The Alde Valley Festival – a glimpse of a more beautiful world.

I don’t know how I have managed to miss this astonishing festival in previous years – it’s not far from where I live, but tucked away in the network of lanes between routes to other places.

Perhaps that’s one reason why, going down the drive laced with cowparsley and buttercups, it felt like we were slipping into another world – a world we are losing and a new one we are finding.  There are ribbons tied in trees, and sculptures, and everyday objects that look like they have been placed with transforming love and care.  You feel yourself relaxing, and being lifted, and filling with wonder, even as you arrive.

Jason Gathorne-Hardy writes in the programme

The farm sits within a landscape that has been planted and cultivated for hundreds, possibly thousands of years. Small areas of farm parkland and pastures [known locally as pightles] are enclosed by hedges of hawthorn, crab apple, blackthorn, field maple, hazel and elm.  This grassy landscape is punctuated by free-standing trees: oak, ash and poplars tower above the hedgerows……

White House Farm is a truly remarkable place.  They have been running this festival since 2011, using their working farm buildings as workshop space, studio space, and exhibition space.  This year’s theme is Florabundance.

As you meander through the farmyards, directed by handwritten signs on wood, you find open doors to peer behind, revealing breathtaking beauty.  There is so much, but I’ll just pick out a few details among a true abundance.

 

In the lamb nursery room – which is used as such earlier in the season – laid out on white tops, were the most exquisite bronze vegetables, fruit and seeds. Alice-Andrea Ewing had cast them from produce during her residency at the farm.  The beauty of the natural forms coupled with the weight and seriousness of bronze gave them an extraordinary presence, as if we could see and feel everyday things as truly wonderful.

aliceandreaewing1

 

The combination of old farm buildings and small cubes of art gallery white really charged ordinary food with a sense of the artist’s reverence, such as with these pears, and medlars.

 

aliceandreaewing2

 

I loved the way the whole place was so hospitable.  There were were toys and picnic tables and clues to adventures outside – and inside the lovely Suffolk chairs, old and new, were often beside piles of books that, if you felt inclined, would send you on the trail of other adventures – of friendships and connections between the artists and those who had gone before, and the places they love, and their mutual “cross pollination”.   The Benton End trail was a joy to follow – especially the connection with the iris paintings we would come to later.

I loved the transformation of the everyday, the desire to honour simple planting and growing, that was evident everywhere.  In particular, Tessa Newcomb with works “The onions continued to be elegant”, “The last moment of the Year, 2018”, and a whole barnful more….. and Ruth Stage’s limpid winter light, again in pictures of the farm and nearby walled garden.

It was the corrugated old threshing barn that held the largest and most breathtaking works though.  Jane Wormwell’s large canvasses of detailed corners of her garden, and tangles of hedgerow brambles, were remarkably powerful and moving.  These huge flowers put me in a better perspective.  The main exhibition space was given over to Jelly Green’s iris paintings.  This is why we had come – the publicity material had small snatches of them, and I really wanted to see them in real life with all the thickness of the paint and vividness and aliveness of the colours.

jelly green.jpg

 

Some of these were flowers cultivated at Benton End by Cedric Morris, who taught Maggi Hambling, who taught Jelly Green.

The vivacity, the joyfulness of the paintings was breathtaking.  I could have spent much longer there.

There is a tiny chapel in one of the barns, with a cross on the table before an animal feeding trough, a manger.  The walls have small pictures of refugees, and brick-sized scriptures alongside.  It was a good place to stop, to breathe, to pray.  The whole place is full of a deep sense of presence, of connection, of goodness, of life.

We walked through the bluebell wood, following the winding path, slowly, breathing deeply, letting the colour and the scent fill us.

 

More from Jason Gathorne-Hardy

It is easy to believe that we, as humans, can control our environment: that we dictate the terms on which we live on this planet. But that notion of power over of all that we survey is probably a mistake.  Plants give us oxygen to breathe, clean water to drink and the raw materials for shelter, food, medicines, comfort and rest.  To borrow a phrase, ‘we live in their world’. We have lost a lot of biodiversity in the past two hundred years.  Locally, this is made abundantly clear by referring to George Crabbe’s plant list for Framlingham and District in the early C19th…….
The Exhibition also seeks to honour their presence in our gardens and landscapes and celebrate the importance of plants in our lives – alongside natural pollinators and seed carriers – through the work of selected guest artists.  Implicit in this is a positive and hopeful story: that the diversity of flora and fauna that we once lived with…. in whose world we lived…. may once again become abundant and resurgent…. which is something to celebrate!

