Category: Poetry

The Sun Rising

Chris SwiftLeave a comment

In 2003, I visited Tate Modern in London to see Olafur Eliasson’s installation “The Weather Project”. It was an enormous sun set at the end of the vast Turbine Hall – on such a scale that it left me feeling I was on a spacecraft holding a star captured for scientific research, or to be used as energy. It was out of this world. The illusion was enhanced by artificial mist, adding to the sense of wonder and mystery.

Last week I was one of thirty amateur photographers who booked to experience the Helios sun-installation at Fountain’s Abbey. The work of Luke Jerram, Helios is more than an impressive orange sphere; it has all the detail of the sun’s surface on display. At secondary school I enjoyed spending a lunchtime break using a telescope to project sunspots onto a sheet of paper. These cool and every-changing sites on the sun’s surface have a life of their own, tracking across the face of our closest star. Jerram’s installation also contains these darker shapes of magnetic activity, which on the sun’s surface come in a wide range of sizes and last for different lengths of time.

Dawn marks a moment of prayer in most of the world’s religions. One of the liturgical options in the Church of England is to use the “Acclamation of Christ at the Dawning of the Day”:

May Christ, the true, the only light banish all darkness from our hearts and minds.

In the large internal space of Fountain’s Abbey, the monks would have greeted the new day in prayer throughout the year. On Friday, at times in lashing rain, the grim reality of monasticism in Yorkshire could not have been more apparent. Some may have chosen this way of life, other may have found their options so restricted that the Abbey became a necessity. There will have been those who thrived, and some who felt they were living a life to which they were not called. Nevertheless, every day brings possibilities and perhaps in Matins more than any other service, there is a moment of hope for all. Gerard Manley Hopkins, in The Wreck of the Deutschland, is drawn to this diurnal brightness that triumphs over night, ever confident of Christ’s appearing:

Let him easter in us, be a dayspring to the dimness of us, be a crimson-cresseted east…

Some will wake, as Hopkins says in another poem, to “feel the fell of dark, not day”. The glow in the East doesn’t say to everyone that a promising day lies ahead. Many of us know the deceitful pause, when we have awoken blissfully unaware for a fleeting few seconds of a loss or tragedy. Only to find a sudden awareness flooding into the space that seemed momentarily free and unencumbered. There are hard days in every life, but some people appear to encounter a disproportionate degree of suffering. Once, discussing funeral arrangements with a family, I was asked to keep the service as brief as possible. They had attended multiple family funerals in the previous month and simply couldn’t deal with much more.

Spending time at Fountain’s Abbey, with relatively few people about, was a moving experience. As night was dispelled by a gathering tide of light, the shell of prayer was a poignant silhouette against the fast-moving clouds of a new day. I’ve little doubt that many visitors will experience the Abbey as a fossil of faith – where the life that inhabited it has either disappeared or moved on. There is a strong sense of this in Peter Levi’s lengthy poem, Ruined Abbeys, reflecting on England’s former monasteries and the silent stones that tell of the abbeys’ purpose and the human-bees once busy in prayer:

This is intellectual light:
day-working and night-waking,
the psalms sung with their eyes aching
the human darkness and midnight:
the bees of darkness in the hive
of light when the light was alive.

Peter Levi, Ruined Abbeys

Perhaps Luke Jerram’s installation, placed into this context, finds a new way to connect the light of the past with the spirituality of today.

Language-bearers

Chris SwiftLeave a comment

In the earliest poem written in Old English, The Dream of the Rood, people are called “language bearers”. It is an intriguing descriptor-name, highlighting one of the unique characteristics of what it means to be human. While watching the new BBC series Human, I was reminded of this defining feature of our distinctiveness. Presenter Ella Al-Shamahi visited a cave in Botswana to make the case that the appearance of the first humans (who share an identity with us) was marked by the development of ritual. Behaviour that implies abstract thoughts and patterns, rendered material through actions that serve no immediate practical benefit.

