On the bus

 We do have a car — here it is in front of our house. 

It's a nice little car and we both like driving it, but these days we have no reason to go very far or go anywhere very often. I take the car when I go up the hill to visit my family in the evening sometimes, if my body is hurting and I don't want to walk, and every week I take some of our family to the shops that are too far for them to walk, for their groceries. And if we go out in the evening when the buses have thinned out, or go out to one of the villages where public transport is patchy, then we take the car.

But mostly for going to church on Sunday or to the bank, or any other reason to go into Hastings town centre, or up the hill to see our family or get something from the shops nearby, we travel by bus, because we have old people's bus passes, so it's free after 9.30 in the morning.

Yesterday I caught a bus into Hastings. That maybe sounds odd, in that you probably know me as living in Hastings. I do, but like many seaside towns Hastings is a long sprawling place. St Leonards-on-Sea was a seaside holiday resort added on to it in the 1820s by a Victorian architect called James Burton. It grew through the Victorian and Edwardian era, and then in the 1930s when building deregulation gave rise to massive housing development in England, the housing estate where we now live was added to St Leonards in what had been a little country village called Hollington. So we do live in Hastings, but on the northern part of the bit that's St Leonards, and the centre of Hastings down by the sea is a couple of miles away — a bus ride.

I was going to a lunchtime concert. Through the summer these happen every week at the church where I go most Sundays now. It's a donation-only concert, so anyone can go even if they haven't got much (or any) money, and it's in the daytime, which I prefer, and only forty minutes long. These summer lunchtime concerts have a mixture of all kinds of music, but yesterday's was French café songs, very ably performed by two singers and a pianist — delightful.

The bus going into Hastings was almost full, with some people standing, and only a smattering of seats available. But I was lucky; at the point I boarded the bus the seat next to the emergency exit half-way down was empty. That's a good place to sit; it has more leg room, to make space for using the emergency door if need be. So I sat by the window, and as it's a double seat that meant there remained a vacant one next to me. And across the aisle from me the corresponding double seat likewise had someone sitting by the window and an empty aisle seat.

A couple of stops further along, several people got on board, including a small, thin, middle-aged man with a beard, wearing a rucksack and carrying a stick, and accompanied by his carer — who was a big, burly, gentle-looking young man with tattoos.

They came along the aisle past the many occupied seats, the man with the stick going first and saying softly "Not this one. Not this one." Mine was the first possibility of an empty seat, so he sat next to me, saying quietly to himself, "Keep quite still. Don't say a word." His carer took the adjacent seat across the aisle.

I spoke to the man who sat beside me, to tell him I liked his note to self — "Keep quite still. Don't say a word." — and he turned his head very fast and abruptly to look at me. He had bright, shrewd, twinkling eyes. I liked everything about this man. He told me his name is Paul Young, but explained that he was not Paul Young the rock star. He said a little more about Paul Young (the one he wasn't) and then after that our conversation lapsed; but sitting beside someone on a bus takes you within their aura, allowing you to continue to commune with them; and I liked his. 

When their stop came, silently inside my mind I said to him, "Have a good day," and as they got up from their seats his carer looked down and said to me, "Have a good day." So that was interesting. Evidently we were all tuned in, because nobody normally says that to you on a bus.

I hope I meet Paul Young (not the rock star) again one day. He felt like a friend.

As you can see, another friend has come to sit with me now —

— so I guess that's the end of that.

The Poor in Spirit

 Do you know the YouTube channel called The Awakened Believer? I find their videos on Bible texts most interesting.

I specially enjoyed this one on a verse from the beatitudes, about how its meaning has morphed in translation through the years.

I also loved this one from further along in the Sermon on the Mount.

And this one about the Lords Prayer.

Walking through the modern world

 The modern world has a kind of hyperventilating quality that is not conducive to peace.

I don't pay any attention at all to mainstream media news, because it's disappointingly propagandist, and information worth having can't be derived from that source.

I do listen to some informed and intelligent voices, to try and get some kind of map-bearing, a perspective of sorts, to help establish an appropriate direction of travel and see what's coming towards me. It makes everything less bewildering and gives me a chance to ready my own life and circumstances — always useful.

It seems fairly clear that the global patterns are moving at two levels — the one we're all supposed to be occupied watching, with its polarities and tribal antagonisms, and the orchestration behind the scenes that looks to be powerful, large and purposeful, the machinations of the Powers That were. For instance the strange coincidence of oil refineries around the world all being attacked or exploding or otherwise coming to grief at the same time. We ordinary people have no means of joining the dots, but we can be fairly sure it's not intended for our good.