 

What a joy it was to come home, and to see that the irises in our own garden were beginning to open.

IMG_0913
If you live in Suffolk, the exhibition is open for one more weekend – the Late May Bank Holiday.  The tea in the farmhouse is very good too!

 

 

Poem: Sheringham Park Pigeons

 

 

 

WP_20180508_10_33_20_Pro - Copy.jpg

The Norfolk coast is such a beautiful and fragile place.  We walked there again,  close to cliffs that seemed to be sheering away into heaps of sand.  I tried to keep the recommended five meters from the edge.  I am not afraid of heights, but I was afraid of these cliffs.

Living in East Anglia we are very aware how precarious we are, with the power of the North Sea beside us, with the ground under our feet seeming sandy, and uncertain.  I feel the threat of that sea driven by north winds, rising as the ice melts.  These places, and the creatures that live there, like the sand martins, like us, are in uncertain times.  And although it may be tempting to despair of what is happening to our world, what our systems of greed have done and are doing to the world, I feel our sense of beauty and fragility offers us a note of hope, too.  The sorrow for what we have lost, and what we are losing – all those precious creatures, plants, places – can bring us to our senses, can help us wake up, and treasure what is close, what greets us every day with a soft, green welcome.

Sheringham Park is full of bright colour in spring – first the azaleas, then the rhododendrons.  There is a tower you can climb to look over the tops of these extraordinary banks of pink, and purple, and red.

What caught me, though, what filled me with wonder, what made me feel a part of this place, was a beech tree, and some pigeons.  The startle as they all flew away made me feel that moment, and that place – a sense of awe, of connection, of being one with a place.
It seems such a small thing in the face of potential global catastrophe – to love a place, to be awed by such ordinary things as a beech tree in new leaf, as a crowd of pigeons.  I wonder if it is such a small thing, though.  I wonder if that sense of love and connection can open us to another way of being in the Earth – humbled by its hospitality, aware we have gifts to offer in return, walking softly.

IMG_0887

 

Sheringham Park Pigeons

 At the top of the ridge –
from here the land slopes to the sea –
from the top of the tallest beech tree
singing with new green,
shining with life,
the pigeons fly
away in clattering waves,
circle after circle of them.

My steps disturbed them,
although my shoes are soft.
How could there be so many,
crashing through the blue air
in tens, in hundreds it seems,
in circles that grow wider and wider
their flights the spokes of a wheel.
And here, this smooth old grey trunk
its very centre.
Where I stand,
the very centre.

Poem: The green of rose leaves

IMG_0872.JPG

IMG_0874.JPG

IMG_0840.JPG

IMG_0818.JPG

 

The progress of the rose – some, taken last year.

The roses that ramble through the silver birch give me great joy – I love to watch them as they grow and get ready to flower, and then fill the trees with startling beauty. I’m waiting for them, I can almost anticipate their scent …..

but not so much as I don’t love the spring as it is now, today.

Sometimes, we just need to look long enough to see it.

The invitation remains.

How do we respond?

 

 

The green of rose leaves

I watch the long arching branches
of the rambling rose bend in the breeze,
noticing how the leaves lighten,
like a colourchart of
pea green,
like a Deco lithograph.

So dark by the stem,
and look, how vibrant
by the tight bud –
with its white flower
to come.

Today, I can sit here,
and do this.
Today, I give my attention
to the spring,
which warrants it.

It has been here all along,
calling with the blackcap’s
fluid, full-throated voice,
it was here,
all this green,
saying
“Look, look……”
and asking me now,
“So, are you going
to join in?”

A book for Lent – Jesus said I Am …. getting started.

IMG_0452IMG_0864.JPG

Here in the UK, it’s the second day of exceptional warmth in a row – the snowdrops are wilting, and you can almost see the blackthorn blossom opening before your eyes.  It feels more like late April, but it is the week before Lent begins.

IMG_0865.JPG
I am very pleased that various groups, churches, and groups of churches are going to use my book as guide through Lent, and, if you would like to follow, here is a suggested programme.

IMG_0790

Getting Started: Chapter 1, Moses and Abraham.  This is a shortish introductory chapter – you could fit it in the week before Lent, or as an extra piece of reading as Lent begins.