However, while it may be the evidence of something, ritual must always follow in the wake of something else: the creation of story. Ritual is secondary; stories are primary. As human beings grappled to locate themselves under the stars, and at risk from the vagaries of the weather and nature, stories endow a sense of purpose in survival. We envisage a future, and that future shapes and influences our present actions. Stories also bind us together with those who share the same framework of meaning. It is for this reason that I have long thought of the book Genesis, not so much an account of creation, but as an act of creation. Sharing these particular stories meant you were knit together with the children of Israel, and shared their covenant with God. The story is the fabric that holds the people together and ritual develops out of the narratives to help anchor them within human experience. It may also be true that as stories are embedded in ritual, the act of creativity also shapes the way that the story is told.

At Helleristningene ved Sagelva, in Norway, this is one of two raindeer images ground into the rocks. They are approximately 9,000 years old.

In the way that time is so much greater than we imagine, the script of Humans reminds us that in the entire period that human beings have been around, writing has been present only for the last 1% of our history. It follows that tracing the origins of stories is an impossible task, with the evidence of ritual standing proxy for story’s presence and purpose. Very often we can only speculate about the narratives that lie behind these illustrations, or their purpose once completed. Given the harsh conditions in which early people lived, and the precious nature of resources (including time) needed to survive, the commitment to art and the creation of enduring heritage is surprising. Human being appear to have needed theologies and mythologies that wove experiences into a sense of purpose and blessing.

The poet Eamon Grennan wonders if the cave painters worked in silence, like monks illuminating Medieval manuscripts, or if they kept up a gossip of religious fervour as they created images of wonder in the given contours of rock:

It doesn’t matter: we know
they went with guttering rushlight
into the dark; came to terms
with the given world; must have had
—as their hands moved steadily
by spiderlight—one desire
we’d recognise: they would—before going on   
beyond this border zone, this nowhere   
that is now here—leave something
upright and bright behind them in the dark.

Extract from The Cave Painters by Eamon Grennan

  • The image at the head of this blog is sometimes described as ‘Viking graffiti’ and can be found in Skipwith Church, near York.

War with Trolls

Chris Swift2 Comments

Norway is a country of stunning beauty which experiences, for some of the year, either endless light or total darkness. I can’t quite imagine what winter must be like here, with deep cold as well as an absence of the sun. In summer it is awash with light, at all hours. Perhaps the drama of this experience accounts for the great composers and poets who have come from Norway.

Henrik Ibsen is Norway’s celebrated playwright and the author of the world’s most frequently performed plays (after those of Shakespeare). Ibsen is highly critical of clergy and what he sees as the inhuman demands of upholding a certain kind of Christian Orthodoxy. As an outstanding dramatist, Ibsen crafts his plays to reflect and expose the failings of key institutions and how individuals strive to live authentic lives despite the ingrained failures and disappointments arising from the unattainable expectations of society. As Ibsen reflected from his Norwegian context: “To live is to war with trolls in heart and soul”. His plays go a long way to identify some of these trolls.

“the tragic poets and dramatists, such as Ibsen, those who seem to understand something like holiness, and that life’s real question, ‘the psycho-moral dilemma’, as Arthur Miller calls it, is not ‘How do I feel about God?’ but ‘What dealings have I with God?’, not as a concept but as the leading character in the unfolding drama”.

Goroncy, J. A. (2006). Bitter Tonic for our Time–Why the Church needs the World: Peter Taylor Forsyth on Henrik Ibsen. European journal of theology, 15(2).

As I mentioned in last week’s blog, during my time away I have been reading Hanna Reichel’s After Method: queer grace, conceptual design, and the possibility of theology. It is not a quick read, but one that has captivated my attention and provided lucid language to describe and interrogate issues in theology I have long experienced, but not always found the framework to express. At its heart this concerns the tensions, and illegibilities, between systematic theology and constructive theology. To illustrate this let me describe some correspondence from many years ago, which relates to something I experienced in ministry and wrote about previously: neonatal loss. From time to time I have been asked to baptise a baby that has died, or was alive only briefly, assisted by significant medical intervention. As I explored this and what it means, theologically, I came across a note in Common Worship written by the illustrious octogenarian (as of yesterday) and onetime Regius Professor of Moral and Pastoral Theology at Christ Church, Oliver O’Donovan. O’Donovan, a former professor of systematic theology, writes: “You cannot baptize someone who is dead”.