Still, I've come to the conclusion that — large and powerful and heartless though the political machinery may be — it almost, from our point of view, doesn't matter. I don't mean it won't affect us, because it certainly will, but if we have no means of influencing it then it's in effect a distraction.

The last two books in the Hawk & Dove series, the ones I wrote this year, were set in 1326. That was one heck of a year in England. The king and his queen had fallen out. Edward II was a disappointing and unpopular monarch, and most of the country — church, aristocracy, people — backed the queen. Having been out of the country, she invaded and took over. Edward III was only a teenager at the time, but he was eventually set on the throne in place of his father at the beginning of 1327 — and he was an improvement, I gather.

But in reading about all this, what struck me was how bloody and barbaric the whole thing was. The King had various homosexual love affairs, which the queen was happy to ignore until it adversely affected her own interests. Then, after she'd seized power, she had one of his lovers — Henry Despenser — executed. Not beheaded as the man's father was, but raised up on a ladder that they tied him to after the initial partial hanging of being hanged drawn and quartered, and first castrated then disembowelled. The queen sat and had her lunch, watching his sex organs being tossed into a fire and his guts pulled out. After that they cut him up into pieces. King Edward meanwhile was held in captivity and died in mysterious circumstances around the turn of the year. It was rumoured that his death was brought about by having a red hot poker thrust into his rectum.

A similar fate to Henry Despenser's was visited upon the Carthusian monks during Henry VIII's dissolution of the monasteries. The Church of England's inception rests upon those bloody tortures. And those who were not so dispatched were kept in prison, chained upright to the walls, left there to starve. Carthusians. Gentle, good men whose crime was keeping faith with the Roman church and not changing their allegiance.

And further back than that, in Roman times, there was the death of Jesus — and he was one of thousands, the crosses lined the roadway. What a grisly and horrific, cruel way to die. 

But going back to the 1300s, that was a long season of wet summers during which the harvest failed year after year, and in consequence many people died. In the 14th century, the development of root vegetables hadn't happened yet. There was grain, and fruit, and animal products (meat, fish, poultry, eggs, cheese, butter, milk). The animals ate grass, and the vegetable part of the human diet was fruit, spices, herbs and some greens. They ate things like rocket and chervil, onions and garlic. But the garlic and onions weren't as we think of them now — they were more like scallions (salad onions). The leeks were like the three-cornered leek we still have. So the human population and the animal population both relied on grain to see them through the winter — augmented by hay for the cattle, but in the wet summers the hay harvests would also have failed.

I am saying all this because I think it helps us avoid having a doom-ridden disaster mentality about modern times. Yes, there is much to dismay us. Yes, there are global elites who do not wish us well. Yes, the elites want all the power and all the blessings of life for themselves and themselves alone. But the thing is, they always did. Wars are terrifying and destructive and bring no good outcome, but it was always so.

We have deceitful leaders and society riven into factions, but that was always so too. Somehow we have to find a way to thread a pathway of kindness and quietness and practical love through all this violence and antagonism. if we don't, we'll go mad.

At the same time as all the strife and division, the oppression and domination and hardship, in every century there have been good and quiet folk, caring for the land and for their families, developing skills and making music and writing poetry, worshipping God and taking delight in the seasons of the light as the year turns in the natural world. People who spin and sew, who know how to build a fire on the hearth, who know how to birth a lamb and hoe a garden.

In modern times, that maybe means there are people who can drive a car and manage the online banking and household accounts, people who can cook a Sunday lunch and know which shops have the best bargains. I hope also that, as part of our worship of God and reverence for his Spirit in creation, we are paying attention to getting our groceries from farm shops or box schemes that re-use packaging, and sell us food that has been kindly and organically and regeneratively produced. None of this glyphosate and factory farming.

And I hope that we still find ways to sew or knit our own clothes and create our own art and write our own poetry, that we still play instruments and sing together. Let's not relinquish it all to the machines.

The books I've written this year are intended to speak into the times we're living through, to help us remember the essentials of thriving as human beings even in daunting and challenging circumstances: and those essentials — in every age and place — are gentleness and understanding, the willingness to talk things through and forgive one another when something goes wrong, the grace to help each other and lift one another up. There isn't the world that we have to live in: we are made in the image of God so we each make our own world, we each have the power to create it and sustain it and redeem it. We bring it into being by our life choices, and we strengthen it by practice that deepens into habit; we redeem it by starting again when we go astray.