The woman at the well: week beginning Sunday 3rd March 2019.  Ash Wednesday is 6th March this year.

I am the bread of life: week beginning 10th March.

I am the light of the world:  week beginning 17th March.

I am the good shepherd, I am the gate for the sheep: week beginning 24th March.

I am the resurrection and the life: week beginning 31st March.

I am the way, the truth and the life: week beginning 7th April.

I am the true vine: week beginning 14th April, Holy Week.

I am he: Maundy Thursday, 18th April, or another day this week.

 

IMG_0871.JPG
That means that this week is a good time for me to share with you a little of the first chapter – I am: Moses and Abraham.  It’s short, so I hope you’ll be able to include it in your readings.
Exodus 3:1-14

 

John’s gospel looks back to Moses’ ancient story, recording for us how Jesus called himself by this name – “I am”.  This name, which emerged from a burning bush so long ago, is one of the most identifiable features of John’s account. It resonated with his early readers and listeners in Greek Ephesus, and it stirs our imagination even today, millennia later.  Before we go deep into John’s account, and explore why that may be, we will look back to Moses’ story and see what we understand of this earliest “I am”.

…….

Nothing is wasted in God’s economy.  God used the rubbish – and the good – in Moses’ upbringing and his life as a shepherd.  He became ideally suited to his task.  As well as his circumstances and experience, God used his character; in this case, a sense of justice and an indignation at bullies.  What must have felt like failure and a downwards path was the place where Moses encountered God.

We do not know if he was seeking God when God appeared.  We do know that he was in the middle of his everyday, working life, and that God did something strange to arrest his attention, awaken his curiosity, draw him nearer.  Attention and curiosity can guide you, can awaken you to God in the burning bushes we pass every day.

Moses certainly didn’t seem to looking for a job, let alone a great mission.  It is easy to read his rather thin excuses and wonder why he spent so long arguing.  His unwillingness to respond seems to come from uncertainty.

Moses is uncertain about himself, and he is uncertain about God.

And from the Reflection and Response section

Earth’s crammed with heaven,
And every common bush afire with God.
But only he who sees, takes off his shoes.
Elizabeth Barrett Browning

As you start your day, pray for open eyes to see where God may be at work, or may be seeking to catch your attention today.  Set off with open eyes, a camera and a notepad.  Record anything that draws your attention.  At the end of the day, mull over what you have recorded in prayer.  What did you see?

IMG_0866.JPG

If you’d like a copy, you can ask your local bookshop, or order online.

Here are a few suggestions:

The publishers, BRF

Amazon

 

img_20181130_114736372319885.jpg

Thank you for joining me in your reading.  There is more to come…..

Poem – Throwing sticks for the Black Dog

Today is the day some call Blue Monday – the most depressing day of the year.
Here in Suffolk, though, we have had some sunshine, and the frost has sparkled, so it’s less gloomy here – at least meteorologically – than it has been for weeks.

I thought I’d share this poem with you.  Churchill called his depression his Black Dog, and it seems a good name for it.  I have tried to express the care and nurture we wish we could give ourselves, and those we walk with, when we notice the Black Dog is beginning to sniff around.  Those gentle nudges towards the things that used to bring life and joy, in the hope that they will again. I hope that has quite a different feel to injunctions to pull up your socks, or whatever.  It’s more a hope of holding on to the capacity to notice what does you good, and to keep on doing that, even when you don’t feel the good being done.

I hope it is a simple and gentle hand to hold.

The Blurt Foundation offers compassionate support resources online, as do many other organisations.

wp_20170114_10_57_06_pro

Throwing Sticks for the Black Dog

When I’m walking, I pick up sticks,
they feel rough and dry in my hand.
I have been collecting them for a while,
just in case.

And that black dog, well, can you see him?
Is he walking with us –
sloping through the undergrowth?
Or there, breathing at our heels?

I will throw some sticks.
Maybe he will turn playful,
maybe he’ll run after them
and not come back.  Maybe.
Maybe he’ll leave us alone for a while.
I can try.
Here are a few I have gathered:

Beauty, any sort of beauty
that takes you unawares
so the mind halts in its circling tracks.
Green beauty of growing things,
beauty that comes from the human
heart and mind –
words that build castles in the air.
Look, there they are!