From the standpoint of systematic theology this is consistent with Scripture; the history of Church doctrine; and the practice of the Church’s ministry. Well, it is and it isn’t. As I discovered when researching this topic, the Church in its history has found ways round this situation to preserve doctrine and meet the pastoral needs of parents. This creativity lead to the creation of “resurrection chapels” where an apparently deceased child could be handed to a priest, who then disappeared into a chapel, and came back saying that the baby had miraculously been resurrected for a moment, baptised, but then – alas – died. This enabled the veneer of orthodoxy to be preserved while meeting the earnest and sincere needs of parents. In a desire to sustain a credible doctrinal position the Church tolerated these kinds of “work arounds” but failed to allow the realities of human experience to interrogate the substance of systematic theology itself.

The core problem, it seems to me, is that the attempt to uphold a systematic understanding of faith at all costs results in a punished humanity and a pedestrian God. A theological educator said to me some years ago, with an evident sense of relief, that he was so glad they’d abandoned the use of “case studies” in the seminary where he taught. Tales from the frontline of Christian living can be very inconvenient for certain kinds of theology. Preaching at Evensong in an Oxford college, I happened to mention a pastoral call I’d received in the early hours of that day from the northern hospital where I worked. The Master thanked me afterwards for bringing in some “réalité”. It amused me that a French word was required to express the real life that had intruded into the college chapel. The question arises, what kind of theology emerges when human life is stripped out of the equation? For some key critical commentators it is theology devoid of “the messiness of incarnation and real peoples’ lives”, which makes it difficult to imagine what use it is to the people orthodoxy claims to be at the centre of God’s mission.

Barns and Bull-Boxes

Chris SwiftLeave a comment

They are peppered across the landscape of Swaledale. The stone-built barns that are sited away from the farms, designed to reduce the transport of hay over difficult ground and enable the cattle to be fed from supplies close by. On the other side of the Pennines, in the Ribble Valley, the poet Glyn Hughes was offered a more modest structure, yet equally remote. For a year he used a stone bull-box as a base for writing poetry. This followed his diagnosis of cancer, and the book of poems to emerge from the experience was to be his last. He saw this small volume of work as the spiritual dimension of his healing.

These two kinds of agricultural structures suggest a long history, often filled with the hardship of rural living. There were undoubtedly precious days of warmth and relaxation but, for most of the people most of the time, life was a struggle against the elements.

The less you possess, the more they are
not decorations but what is more needed: icons
requiring as icons do small space to give up their worth –
this water jug, this stove, this lamp, this spade,
this small table and chair.
All of it “junk” in any place but here

Extract from A Year in the Bull-Box: A Poem Sequence by Glyn Hughes, published by ARC Publications, 2011.

For Hughes, going back was the best way forward in coming to terms with the short span of life he had left. His year in the bull-box brought him back to basic things, albeit with the knowledge of the modern world close at hand. Reviewing the poems in The Guardian Simon Armitage wrote: “I don’t ever remember being as moved by a book of poems”. Which is quite something from the Poet Laureate.

A year of rudimentary living gave Hughes a re-kindled experience of childhood – encountering the smallest things with new attention and fascination. Laughing, perhaps, at the folly of holding back stream water as much as he might have wished to stem forever the tide of illness which would soon overtake him. What might have seemed isolating, bleak or depressing became precious months of connection with the seasons of the year. A spiritual stillness in the midst of an ever-turning world.

I was immortal then, not seventy but
a lithe, inquisitive
child again.

Extract from A Year in the Bull-Box: A Poem Sequence by Glyn Hughes

Play is often dismissed as childish when, what so many of us need, is the spirit of wonder and recreation that childhood brings. Many years ago I heard Gordon Mursell speak at a Diocesan Conference. His theme was God’s playfulness and, in relation to this, he recounted a story from the life of Samuel Johnson. This great lexicographer, who had a reputation for wit and wisdom, had walked to the top of a hill. When he arrived at the summit he declared to his companions that he was determined to take a roll. When those with him worked out what he meant they tried to dissuade him. However, Dr Johnson said that “he had not had a roll for a long time”, and proceeded to empty his pockets before descending the hill horizontally.

We should never lose the ability to be playful explorers of the world. For Glyn Hughes a safe return to the most basic necessities of life became a doorway to re-enchantment. A place to distill what truly matters in life and to experience and contemplate a world we did nothing to create, but to which we remain inextricably a part.