And it was always so.

I am a huge fan of the work of Thomas Cranmer, who was responsible for the Book of Common Prayer. Somehow his collects always put into words for me what my heart wants to pray. He, too, got tangled up in the power struggles of political elites, and despite desperate attempts to comply with their conflicting and antagonistic requirements, he spent two years in prison and in the end was burned at the stake in Oxford, holding first into the flames the hand with which he had signed his recantations.

Here is his collect for the fourth Sunday after Trinity, from the Book of Common Prayer:

O God, the protector of all that trust in thee, without whom nothing is strong, nothing is holy: Increase and multiply upon us thy mercy; that, thou being our ruler and guide, we may so pass through things temporal, that we finally lose not the things eternal. Grant this, O heavenly Father, for Jesus Christ’s sake our Lord. Amen.

So may it be.

Being prepared

 I just want to make sure you know — and here I'm writing from the UK point of view — that it will be helpful to make some preparations for the effects of the coming oil shock.

There may not be much you can do to increase your resources, but some adjustment to timing and outgoings can help you to be more resilient.

It's worth bearing in mind that reduced outgoings are in effect an income increase, so that's an area to look at, because it takes a while to change ingrained habits.

Then, it's a good idea to have a pantry of spares. It's not realistic for most people to have a huge basement like a home grocery store, but just making sure you have two spares in the cupboard where you normally would have one. This also applies to any meds and supplements that are important to you.

If (as is somewhere between possible and likely) we run into issues about power outages and water treatment plants, it can be prudent to have a power station and some bottled water or a filter system for foraged water. Shop around before making such a purchase; the power stations can almost always be had at a significantly reduced price from Amazon or a store's own sales. The links I've given you are for the ones we personally have at home, that we find very satisfactory, but there's a variety of options so something else may suit you better.

It's a good plan to have some cordless lamps (I have these), and a hot water bottle for each person. Also for the wintertime, electric blanket throws (I have this one and it's really good) mean you can keep warm without having to heat a whole house.

In case of a power outage I have a one ring camping gas stove with a supply of gas canisters. Amazon stocks a selection; there's no point linking you to the sort I have because they are no longer stocked. If you don't know which one to pick, reading the reviews is always helpful. Of course, if you have a wood stove or an open fire that gives you good options, but we don't have either in our new home.

But for everyday cooking I've completely stopped using our regular oven. We now cook just about everything in a multi-cooker air fryer thing. We have this one. Something I love about it is that it's a damn sight easier to clean than a normal oven. These machines are much more economical of fuel than normal ovens, and I find it easy to cook a whole meal (eg something like sausages plus veggies) all in one dish in just twenty minutes. Brilliant. Obviously that wouldn't help you if the power was out, but as it plugs in to a normal household socket you could use the power station if you weren't saving that to keep your freezer running. It's all about what your own priorities would be.

If you have a garden or a balcony, it's a good time of year to start some veggies growing. I like to have lots of herbs; they're tasty and easy to grow, and mean you get both the flavouring and the veggie side of things both in one. 

I'm not quite sure what to expect from this oil shock; we've had several significant national financial crises in the course of my life, and then the pandemic lockdown, and the way I live means I didn't even notice them. But I think the one coming could be quite bad, not least because our national leaders are distracted by their own political problems, do not seem to have our national interests at heart, and are following a puzzling (and I suspect not fully declared) ideology. So it does make sense to be prepared — but not to survive an apocalypse, only to give yourself some thinking time if there are shortages, and to smooth the bumps in the road caused by power outages and similar disruptions.

If these are not things you've given much thought to so far, here are a couple of videos you may find helpful. I recommend both channels.

 

 

I know this second one looks a bit alarmist but a) I think he's not being unrealistic, and b) What he has to say is wise and practical. 

 

Cover art and works in progress

As I understand it, some people are visual thinkers and other people aren't.

If I'm honest, I'm not quite sure what this means.

Do the people who are visual thinkers think entirely in pictures? Or only partly? If they are thinking about something invisible, what do they see?