Light, and the patterns it makes
through these leaves,
and darkness, when it is soft,
when, awake at night,
sitting by an open window,
I hear the owl – can you hear it?

Movement and prayer, together,
if movement and prayer remain possible.
Good food, that grows in the earth,
its colours and smells as I chop, chop.
Friendship, and kindness –
either given, received, or witnessed.
Love.
The memory of good things past,
the faintest trace of hope for
good things to come.
For good things may come.

And so, I carry this armful of sticks,
ready to throw – ready to give away –
like this,
and this,
and this.

 

img_0682

img_0773

Here is a link to my poem Sorrows

Poem – Crow, on the lawn

IMG_0851

My first home-attempt at lino cut

 

Here is the second poem I have written about the crows who have increasingly appeared in my garden.  You can read the first, and something of the background, here.

It’s a small story, but not small for the crows.  It intrigues me to think that, as I go about my daily life, noticing or not noticing the lives around me, so many creatures are living fully, experiencing – well, we can’t know what, but what we see leads me to suppose that there may be some more commonality of experience than we tend to assume. I am trying to notice more, to see more of that commonality we share, creatures of earth that we are.

I still remember the blackbird who stood guard, in what looked like a vigil of grieving.  You can read that poem here.

I have seen various birds of pray above the garden – kestrels, a buzzard, and, greatly to my delight, a red kite.  I have seen the kestrel in pursuit of a pigeon through the trees here, and the pigeon got away.  It gives me great pleasure to see these magnificent birds, and to know that the land is healthy enough to sustain them.  But I have also seen feathers on the lawn, and blamed the neighbourhood cats.  I know now it isn’t always the cats.  And on this occasion, I saw the aftermath of the grim event.  I hope this poem honours the community of crows.

I do not know how long these crows will stay.  I think they need taller trees than the ones in my garden.  I shall keep watch, and see what they do as they search for a home.

 

Crow, on the lawn

And through the window
I see a sleek small grey bird,
with a yellow-rimmed eye,
with a curved beak,
that stands on the belly
of a crow lying on its back.
Its black flight feathers are
curled up, ruffling in the breeze
as if it lives.

And the hawk pulls on the flesh
of the crow until what remains
is light enough to carry

And then it flies,
with a low, slow flight,
leaving behind
ruffles and pom-poms
of black feathers,
a strange mourning.

Later, though, I see two
crows flying fast and straight
across the sky, intercepting
the curved, grey shape of the hawk.
They circle it close,
cawing, chasing, harrying.

And the hawk has not returned,
and the crows above me
fly in slower circles now,
and the black feathers
still tumble across the lawn.

IMG_0853

Poem – Crows

A few weeks ago we were away, staying near Hebden Bridge in West Yorkshire.  I loved the deep steep valleys full of trees, with farmland and moorland above. I also loved the way we were close to towns, and railways, and the busy life of people. We were near Haworth, Bronte country, and staying at Hardcastle Crags, which some of you may know from the Sylvia Plath poem.  I hadn’t realised quite how close we were to the places where Ted Hughes grew up and lived, and was so excited to come across the occasional little plaque in the landscape referring to this poem, or that. My backpack carried collections of poems, and notebooks, as well as chocolate and water.

WP_20181009_13_10_05_Pro

WP_20181011_14_23_57_Pro.jpg

 

So, I’ve been reading them both lately – Plath and Hughes – as well as beginning to turn some of our walks into poems of my own.  It’s taking a while, but reading Ted Hughes has reawakened my curiosity about the crows who visit our garden.  I remember doing an English project at school on Crow, and have come back to look at that collection again, in all its darkness.

What I noticed about the crows that I have come to know a little, here, is their sociability, their memory, their communication despite the apparent sameness of their cries.  They seem intelligent and sociable creatures, and I have written a couple of poems from here, in my garden.  It helps to pull things together – lived experience, and the inspiration of others – and to add a small voice to the other voices that sing songs in our landscapes.

I have also loved the wonderful exhibition at The Sainsbury Centre, UEA, of Elizabeth Frink’s work.  I have been so looking forward to that ever since I heard it was coming, as I have felt drawn to her sculptures for quite a few years, and wanted to see more.  The birds particularly struck me.

 

elizabeth frinkcrow.jpg

Crows

Now it is winter, the crows have come back
with the north wind, with the darkness.
They land softly, and in number,
at their old roosting place –
what remains the great beech
just there, ahead of us.