The Art of Not Taking the Deal

Chris SwiftLeave a comment

We are about the enter Holy Week. Many Christians will mark these days by attending additional church services and spending time in reflection. I never tire of reading the passion narratives because I have no doubt that in them lie the central themes of Christianity. There is a crowd in an city eager to give the inspiring young rabbi their adulation. The intimacy of close friends at supper on an important festival. The isolation of the garden outside the city walls, and then the bitter work of captivity; costly fidelity; suffering and death.

At a time when the world has become increasingly chaotic it is important to be reminded of Christ’s stillness before the powers of his day. The High Priest and Pilate undoubtedly saw the brewing popularity of Jesus as something that would be ended by his execution. On all the metrics of religious power and secular control, the Jesus who goes to the cross is done. The watching world could agree with Jesus’ last words: “It is finished”. Perhaps those two leaders saw it as the messy and unfortunate price to be paid for maintaining control; keeping the peace. The sacrifice of Jesus would enable things to stay as they were – and as they should be.

Maybe Jesus didn’t know the art of the deal? His time in the wilderness at the beginning of Lent suggest that he had set his face against compromises in his ministry. When he stood before Pilate he had no cards to play. Or, perhaps, it is more accurate to say that he chose not to accept the terms of the game. Appearing to go meekly to his death probably confirmed to many of the leaders that Jesus simply didn’t understand the reality of the world he claimed to be saving. Sad, but there you go. One death wouldn’t change anything.

A Station of the Cross by Sepo b. Ntuluna from Tanzania, in the hotel Mattli Antoniushaus, Morschach – built on the grounds of the Franciscan Community in German-Speaking Switzerland.

Then there is the humanity of loss – of which we all know something. Mary caressing the body of her son. A parent unable to intervene to save her child. The powerlessness of love which cradles the life-left body of the son she would have done anything to save. This is the darkness of despair; the earth shaken; the light of the world put out. The day of absence.

‘Faith’ is perhaps the best answer as to why Jesus doesn’t do a deal. That our miserable card games take place inside a much, much bigger story than most of us are willing to acknowledge. Soldiers at the foot of the cross didn’t have cards, but they had dice. It would be beyond their imagining that 2000 years later the events of that sorry day would still be remembered. A miserable death a few hours before a dusk that would usher in the city’s shabbat. It would be hard to imagine something less important. It was ended – time to divvy up the possessions and go home.

“Thou art God, Whose arms of love
Aching, spent, the world sustain”.

WH Vanstone from Hymn to the Creator in ‘Love’s Endeavour, Love’s Expense‘

Exposed

Chris Swift1 Comment

I’m not the kind of Christian who likes public witness. The sort of knocking-on-doors Christianity; or a beach mission; or even telling my “faith story” in a service feels embarrassing and uncomfortable. There are probably lots of reasons for this, which it would be tempting to dismiss with an air of Anglican superiority.

I am inclined naturally to a reflective and tentative articulation of faith. I don’t believe I have all the answers. “Now we see in a mirror dimly”. I have no doubt, for a host of reasons, that my faith is fractured and partial. It feels fuller and more complete when it is located within a community of faith, bringing many different experiences of God, past and present, under a single roof. Others have natural – and undoubtedly, spiritual – gifts for giving personal testimony. I don’t hesitate to say that this can be both inspiring and has a place within the life of faith. But we are not all created to be the same.

Hence, it was with some trepidation that I went along with the Gospel Streets Urban Pilgrimage in Leeds last week. Led by the admirable Lighthouse community, based in St George’s Crypt under the pastoral care of Jon Swales, the pilgrimage snaked though the streets of Leeds on a sunlit Thursday morning. Jon had a monk-ish aura wearing a cassock alb, and speaking passionately about the City while reading the Gospel of Mark. People stared at us. One passing youth shouted: “You’re all evil; you lot”.

What did it achieve?

For the thirty odd of us participating there were the kind of side-on conversations that people walking to the same destination often share. I met many people I hadn’t encountered before. Members of the Lighthouse community were with us, and it ended with a service of Holy Communion in the Crypt. We were present in spaces where religion is either excluded or extreme; the places where the more you consume the more you matter, and where street preachers tell the world that “the end is nigh”.