I think I am a visual thinker, in as much as I do think very visually. So I tried out feeding into my mind "Air" and "God" to see what came up. And I found that I saw those words written down in my mind's eye. I could see the words very large in Times New Roman type font. Dark grey with a white background, on a rectangular piece of paper (landscape not portrait).

My husband Tony is writing a novel — he has written two books, and both were stories in a way: one was the story of the time he walked the Camino pilgrimage route (Taking My God for a Walk), and the other was the story of his working life as a publisher of Christian books (They'll Never Read That). They are both easy to read like stories are, but of course these were things he actually did, they aren't made up, so what he's writing at the moment is his first work of fiction — and he has at least two more planned, he never does things by halves!

So sometimes he talks to me about how he's writing his book — not what he's writing, it's death to a story to share that before it's told.

And the other day he was telling me how he plans and structures and creates and develops and adds twists und so weite, to create a scene — then he asked me about how I go about writing mine.

And all I could think of was that I just go to the place through my imagination, and I watch the people and listen to them, then I come out again and write down what they said and what they did.

So I suppose that's visual thinking, isn't ? 

But I noticed he said at one point yesterday that when he got stuck on resolving part of his story, a very minor character had stepped out of the shadows and fulfilled the rôle. So, is that visual thinking too, or just a visual metaphor — an image — for thinking that wasn't necessarily visual?

I'm going to have to ask Grace (my daughter) to read this and comment — she's very good at knowing about this sort of thing.

Anyway, I think I must be a visual thinker because I do see in my mind's eye pretty much everything I think about.

Let me give you an example. Before I wrote St Luke's Little Summer, I was finding it increasingly difficult to see the men at St Alcuins and the place. And I was sad, because I missed them. Then one day I saw something like the top of a rubbish bin (but sideways on like a picture frame) in my mind's eye, and it was perhaps 18 inches from side to side and made of beige plastic. A bit like one of these apertures would be if you looked straight down onto it.

And beige, and square. Floating in mid-air. And there was a tough, thick membrane stretched across the opening, not added on but part of it. And I was thinking about the men at St Alcuins and William in particular, and he had pushed his arm through this membrane — there must have been a space to do that at the centre, because it wasn't broken, and it stretched the membrane a bit to extend his arm through — and he said, "We are still here, but you can't see us any more." Which was part of how I knew the series was finishing.

That sounds like a dream, doesn't it, but it's how I think (though I don't mean it wasn't real, but it's how it arrived in my mind). Impressions come into my mind. Sometimes they are only words and then I see the words, or sometimes like that odd thing with the arm, they are visual and have words going with them. Is that visual thinking?

Anyway, what I was intending to tell you is that because my mind is very visual in its activities, I find the cover of a book is one of the most exciting parts about it.

I love the bit where it's time to ask our artists for the cover art, and then wait to see what they have made.

My last book in the Hawk & Dove series, The Light of One Lamp, has been written and edited and the text has gone off to Jonathan to be formatted — but he was away in Copenhagen when we sent it, so I believe he's expecting to work on it this week once he's properly back and got his breath. Then we have to proofread and amend any errors, then it'll be good to go.

But while Jonathan was in Denmark, the cover art came through. This was very good of our artists because they have a lot on at the moment. As well as their usual day to day work of letter-cutting at a stone masonry, their workshop at home is filled with queuing projects — two large statues of Our Lady in mid-transformation, a small herd of Gothic-looking reliquaries (very tall with loads of long pointy bits like gnarled stalagmites) that need repairing and gilding, a huge picture frame to be gilded, a taxidermied scene inside a case that needs cleaning and the background refreshing, and two busts of saints to be repainted. But they still managed to shoehorn in my book cover art.

What they sent through to me looks like this.

Which is perfect.

They still have to do the watercolour for the background coloration, and they say it's going to be blue and gold this time. I always trust their instincts which are pretty much flawless because they locate themselves in the Holy Spirit as well as being highly skilled and with a very good eye.

So all that's coming along well and I hope will all soon be ready to publish — though when it comes to publishing a book 'soon' doesn't mean 'tomorrow'. We do everything at warp speed, and it still feels like ages. But we can do in two months what would take 18 months in the world of traditional publishing. Anyway, I'll get back to you about it when it's all up and running, but I thought you might like to see the cover art, because I find it one of the most exciting parts.

I have no idea what my husband's cover art will be like — his book's about werewolves! He'll have a different artist, because my work aligns with the work of my artists, and I don't think his does particularly. I mean, they could draw you anything, but an artist's work has a spirit, doesn't it, a character, a personality, that has to sing in harmony with the story.

