{"id":1261,"date":"2020-08-27T16:25:52","date_gmt":"2020-08-27T16:25:52","guid":{"rendered":"http:\/\/www.vaughanassociation.org\/?page_id=1261"},"modified":"2020-09-02T16:29:02","modified_gmt":"2020-09-02T16:29:02","slug":"scintilla-23","status":"publish","type":"page","link":"https:\/\/sites.cardiff.ac.uk\/scintilla\/scintilla-issues\/scintilla-23\/","title":{"rendered":"Scintilla 23"},"content":{"rendered":"

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Table of Contents<\/h3>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n5<\/td>\n<\/tr>\n
Peter Pike<\/td>\n‘Rending the veil of the usual’: grace conveyed through the ‘slightest things’ in the poetry of Henry Vaughan<\/td>\n9<\/td>\n<\/tr>\n
Frances-Anne King<\/td>\nBalnakeil<\/td>\n32<\/td>\n<\/tr>\n
Charles Wilkinson<\/td>\n‘brumeux’<\/td>\n33<\/td>\n<\/tr>\n
Bruce Mcrae<\/td>\nThe Hive’s Heart<\/td>\n34<\/td>\n<\/tr>\n
Peter Limbrick<\/td>\nPoet<\/td>\n35<\/td>\n<\/tr>\n
<\/td>\nIt was a short meeting<\/td>\n36<\/td>\n<\/tr>\n
Thor Bacon<\/td>\nIs\u00f6lte & Tristan<\/td>\n37<\/td>\n<\/tr>\n
John Welch<\/td>\nGardening<\/td>\n38<\/td>\n<\/tr>\n
<\/td>\nSomeone<\/td>\n40<\/td>\n<\/tr>\n
Edmund Matyjaszek<\/td>\nA Crocus Field<\/td>\n41<\/td>\n<\/tr>\n
Carol Barbour<\/td>\nAlthernal Walk<\/td>\n42<\/td>\n<\/tr>\n
Linda Black<\/td>\nRails of dresses<\/td>\n43<\/td>\n<\/tr>\n
Patrick Bond<\/td>\nThe Bone Room<\/td>\n44<\/td>\n<\/tr>\n
Shanta Acharya<\/td>\nSnowy Egret<\/td>\n45<\/td>\n<\/tr>\n
<\/td>\nIn Silence<\/td>\n46<\/td>\n<\/tr>\n
Noel Canin<\/td>\nMemories and Ashes<\/td>\n48<\/td>\n<\/tr>\n
Clare Crossman<\/td>\nThe Territory of Water<\/td>\n49<\/td>\n<\/tr>\n
Tony Brown<\/td>\n‘Sharing in the building’: The Creative Relationship of R.S. Thomas and Elsi Eldridge<\/td>\n51<\/td>\n<\/tr>\n
Claire Crowther<\/td>\nThe Physics of Coincidence<\/td>\n86<\/td>\n<\/tr>\n
<\/td>\nConfusional in a Gothic Church<\/td>\n87<\/td>\n<\/tr>\n
Neil Curry<\/td>\nSinai<\/td>\n88<\/td>\n<\/tr>\n
Sam Davidson<\/td>\nM\u00f6bius<\/td>\n89<\/td>\n<\/tr>\n
Holly Day<\/td>\nEscalation<\/td>\n90<\/td>\n<\/tr>\n
Marek Urbanowicz<\/td>\nLake Semerwater<\/td>\n91<\/td>\n<\/tr>\n
Anna Flemming<\/td>\nNot a mountain<\/td>\n93<\/td>\n<\/tr>\n
Robin Ford<\/td>\nWhat You Don’t See When You Look At Me<\/td>\n94<\/td>\n<\/tr>\n
Brigid Sivill<\/td>\nRishi Valley<\/td>\n96<\/td>\n<\/tr>\n
Christopher Meredith<\/td>\nSound of leaves not falling<\/td>\n97<\/td>\n<\/tr>\n
<\/td>\nUpstairs<\/td>\n98<\/td>\n<\/tr>\n
Roger Garfitt<\/td>\nThe Assyrian Moth<\/td>\n100<\/td>\n<\/tr>\n
Sam Garvan<\/td>\nTumulus<\/td>\n102<\/td>\n<\/tr>\n
Davide Trame<\/td>\nWhat the Thunders Say<\/td>\n103<\/td>\n<\/tr>\n
<\/td>\nThe Sacred<\/td>\n104<\/td>\n<\/tr>\n
Tom Gouthwaite<\/td>\nA Wish Unmeasured<\/td>\n105<\/td>\n<\/tr>\n
<\/td>\nZac’s Oak<\/td>\n107<\/td>\n<\/tr>\n
Holly Faith Nelson<\/td>\nTransatlantic Vaughan: The Afterlife of the Silurist in Early American Periodicals<\/td>\n108<\/td>\n<\/tr>\n
Martin Hayden<\/td>\nA Journey to Make, Sometime<\/td>\n132<\/td>\n<\/tr>\n
Martin Bennett<\/td>\nAlrewas Return<\/td>\n134<\/td>\n<\/tr>\n
<\/td>\nTrent-Mersey Canal<\/td>\n135<\/td>\n<\/tr>\n