And then they rise again, suddenly.
They land and rise and caw,
and land, and rise, and caw.
The branches shake their dry leaves.
Can the birds tell the tree is dead,
not sleeping?
They do not settle,
whatever they know.

They crisscross the sky in dark lines
above me in the garden.
They land first here, then there.
They try the blackthorn,
and the sycamore.
They drench the holm oak
with their dark wings,
and strip it of acorns.
Their sharp black beaks and
shark black claws work and work.

All the time their cawing calls,
they seek a new place,
they keep tied to each other
with these black lines,
with these cries,
as they fly restlessly
to and fro,
to and fro.

 

IMG_0853

IMG_0851

 

 

 

I have  recently, and unusually for me, done a day’s workshop in lino cut printing at The lettering arts trust.  It was such an inspiring environment, surrounded by such excellent work.  I reminded myself to be inspired, not daunted! We had a very talented tutor, Louise Tiplady, who shared very generously of her time and talents.

I wanted to experiment with trying something at home.  It’s really satisfying to gouge away at the lino, letting shapes emerge.  The top of these two is the lino itself, and you can see how I’ve printed sometimes in red, sometimes in blue, taking out more as I felt I needed to.  I don’t have proper inks yet – I was using old ink stamps – and that might account for the blurry, grainy texture.  It’s something I’d like to keep trying, seeing if I can capture some ideas visually, as well as in words.

 

The Little Christmas Tree – still some copies available!

christmas tree

img_0627

Just in case some of you are beginning to think of buying or ordering books for Christmas, I thought I’d let you know that there are copies of my first book, The Little Christmas Tree, available.  You can order it from Lion, the publishers, as well as other online places like Waterstones  and Amazon, if you like to order things online.

Of course, if you have a local bookshop, you can always give them a ring and ask them to get it for you, if they don’t have it in stock.

It is always a pleasure to hear people say that their children have really enjoyed the book, and that it is part of their Christmas.  That’s such a privilege.

Here is another of the beautiful illustrations by Lorna Hussey – this one is the endpapers, of the wood after the storm.

img_0626

 

Featured Image -- 3301

And a photo of the woods near where I live.

Dorset Poems – Autumn lambs at Upcot farm

WP_20171016_16_17_54_Pro.jpg

WP_20171016_16_18_46_Pro.jpg

It’s a long time since I shared a Dorset poem with you – it was last October when we went there, and there is still much in my notebook to turn back to.  They fill up with words, these books, like ore, which can be taken up to the light, and sifted, and cast into something to keep, to help another day.  They fill up with things you rediscover, and see afresh.

If you would like to go back to a few other pieces from that time, you can do so here:

Dorset Poems – Scrumping in a Hurricane

and

Dorset Poems – St Gabriel’s Chapel, 1
So, while I am preparing and mullling over some more recent work to share with you – and I will do so – I thought I’d bring you this.  While we’ve been out and about walking this autumn, I remembered hearing these lambs last year, after a day of many miles and many hills, and wondering if I was imagining things.  The wind was whipping about very strangely, and I was in need of tea and cake. Rounding the corner and coming across this farm, it felt like a strange, sheltered place where, rather than things falling into decline, and ending, and growing darker, we were looped back to spring, and hope, and the almost reckless persistence and optimism of life and new beginnings.

It’s very gloomy here today in the UK.  It has grown suddenly cold.  The clocks have gone back, and it’s dark early.  I felt I needed this today, to remind me of the strange tenacity of hope.

Autumn lambs at Upcot Farm

A high thin bleating carries
on the wind
as we draw close to the farm.
It sounds like lambs, I say
It’s October, you reply,
yes, but even so,
even so…..

Twins, newborn, their chords still visible,
blue, elastic bands around each tail,
short, white wool,
ears like pink shells
full of light
with the sun behind.
Soft, new, wide-eyed,
wide-mouthed.

And another mother,
and lamb
and another
and a hen with a
cluster about her
cheeping like spring,
as the gale gusts
and blows sharp leaves
in our faces.

Here, amid the berries
and apples
and bright golden leaves
there is still the sound
of life, there is still
unexpectedly,
wonderfully,
the bleating of new lambs.

WP_20171016_16_17_36_Pro.jpg

WP_20171016_16_03_37_Pro

All photos by my husband, Peter.  With thanks.