Songs for change

 So yesterday I was mulling over in my mind where we are headed as a society, and assessing how well our household has prepared for coming storms, according to the limited resources that are ours.

One thing that stands out for me is that, in the coming days, our deepest and most urgent need will be for one another, and the greatest contribution any one person will be able to bring is a trusting, peaceful and calm spirit — chilled out, cheerful and unafraid.

These considerations brought me back to the glorious Playing for Change Song Around the World videos, that exemplify this spirit of co-operation. Here are my favourites.

 

 

For me these songs make present to the imagination the power of ordinary people around the world to create a reality of harmony and hope, beauty unbowed and undaunted. Whatever happens to us, and however little we have, this can still be our North Star.

The two books I've written in the last year (but have been thinking about for ages), St Luke's Little Summer and The Light of One Lamp, are my own way of making present to the imagination this sense of strength through connection, the kindness by which we lift one another up, how we protect and nourish the dignity of the human spirit, and remain faithful in asserting that we are loved by God.

What Maria asked the brothers of St Alcuin

Maria sent me a question to ask the brothers at St Alcuins Abbey — she didn't mind who I asked, but wanted to know who their favourite saint was, and why. I know Brother Conradus has a particular devotion to Our Lady, but I didn't get as far as the kitchen to ask him about that.

*        *        *

The big double doors of St Alcuin’s gatehouse stand open much of the time, so carts and people on horseback can easily come and go; Brother Martin is always there in the porter’s lodge to greet and help anyone who arrives. To be fair, he’s also there to find out what they want — he’s a kind of living barrier, a human alternative to a gate, but a nice one, courteous and cheerful — at the same time as he represents the Benedictine principle of hospitality, making people welcome.

When the big doors are shut, the little postern door is left unbolted before sundown. Anyone who enters can come in and find Brother Martin and ask for who they need to see.

This seems as good a place to start as any. So I ask him, “Brother Martin, who is your favourite saint?”

It surprises me that he looks a bit embarrassed. “I find it hard to admit this," he confesses, "but St Martin of Tours is — my namesake. It seems rather self-centred. But he has a special place in my bin my heart for who he was, not just because I bear his name.”

I do know about St Martin of Tours, of course; I know he became a bishop but wasn't keen to be one. In fact he hid in the goose pen when they came to make him bishop — that level of not keen. But the thing he’s really famous for is cutting his cloak in half on a cold day, giving one half to a shivering beggar and keeping the other half for himself. That — dividing his cloak — turns out to be what specially endears him to Brother Martin (St Alcuin’s porter).

“I like that he was practical,” he explains. “It’s always felt like a particularly helpful pattern to follow. Because he could have given away the whole cloak, so the beggar was warm and he was half-frozen and caught a cold and got chilblains. Settling for half feels more realistic to me.”

I suggest to him that some people might think half a cloak is no use to anyone, so that far from being realistic he actually ensured that neither he nor the beggar had anything that could be of ongoing use to anybody. For a moment Brother Martin looks a bit put out, and then he says, “Oh! No, no. I see what you mean. You’re thinking the cloak would have been like ours, shaped across the shoulders, with a hood and a clasp. Oh, no, no no. St Martin was a Roman soldier. He wore a sagum, like a big blanket made of wool with the lanolin still in it to keep out the weather. It was just a simple rectangle that fastened on the shoulder with what they called a fiblula. Not a fibula, that’s a bone in your leg. A fiblula is a cloak pin like the Vikings had. So when he gave half his cloak away, they both had enough to manage, something to keep them warm. Not half a hood and something that would only serve for one side of you.” Then he looks at me, and begins to laugh. “You’re pulling my leg, aren't you! You knew that!”

Well, knew is overstating it, but yes, I guessed.

“I just liked that he was generous but not daft,” says Brother Martin. “He was sensible about it.”

The checker isn’t far from the gatehouse at St Alcuins, so I go there next.

“Oh, hello Little Ghost,” says Brother Cormac. “We haven’t seen you in an age. Well, I haven’t anyway. All well in the 21st century?”

I tell him it’s not really, and ask him to pray for us. He certainly knows what I’m talking about, because England wasn’t all peace and harmony in 1326 either, and he promises they will indeed hold us in their prayers. And I thank him and explain about Maria wondering who his favourite saint might be. I hazard a guess at Francis of Assisi, because I know what a soft spot Brother Cormac has for animals.