Our pilgrimage was less confrontational and more measured. The worst excesses of capitalism were described beside the city’s banks. People damaged by an urban environment that rejects them walked with us in a spirit of solidarity and purpose. Jon asked people sitting and reading in the sunshine of Mandella Gardens if they wouldn’t mind him speaking for a while (sooo Anglican!) and breaches of international law were mentioned by the war memorial.

I’m not sure what we achieved. A statement was made – it was enacted. In the pilgrimage through Lent, we reminded ourselves and anyone who cared to listen, that God is present in the city. That the Church is (or should be) a shelter from the storms of life and a community that is restless and longing for the Kingdom. Where people who have been rejected find a home, and where earthly power is reminded of its place.

It is absurd
to retell here what
happened there,
far away and far ago
when the idiot healed
and said, and wept
and left. A broken
nonsense in the febrile
world of expectation.

Midwinter Spring

Chris Swift1 Comment

Most poets love the liminal. At the University of Hull, in the mid 1980s, the poet Philip Larkin served as librarian. I recall him saying that the reason he chose to live and work in the city was that “it was more the end of England than anywhere else”. Being at the margins suited his temperament and talents. Little wonder that he declined the invitation to become Poet Laureate. Far too central – too Establishment.

For TS Eliot the edge of England was a place in the middle, a remote inland location, which fitted the bill: Little Gidding. Here was “England and nowhere”. Perfectly pleasant, dull, undulating agricultural land, punctuated by small villages and hamlets. Like transmitters of divine communication, the tower bells of Great Gidding speak to the distant spire of the now defunct Steeple Gidding and, in-between them, lies the humble chapel of Little Gidding. There is nothing glamorous about these buildings and little to attract the people hurtling between London and The North on the nearby A1. Perhaps the occasional pilgrim seeking to walk in the steps of Eliot, or of Nichols Farrer but, by and large, a deep, settled and impenetrable stillness. Yes: this might well be the end of England.

The Chapel, Little Gidding

Spaces at the end of things are, paradoxically, close to becoming something else. As the land of Wales begins to run out, the fields of England are drawing nearer. The final hours of a year beckon in the coming days of January. In these moments are the possibilities of change. Perhaps when we are between what has been and what is to come, there is a moment to redeem the past and shape the future. Transitions have a life and quality unlike anything else in human experience.

I write this having just said farewell to one decade and commenced another. This threshold puts me in mind of liminality, and the division of time humanity constructed from the ever rising and setting sun. Tempus fugit. Winter birthdays have their own character, when days are short and the light can be all the more impressive for its brilliance and rarity. In his poem Little Gidding TS Eliot wrote in response to the special quality of these days, as “sun flames the ice”, where “Between melting and freezing The soul’s sap quivers”.

Midwinter spring is its own season
Sempiternal though sodden towards sundown,
Suspended in time, between pole and tropic.
When the short day is brightest, with frost and fire…

Extract from TS Eliot, Little Gidding

Byland Abbey, as seen reflected across flooded and frozen fields, 17 January 2025

Ancient ruins, perhaps especially religious haunts – scarred by the most bitter of human disputes – are also liminal places. Between past and present Byland Abbey stands in remote Yorkshire fields as one of the county’s many deserted religious houses. The area in the mid-1400s must have been a sight to behold – a countryside strewn with these ornate factories of prayer and produce. It is only a relatively short distance from Byland to the sites of Rievaulx; Rosedale; Newburgh; Mount Grace and Lastingham. For countless years. visitors have paused in these ruins and sensed the steps that lie below their steps; the footfall of centuries corralled into a single hallowed house. Lying less than two miles from Coxwold, Byland Abbey was visited by the parson-novelist Laurence Sterne on many occasions. He refers to the “delicious Mansions of our long-lost sisters”. Places to muse about the past and the present; to wonder perhaps, as he did about the English Civil War, of the repeatedly un-learned lesson of history, that in order to end one tyranny, we end up creating another. That sometimes the uncertainty of the liminal is far better than the heavy boots of certainty.

There are other places
Which also are the world’s end, some at the sea jaws,
Or over a dark lake, in a desert or a city—
But this is the nearest, in place and time,
Now and in England.

