of the better-known Morris and by the range of Morris’ work shown. In doing so, our understanding of what drew so many artists to Benton End to be part of the East Anglian School of Art and Design is also enhanced.

Suffolk, more generally, provides additional opportunities to sample the work of artists linked to Benton End. I took the opportunity to visit several churches containing work by Rosemary Rutherford. Rutherford attended the East Anglian School of Painting and Drawing, where she focused on flower paintings and landscapes. Although an excellent painter of religious scenes in addition to landscapes and flowers, she is best known for her stained-glass windows, striking examples of which can be found within reach of Sudbury at St Mary Boxford, St Mary the Virgin Walsham-le-Willows, and St Mary Hinderclay. The Memorial Window at Walsham-le-Williams has St Catherine surrounded by a vibrant array of flora and fauna, as Lett-Haines also sought to do in his work. In the same church is a marvellous depiction of Christ walking on the water among several impressionistically rendered Thames barges. As with some of Morris’s images, the lifting of darkness in this image could be a response to changes in their wartime experiences.'

Find out more about Rosemary Rutherford - here and here.

Interviews -
Monthly diary articles -
Articles/Reviews -

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Karen Peris - Flowers.

Seen and Unseen: The collective effervescence of sport’s congregation

My latest article for Seen & Unseen is entitled 'The collective effervescence of sport's congregation' and explores some of the ways in which sport and religion have been intimately entwined throughout history:

'[Dr. Mark] Doidge notes that “Regular congregation at a sacred space to perform collective rituals creates a ‘collective effervescence’ where the individuals become a community and identify themselves as such”. He also notes the similarities with sport which provides a “way of understanding who we are - who we socialise with, how we see other people, and the ways in which we interact with others” – and which is, like life, “about rivalries and competition, solidarity and teamwork, division, and unity”.
 
These similarities can lead some to privilege sport over religion but Doidge argues that sport “should recognise that religion is a key part of many people’s identity and sense of self, and work hard to be inclusive for all”.'

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.

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New Order - World In Motion.

Monday, 22 July 2024

Artworks in the Diocese of Chelmsford

My latest article for Church Times is about the artist Enid Chadwick, whose painting 'The Baptism of Christ' hangs in St Mary's Runwell. There are many interesting artworks to be found in the Diocese of Chelmsford; a fact I have been involved in highlighting previously through art trails in the Barking Episcopal Area - see here, hereherehere, here, here, here, here, here, and here. Most recently, I have included a listing of artworks to be found in the Basildon Deanery here and the Wickford and Runwell Team Ministry here and here. See also my post about artists in Broomfield - here.

On the back of these and other sources of information, here is a partial listing of artists with work which can be found in churches within the Diocese of Chelmsford:

  • Mark Angus: St Mary the Virgin Maldon.
  • G.F.Bodley: St John the Baptist Epping.
  • John Bridgeman: St Bartholomew East Ham.
  • Sarah Burgess: St Edmund Chingford.
  • Edward Burne-Jones: Ilford Hospital Chapel, St Lawrence Bradfield.
  • William Butterfield: St Catherine Wickford.
  • W.D. Caroe: St Barnabas Walthamstow.
  • Sir Hugh Casson: St Andrew Greensted-Juxta-Ongar.
  • Mark Cazalet: Chelmsford Cathedral; St Alban Romford.
  • Enid Chadwick: St Mary Runwell.
  • Fyffe Christie: St Margaret Stanford Rivers.
  • Margaret Chilton: St Andrew Leytonstone.
  • Clayton & Bell: St Barnabas Walthamstow.
  • Stanley Clifford-Smith, St John the Baptist with Our Lady and St Laurence Thaxted
  • John Coleman: St Andrew Romford.
  • Ninian Comper: St Barnabas Little Ilford.
  • John Constable: St Mary Dedham.
  • Samuel Cooper: St Augustine of Canterbury Birdbrook
  • Anne Creasey: Christ Church Thamsview.
  • Robert Crutchley: St Michael and All Angels Manor Park.
  • Hilary Davies: St Andrew Leytonstone.
  • Lewis Davies: St Andrew Leytonstone.
  • Louis B. Davis: St John Seven Kings.
  • Georg Ehrlich: Chelmsford Cathedral.
  • Peter Eugene-Ball: Chelmsford Cathedral; St Alban Romford.
  • Leonard Evetts: St Paul Goodmayes.
  • Faith-Craft Works: St Barnabas Walthamstow; St Paul Goodmayes.
  • Eric Gill: St Barnabas Walthamstow.
  • Angela Godfrey: St Peter-Ad-Vincula Royden.
  • David Griffiths: St Andrew Ilford.
  • Hans Feibusch: St Martin Dagenham.
  • David Folley: St Andrew Wickford.
  • Anthony Foster: St Peter Aldborough Hatch.
  • Peter Foster: St Martin of Tours Basildon.
  • Wilfrid Gabriel de Glehn: St Michael Theydon Mount.
  • Charles Gurrey: St Alban Romford; St Barnabas Walthamstow.
  • John Hardman: St Lawrence Bradfield.
  • Charles Hare: St John the Baptist Epping.
  • John Hayward: St Peter-Ad-Vincula Royden.
  • Henningham Family Press: St Peter Harold Wood.
  • Gwynneth Holt: All Saints Stock; St Andrew Hornchurch; St Margaret of Antioch Downham; St Mary Broomfield.
  • Derek Hunt: St John Seven Kings, St Peter and St Thomas Stambourne.
  • John Hutton: Chelmsford Cathedral; St Erkenwald Barking; St George Gants Hill.
  • Thomas Bayliss Huxley-Jones: Chelmsford Cathedral; St Martin of Tours Basildon; St Peter Aldborough Hatch.
  • George Jack: St Margaret Barking.
  • C.E. Kempe & Co. Ltd: St James Nayland; St John the Baptist Epping; St John Seven Kings.
  • Mark Lewis: St Margaret of Antioch Ilford.
  • Alison McCaffrey: St Edward Romford.
  • Morris & Co.: Holy Cross Hornchurch; St Paul Goodmayes.
  • Nicholas Mynheer: St Bartholomew East Ham.
  • Kjellaug Nordsjö: Diocesan Retreat House Pleshey; St Margaret Barking.
  • Joseph Nuttgens: St Martin of Tour Basildon.
  • John Piper: St Paul Harlow.
  • John Pitt: St Alban Romford.
  • Hugh Powell: Little Horkesley, Essex
  • Jane Quail: St Paul East Ham; St Paul Goodmayes.
  • Patrick Reyntiens: St Alban Romford.
  • Caroline Richardson: Church of the Good Shepherd Collier Row; St Luke’s Chapel Queen’s Hospital Romford; St Peter Harold Wood.
  • Richard Richardson: St Peter-Ad-Vincula Royden.
  • Zdzislaw Ruszkowski: St Peter Harlow.
  • Rosemary Rutherford: St Edmund Tendring; St Lawrence Bradfield; St Mary Broomfield; St Paul Clacton-on-Sea; St Peter Nevenden.
  • Jamie Sargeant: St Alban Romford.
  • Henry Shelton: All Saints Goodmayes; All Saints Hutton; St Barnabas Walthamstow; St Luke’s Chapel Queen’s Hospital Romford; St Paul Goodmayes.
  • F.W. Skeat: St Margaret Stanford Rivers.
  • Charles Smith: St Barnabas Walthamstow.
  • Peter S. Smith: St John Leytonstone.
  • Francis Stephens: Church of the Holy Innocents, High Beach; St Martin Chipping Ongar; St Peter-on-the-Wall Bradwell.
  • Alan Stewart: St Margaret Barking.
  • Steven Sykes: Holy Trinity & St Augustine of Hippo Leytonstone.
  • Josephina de Vasconcellos: St John the Baptist Epping.
  • Leonard Walker: St Martin Chipping Ongar.
  • Peter Webb: St Mary Woodford.
  • A.Wyatt: St Peter Aldborough Hatch.
  • Alan Younger: St Andrew Leytonstone; St Mary Woodford; St Paul Woodford Bridge.

I'm looking to extend the list in order to make it more comprehensive, so do let me know of any artists or locations that are missing. 

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Joy Williams - One Day I Will.