“I tend to feel that Francis — the Italian one — is the sole property of our prior,” he says. “It means a lot to him that he was given the same name. So, no, not him. I mean, he was a wonderful individual obviously, and had a kind of wholeheartedness that I certainly admire. But my favourite saint is St Melangell.”

As it happens I have an icon painting of Melangell that I can show you when I’ve finished writing this down, so I do know who he’s talking about, but I ask him to explain because you might not have heard of her. She lived in the 7th century and she's the patron saint of small creatures.

“She was an Irish woman,” he says (and I didn’t know that), “who crossed the sea to live in Wales as a hermit. A royal hunting party came after a hare in a valley there, and it took refuge with Melangell, hid under her cloak. She stood firm, and had no intention of giving up that hare. Prince Brochwel, who was the one doing the hunting, was actually rather charmed by her, not annoyed at all. He thought she was brave, and he could sense how holy she was. So he gave her the entire valley for her own, and she started an abbey there. What I treasure is not so much Prince Brochwel’s opinion, but what the hare thought of her. It recognised her as a safe place. And I honour that. I wish I could be the same. I have a special devotion to her, because she managed to be what I aspire to, but it’s out of my reach. I wish all living creatures could be safe from violence. She made something come true that I care about.”

Then he asks me about Maria, and I tell him a bit about her, and where she lives, and how her country is at war. He listens soberly, and then he says, "Oh! That Maria! Yes I know who you mean. Please tell her I will pray for her, that she will have courage, and peace, and be as safe under the protection of Jesus as the hare hidden under Melangell’s cloak."

And then they all have to go into Vespers, so I leave them to it and come back here, thinking how odd it is that both the men I asked chose as their favourite saint somebody who — in different ways — shared the warmth and shelter and refuge of their cloak.

[Icon painting of St Melangell by Alice Wilcock]

Orlando Gibbons

 I love the music of Orlando Gibbons.

This morning I've had — insistently — on my mind this hymn set to one of his melodies.

There were treasures in that pandemic lockdown time, and that socially distanced recording in Bath Abbey is one of them.

In case you don't know the words of that hymn, here they are:

Jesu, grant me this, I pray,

ever in thy heart to stay;

let me evermore abide

hidden in thy wounded side.

If the world or Satan lay

tempting snares about my way,

I am safe when I abide

in thy heart and wounded side.

If the flesh, more dangerous still,

tempt my soul to deeds of ill,

naught I fear when I abide

in thy heart and wounded side.

Death will come one day to me;

Jesu, cast me not from thee:

dying let me still abide

in thy heart and wounded side.

It was translated from the Latin in the Victorian era by an English cleric called Sir Henry William Baker, from the original 17th century Latin hymn Dignare me, O Jesu, rogo te found in German collections at Köln.

It's usually sung (as it in the video from Bath Abbey) to Orlando Gibbons' Song 13, otherwise known as Simplicity Song.

I think you can see the influence of William Byrd in that song — another composer whose music I love. I had Byrd's 3-part Mass in separate videos on my YouTube channel, and I've made a public playlist of it in case you'd like to listen to the whole thing, here. The recordings on that playlist were made all on one day in 1977 at York University's Lyons Concert Hall. I think it was Victor Lewis Smith who did the recording for them. The three voices are of Michael Guilding (tenor), Roger Wilcock (bass-baritone) and John Williams (counter-tenor). They were at that time all part of our inter-denominational St Martins Lane Community living off Micklegate in York, with Ampleforth's Fr. Fabian Cowper as our chaplain. The recording was made for Roger Wilcock's project on chant, submitted towards his bachelor's degree in music.

Orlando Gibbons' Simplicity Song is also one of the settings for W.H.Vanstone's hymn Morning Glory, Starlit Sky, which you can read here (it's under copyright so I can't reproduce the words in this post). I love that hymn, and graciously received permission to include a verse from it in the front matter of one of my Hawk & Dove novels. I can't find a recording of it set to Simplicity Song online, except there is this unlisted (again because of copyright on the words) recording of my family singing it at home (Roger Wilcock on the piano, and Grace, Hebe, Alice and me singing). Our voices were a bit crocked, because we'd been singing all afternoon! Roger on the piano is who was singing the bass line of the William Byrd 3-part Mass I linked for you, but fifty years later.