 

 

W

Poem – Like Noah’s raven, and the dove

 

Amyrosemoore

Artwork by Amy Rose Moore

This poem emerged slowly, over weeks, as they sometimes do.  I let it sit for a while in the cold and the dark of our late winter. Looking at it again, I haven’t been quite sure whether it’s come to a place of rest, but I feel that now’s the time to let it fly and see if it finds a place to settle.

I’ve always found the story of Noah quite disturbing and unsettling, and although I feel I have made some peace with it now, it’s often these troubling places that drive you to engage with the original story in a different way.  This one in particular feels that there are depths to be plumbed, sunk into, with an imaginative and almost intuitive reading, which is what I sought when I did my retelling for Lion

 

The rains swamped valleys and plains, and crept up the sides of the mountains, until all was swallowed up in black, endless water.  As they drifted helplessly over it, Noah and his family knew that all living things left behind on the land had been drowned.  They were alone on the ark. When, after 40 days, the rain finally stopped, the silence was as cold as the waters.

Noah’s family loved their precious cargo of animals: the only other living, breathing creatures left on the earth.  They fed them, and cared for them.  As they did so, a wind blew, and the waters began to sink slowly down.  Then, one day, they heard the keel of the ark beneath them scraping and shuddering.  The ark juddered to a halt, for it had struck the top of a mountain.

Every day they scanned the horizon, longing for land, and after many weeks they saw distant purple mountains breaking free of the water.  Noah waited 40 more days, then set a raven free.  It criss-crossed over the waves, looking for somewhere to perch.  But there was nowhere.

A week later Noah tried again, sending out a dove.  It came back with an olive twig.  Noah held the bird tenderly in his hand, hope rising within him.

A week later he sent the dove out again.  This time, it did not come back.  It must have found somewhere to perch.  At last, the flood was drying up!  Noah’s face broke into a wide smile as glistening land slowly emerged and dried.

From The Bible Story Retold

The image of releasing the birds from this narrow, confined space stayed with me, drawing on my memory of Emily Dickinson’s wonderful poem Hope, which is well worth having by heart for difficult times.

I thought of the raven, how it is a carrion bird, associated with death.  Although reading the symbolism of such a long-ago story is best done humbly, I do wonder if Noah’s releasing of this bird first suggests he was expecting there to be carrion around, that it was a bird released into a imaginative landscape of death, not life.  And yet we find, later, there was now something green and growing, something to sustain and anoint and bless – the olive – and that the world that was emerging from all that destruction was peaceable, and hospitable, a place of the dove and the olive. It is a new beginning.

We are not there yet, though, at the moment of this poem.  We are at that point of wondering if we dare hope.  Wondering if it is worth the costs of hope.  Sometimes we have to remind ourselves it’s good to look for signs of hope, even when all seems lost.  It takes courage, and discipline, and persistence.  But learning to read the signs in our own landscapes, shifting our focus up and out, can begin to lift us.  And we can find that, astonishingly, green growing things are appearing.

You can listen to the poem here: https://andreaskevington.podbean.com/e/poem-like-noah-with-the-raven-and-the-dove/

 

Like Noah’s raven, and the dove

Can I let hope fly, send out birds
to brood and hover
over the chaos,
like Noah, with the raven,
and the dove?

For too long, there
has been nothing
on the horizon,
no fixed point
on the Earth’s
endless circle.
How would you ever know
if the water was falling,
or rising?

So can I now find courage to
cup birds in unsteady hands –
raven-black,
dove-white –
and throw them upwards
one by one?

To let fly a dark hope
even though there is
nowhere for it to rest,
even though it returns
like a gift
that comes back unopened.

Can I try again
and again,
in case something
living and growing has
pierced this water,
until finally a gentle bird
does not return.
Until, at last,
there is somewhere
other than this poor boat
for it to land.

May I have such birds to release.
May I let them fly, like Noah,
with the raven, and the dove.

 

Lord, purge our eyes to see
Within the seed a tree,
Within the shroud a butterfly.
Till, taught by such we see
Beyond all creatures, thee
And harken to thy tender word
And its “Fear not; it is I”
Christina Rosetti

O God, enlarge within us the sense of fellowship with all living things, our brothers the animals to whom thou gavest the earth as their home in common with us.
Basil the Great

From Prayers and Verses