Extract from TS Eliot, Little Gidding

A Season of Sterne

Chris Swift1 Comment

For the past 18 months I have been journeying with the unlikely, contradictory and inspiring Laurence Sterne. In a few weeks’ time I’ll be making the formal launch of the Lent book which is the product of this reflection: A Sterne Lent: Forty Days with the Celebrity Parson the Church Forgot.

People have asked me, as well they might, why on earth I picked Sterne’s work as a muse for the serious spiritual reflections of Lent. There are a number of reasons. Firstly, being in the centre of York, I became aware of multiple connections with Sterne, all within a few yards of where I am living. Indeed, the cleric who built this house, William Ward, might be described as the creative impulse that launched Sterne’s literary career and consequent fame. This creative impetus took the form of Ward’s death. The demise of Ward opened the door to a deeply personal, bitter and decade-long dispute between the Archbishop of York’s legal officer and the Dean. It only ended when Sterne wrote his first book, a satire on the controversy, which was so accurate and witty that the Archbishop ordered all copies of A Political Romance to be burned. Thankfully a few survived.

Effigy of Richard Sterne, Archbishop of York 1664-1683. North Quire Aisle, York Minster

Inside York Minster, Laurence’s great grandfather lies in repose. This is Archbishop Richard Sterne, and his recumbent form was carved by Grinling Gibbons (detail pictured above) the notable Anglo-Dutch sculptor. Outside the Minster, but only a matter of yards away, are two civic plaques. The first is in celebration of Elizabeth Montagu, the “Queen of the Blues”, who led a group of privileged women interested in education and mutual support for the development of their respective interests. Montagu was a correspondent with Sterne and also his wife’s cousin. A little further along the same cobbled street is the plaque to Jaques Sterne, the writer’s uncle and one-time Precentor of the Minster. As a Prebendary, Laurence Sterne would often have been in the Minster, preaching or attending meetings of the governing body. On the opposite side of the cathedral, down the ancient Roman road of Stonegate, a stained-glass commemorative disk records the place where Sterne’s Tristram Shandy was first published. As it happens, this printer’s business lies in the lineage of the publisher of A Sterne Lent, Quacks The Printer, which is today found a short distance away on a road parallel to Stonegate.

All this is interesting – possibly – but there is more to A Sterne Lent than geographical convenience. Sterne’s work continues to be significant in the arts and humanities. Tristram Shandy has a sustained and enduring influence on English literature, and literature in other languages. In the fine arts Sterne’s legacy still generates new works. Yet in the Church, Sterne is largely forgotten. Unlike Samuel Johnson or John Donne, he is absent from the religious calendar. When I re-read Tristram Shandy, and took a look at Sterne’s sermons and other writing, I discovered themes that are relevant today and, in many respects, were absolutely groundbreaking in the 18th century. For example, he uses satire to make explicit the repeated absence of female voices from decisions about their bodies and financial independence. It never occurs to the men who pontificate on the acceptability of using a cannula to perform an emergency baptism, to seek a woman’s view about the matter. When spurious pseudo-scientific and legal arguments are cited during a dinner after a major church service, involving the disinheritance of a widow, no female voice is in the conversation.

I do not know what readers will make of A Sterne Lent. As DH Lawrence famously commented: “never trust the teller, trust the tale”. Perhaps that is true in particular for Lent books. Sterne is an unlikely figure to choose as a conversation partner for the most sober season of the Christian year. He is full of mirth; jocularity; and satirical juxtapositions. Giving up some pleasure for the sake of his soul would probably have seemed a bizarre suggestion to Sterne. He is full of humour and weaves a thread of radical and counter-intuitive thinking across his writing. Not only in the prose, but in the physical presentation of the novel, he deploys startling surprises, twists and turns. Like the fluidity of the marbled page, the narratives jostle together and suddenly find themselves emerging into a new and unexpected digressions. Is Sterne taking us for a ride – or on a revelatory and challenging journey? Never trust the teller…

The unsettling ambiguity of Sterne’s writing may help us see the world anew, and fashion questions we had not thought to ask. At a time when there is so much turmoil in the Church of England I would contend that this Lent book offers reflections which have found their moment juste. With a vacancy at Lambeth, Sterne’s writing on vocation, ambition and patronage, are as pertinent today as they were in 1759. If the Church is to change for the better it needs to interrogate and understand the historic power which continues to tick in the mechanism of its present. As any reader of Tristram Shandy will tell you, when it comes to important matters in life, we must at all costs mind what we are about – consider how much depends upon what we are doing – or live with the consequences.