Another of Orlando Gibbons' compositions that I love is This is the Record of John. The 'John' in the song is, of course, John the Baptist; it's a setting of an extract from John's gospel — John 1.19-42.

Right, you're probably worn out with all these links! I'll leave you in peace.

x Pen

The Light of One Lamp

 St Luke's Little Summer, the Hawk & Dove story that was published just at the beginning of this month, is really one of a pair. They are both part of the Hawk & Dove stories in the usual way, but in these two books I particularly wanted to address some of the spiritual discipleship issues arising out of the very challenging times we're passing through.

I think these issues broadly fall into two subject areas. The first is about holding our light steady in times of turbulence — trusting in God's provision for occasions when we are out of our depth, worried or afraid. For such times we need to understand how to initiate and develop a steady practice, so we are not tossed about on the stormy waves. It also helps for us to understand that we can in effect create our own world: we don't have to live in the one served up by social media and the daily news. It's about realising (making real, bringing into reality) that we are made in the image of God, and God is Father, Son and Holy Spirit — Creator, Redeemer, Sustainer.

So we can create (by our initiatives and decisions) the reality we want to see in the world, because we are made in the image of God who is Creator. Then we can sustain that reality to establish and grow it on, because we are made in the image of God who is the Sustainer. But there's an important third aspect/possibility that arises from the Incarnation of God in Jesus. Because Jesus is our Redeemer, we also have the capacity to forgive and redeem by virtue of being made in the image of God. That means when things go awry, we have an innate corrective power — we have the capacity not only to initiate and establish, but also to correct and put right what has gone adrift.

This is activated in us by the outpouring of the Holy Spirit on all flesh at Pentecost, after Jesus took all humanity up to heaven and rooted us there at the ascension. All we have to do is ask him, turn to him, put our trust in him, and his power is enabled in our core being. Until we ask, it is there (because we are made in the image of God), but not activated (because God made us free). He respects our boundaries.

So the book we recently published, St Luke's Little Summer, is about these things, the dynamic flow of power that allows us to envision and initiate something new by our choices, hold it steady by our discipline and practice, and correct for mistakes and disasters by the constant power of renewal within us (the risen Christ who makes us more than conquerors).

But there's a second issue very potent in present times — the matter of polarity and antagonism. The world seems everywhere to be dividing into oppositional factors; and, as you know, Jesus prayed that we would all be one, so it isn't him doing it!

Wherever I look, I see people of conviction and good faith at loggerheads with one another, unable to see each other's point of view, and severing friendship connections for the sake of antagonistic ideological stances. We can do better than this.

So I have written a second story into this time of fights and arguments, about the discipleship qualities necessary for us to hold the line and maintain unity. It's all the usual things of forbearance, kindness, humility and the willingness to apologise and put things right, but if you have a story about it then it's easier to get it into your imagination — and your imagination is the compost in which ideas can put down roots and grow.

Because I wanted them both out for this Now moment, I wrote the second book absolutely lickety-split to get them both out together. I've been working on it with my best focus for the last few months. And now it's written and been edited, and gone to Jonathan for formatting; but he's just off for a week in Denmark, so he'll work on it when he gets back. The cover copy is ready, all that's yet to come in is the cover art, and the artists assure me it's next on their list, they're stretching the paper for the background colour wash this weekend.

Once the text and cover have gone to Jonathan then come back, Tony and I have to proofread at this end, and then the proofs will have to be corrected before uploading for publication. 

I'm hoping that by the end of May we'll have this next Hawk & Dove story ready for you.

It's called The Light of One Lamp, and it will be the last Hawk & Dove book of all — the conclusion of thirty-six years' worth of writing this series of novels!

I'll let you know when it's done. Meanwhile don't forget to review St Luke's Little Summer on Amazon if you can manage to do that.

x Pen

Clothing

 What determines your choice of clothing?

Tell me about it; I'm interested.

I think it's different for different people.

For me there are five determinants.

Firstly, my body is hypermobile, so I always wear soft, stretchy clothes. If I wear tailored woven garments, they are stronger than my body is. If I wear heavy clothes — like thick jumpers in cotton or wool — they are too heavy. If I wear shoes in thick leather, they hurt my ankles and give me blisters. So everything has to be soft and elastic, because that's what my body is — my skin, joints, blood vessels, muscles. I'm quite strong but very floppy; I look for the same in clothes. The fabrics have to be soft to the touch, not at all scratchy or rough. I mostly have polyester sweaters/hoodies, either knitted or fleece, and cotton t-shirts (or polo shirts) underneath.

For the same reason I always wear Birkenstock shoes, because my feet and ankles are soft and collapse-y. I buy them secondhand because Birkenstock shoes changed. They became heavier and very unyielding. My feet don't wear shoes in, it's more the other way round. So I look for the old sort on eBay. I have a small collection (three pairs) that I hope will live longer than I do.

Secondly, I like clothes that are modest, that enclose my body and make a kind of shelter to live in, and keep myself private and peaceful living inside the clothes. In consequence I tend to buy tops about 2 sizes larger than what measurements would suggest. I am not ashamed of my body but I don't want people to look at it. I don't want it to catch anyone's attention. I prefer to be a kind of ambulant mind. I always wear long sleeves and high necks, and either long trousers or long skirts.

Thirdly, there are some colours I'm always drawn to. For tops I best like mid-deep blue, or warm orangey/brick reds. I have a couple of beige or grey or black tops, but I don't like them so much. I buy my clothes second-hand on eBay, so I have to choose from what there is available once the essential criteria (soft, stretchy, modest) are satisfied, and that means sometimes having a colour I like less. Bright colours make me feel very tired; I think they must have some kind of vibration or resonance — I'm better with soft/deep colours. The photo below is one of the sorts of red I can wear, almost orange, but I prefer a brownish brick red really. It just depends what there is on eBay.

I like this colour better, but it's thick jacket not a top.

Fourthly, I don't usually wear patterned clothes: solid colours or checks. I do have one floral skirt that I made, and one floral dress. 

Fifthly, I have to consider shoes in buying the bottom half of my clothing. In the winter I wear warm socks and Birkenstock lace-up shoes, and I have massive feet —UK11, EU45 for shoes, UK10, EU44 for sandals. That limits the types of clothes I can wear, unless I want to look unbelievably weird; and I don't like drawing attention to myself.  

I like skirts, but they look dreadful with my shoes and socks, okay with sandals and bare feet in the summer. So through the winter I mostly wear the kind of trousers that are jogging bottoms or sweatpants or whatever you know them as — soft, warm, thick, stretchy, and a relaxed shape. I have several pairs of trousers. One is straight-legged, Lands End in their Serious Sweats range that I got on eBay. Really comfy. Dark blue and very faded, which I like. My other pairs of trousers are from Sainsburys (their Tu clothing), in a barrel leg style. Two black pairs I got from eBay (both being sold together), and a green pair also from eBay. But I have three pairs (one grey, two black) that I bought new because Tu clothes are almost as cheap as eBay prices. That's a lot of trousers. Three of them (black, Tu) are shorter than the others, as is often the case with barrel leg style, but I don't like them as much. I don't like having loads of clothes, so I'll probably send them to the charity shop at some point.

So, in the winter I have Birkis and warm socks, baggy sweatpants, and a long-sleeved cotton t-shirt or polo shirt (all my tops have long sleeves), then with a roll-neck sweater or hoodie on top, then a fleece gilet over that, or a fleece jacket if it's very cold. I don't have any full-length coats except a voluminous packable rain mac, which I almost never wear even if it's raining because the swishy sound gets in my ears and I hate it.

In the summer I mostly wear skirts (I make my skirts, shop ones are always too skimpy) with a polo shirt and sandals.

Standard undies are useless for me, too tight-fitting and uncomfy. Under trousers I wear Patra silk short johns (fab, I love them) and under skirts I wear cropped PJ jersey bottoms. I can't stand proper bras so I wear what are accurately described as comfort bras — stretchy pull-on things that are for modesty, not to create a body shape. I have three vests (underwear) that I occasionally wear when it's really cold, but mostly I add extra outer layers rather than extra under layers.

I wear fingerless gloves in cold weather. I have a couple of knitted hats and quite a lot of kantha cotton ones I made myself (see here and here). I like wearing hats; they kind of enclose my mind and keep it peaceful.

And yes, if you were wondering by now, I am what is known as neurodivergent (not keen on the term). My whole family is.

I always wear earrings, but rarely any other jewellery, not even a wedding ring. My hands change size from moment to moment (because of the hypermobility) so I've had rings fall off when I've been buying frozen peas — there's no point.

How about you? What are your criteria?