A Sterne Lent can be obtained from Quacks books or Amazon – where a Kindle edition is available. The photograph at the head of this blog features Shandy Hall, Coxwold, the Museum dedicated to the life and work of Laurence Sterne.

Seaside in Winter

Chris SwiftLeave a comment

This is by far my favourite time of year to be at the coast. Walks with the dog before dawn, watching the clouds change from bruised purple to dazzling gold. Hiking later in the day along headlands and across beaches, with few other walkers about. At night a deep darkness allows the Milky Way to be seen along with the winter constellations. When it is frosty it becomes an altogether magical scene. Only once did I find myself snowed in at a seaside cottage. It is a rare event, especially in a world affected by climate change. Slowly, as the day progressed, each of the three main roads out of Whitby were closed. With nowhere to go it became a good reason to stay in and put another log on the fire.

Oyster Catchers flying in the early morning along the coast at Sandsend

Observed from somewhere warm, the winter seascapes and landscapes offer drama and space for contemplation. This is the time when monarchs in mead-halls would demand that a saga was told. Perhaps a storyteller giving voice to the rich imagery of Sir Gawain and the Green Knight or, earlier still, Beowulf. Stories that reflect the darkness and magic of mid-winter, when the slightest covering of snow transforms the world outside. Perhaps it is hard for us to imagine, in an age of instant entertainment, the majestic scope and spellbinding intricacy of these substantial narratives. Like all knowledge passed down the generations, no doubt a multitude of minor changes occurred over the years which each teller making it their own tale. Eventually, multiple written copies started to keep the narrative in a form that was more stable, and the teller’s individuality became focused on the way of telling.

The sea runs back against itself
With scarcely time for breaking wave
To cannonade a slatey shelf
And thunder under in a cave.

Before the next can fully burst
The headwind, blowing harder still,
Smooths it to what it was at first –
A slowly rolling water-hill.

John Benjamin ‘Winter Seascapes’

Fewer snowy days come in our time – although we are experiencing them in the UK as I write. Generally, winter days are milder, sometimes stormier, which perhaps makes the appearance of ice and snow all the more marvellous. Growing up my mother often said “we don’t get winters like we used to”. I didn’t believe her, thinking this was simply the effect of advancing years reflecting on memories of youth. Of course, she was right. These precious days, if and when they come, may cause disruption and difficulty as people go about their lives – especially for those who are homeless. But maybe they also invite reflection, wonder, and act as a reminder of the world we are all, to some degree, changing.

Holding Still

Chris Swift1 Comment

Over the past few days I drafted a blog, as I do most weeks. It was largely a litany of despair about the state of the Church of England and the nadir of leadership and direction to which we appear to have sunk. Today is the final Sunday in the Church’s liturgical year, but it might also feel like the dying days of a once great institution. Perhaps, if its demise would ensure more people’s safety and sanity, there will be those who think that extinguishing the final embers would be an act of kindness for all concerned. The Church has failed in one of its primary obligations – but I cannot quite abandon the idea of what it might be.

Instead of a dismal diatribe about the Church’s failings (mine included) I have decided to take a different tack. The “idea of what it might be” includes resurrecting the often unseen but invaluable work of spiritual and pastoral care. In early 2020 I was looking for a poem to accompany some reflections for a retreat, but couldn’t find anything that would fit. Given this sad lacuna in English Literature I decided to pen my own verse and, for better or worse, I offer it on this final Sunday of the year as the slightest intimation of what at its best has been, and might still be, in the life of the Church’s sacramental pastoral care.

Holding Still

This work of holding;
of the the task of being
still, in order to hear.
To shift weight without

disturbance; to keep
the hushed, spare –
space; the silence into
which another speaks.

It is not nothing;
this attending and
anointing; this taking
and bearing and blessing.

To touch what has died
with the strength of love;
to see in ashen form the
hope of resurrection.

The image at the head of this blog is a photograph of a ceramic sculpture by Antonia Salmon, entitled “Holding Piece”