Michael Henry<\/td>\nPyromania<\/td>\n136<\/td>\n<\/tr>\n
<\/td>\nSunny Sands Tribute<\/td>\n137<\/td>\n<\/tr>\n
Ric Hool<\/td>\nEnlightenment<\/td>\n138<\/td>\n<\/tr>\n
<\/td>\nHalfway to Everything<\/td>\n139<\/td>\n<\/tr>\n
Sarah Lindon<\/td>\nEast<\/td>\n140<\/td>\n<\/tr>\n
<\/td>\nLike Day and Night, Emerge and Hide<\/td>\n142<\/td>\n<\/tr>\n
Sean Mcdowell<\/td>\nPhotogram<\/td>\n144<\/td>\n<\/tr>\n
<\/td>\nThree Lost Objects Found<\/td>\n148<\/td>\n<\/tr>\n
Nicholas Mcgaughey<\/td>\nThe Ring<\/td>\n149<\/td>\n<\/tr>\n
William Virgil Davies<\/td>\nFor Marie Curie on her 150th Birthday<\/td>\n150<\/td>\n<\/tr>\n
<\/td>\nWidow<\/td>\n151<\/td>\n<\/tr>\n
Claire Scott<\/td>\nFoundering<\/td>\n152<\/td>\n<\/tr>\n
Paul Matthews<\/td>\nWorld Rose<\/td>\n153<\/td>\n<\/tr>\n
<\/td>\nWinter Traces<\/td>\n154<\/td>\n<\/tr>\n
Nicholas Murray<\/td>\nParbold<\/td>\n155<\/td>\n<\/tr>\n
<\/td>\nEurope<\/td>\n156<\/td>\n<\/tr>\n
<\/td>\nA Short History of Ethics<\/td>\n158<\/td>\n<\/tr>\n
Andrew Neilson<\/td>\nThe Week’s Remains<\/td>\n159<\/td>\n<\/tr>\n
Susan Skinner<\/td>\nDecember Night at the Stable<\/td>\n161<\/td>\n<\/tr>\n
<\/td>\nOn a Beach<\/td>\n162<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nUnder the Quarry Woods: journal into prose poetry<\/td>\n163<\/td>\n<\/tr>\n
Jill Townsend<\/td>\nWaiting for Results<\/td>\n183<\/td>\n<\/tr>\n
<\/td>\nRecovering<\/td>\n184<\/td>\n<\/tr>\n
Robert Nisbet<\/td>\nThe Archaeologists<\/td>\n185<\/td>\n<\/tr>\n
Ann Piling<\/td>\nAfter the Funeral<\/td>\n187<\/td>\n<\/tr>\n
Mark Harschman<\/td>\nMariners<\/td>\n188<\/td>\n<\/tr>\n
Martin Potter<\/td>\nWalking the Old Beat<\/td>\n189<\/td>\n<\/tr>\n
<\/td>\nContemplate the Floor<\/td>\n190<\/td>\n<\/tr>\n
Ranajit Sarkar<\/td>\nThe Bran-Tub<\/td>\n191<\/td>\n<\/tr>\n
Thomas R. Smith<\/td>\nThe Library of Heaven<\/td>\n192<\/td>\n<\/tr>\n
<\/td>\nPalm Sunday<\/td>\n193<\/td>\n<\/tr>\n
Alex Barr<\/td>\nIain<\/td>\n194<\/td>\n<\/tr>\n
Kenneth Steven<\/td>\nFinally<\/td>\n196<\/td>\n<\/tr>\n
<\/td>\nAt Pluscarden Abbey<\/td>\n197<\/td>\n<\/tr>\n
Beatrice Teissier<\/td>\nJacques at the Solstice<\/td>\n198<\/td>\n<\/tr>\n
<\/td>\nCremation Day<\/td>\n199<\/td>\n<\/tr>\n
<\/td>\nSignal<\/td>\n200<\/td>\n<\/tr>\n
Hubert Moore<\/td>\nBack-licking<\/td>\n201<\/td>\n<\/tr>\n
Denni Turp<\/td>\nSystem Incompatibility<\/td>\n202<\/td>\n<\/tr>\n
Christine Valters Painter<\/td>\nBeloved<\/td>\n203<\/td>\n<\/tr>\n
Donald R. Dickson<\/td>\nHenry Vaughan, Scholarly Editor<\/td>\n204<\/td>\n<\/tr>\n
Mike Jenkins<\/td>\nBack With the Smoke<\/td>\n246<\/td>\n<\/tr>\n
Dominic Weston<\/td>\nGhost of a flea<\/td>\n247<\/td>\n<\/tr>\n
<\/td>\nIt’s just You and Me Now<\/td>\n249<\/td>\n<\/tr>\n
Isabel Bermudez<\/td>\nWinter Vines<\/td>\n251<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nChandeliers<\/td>\n252<\/td>\n<\/tr>\n
<\/td>\nSeasonal Variation on a Railway Platform<\/td>\n254<\/td>\n<\/tr>\n
Chris Dodd<\/td>\nThe Field<\/td>\n255<\/td>\n<\/tr>\n
Sam Adams<\/td>\nfrom ‘Notes of an Interview with Michel Eyquem, Seigneur De Montaine’<\/td>\n256<\/td>\n<\/tr>\n
Jonathan Wooding<\/td>\nfrom ‘Force’<\/td>\n257<\/td>\n<\/tr>\n
K.E. Duffin<\/td>\nVisitation at Newport<\/td>\n258<\/td>\n<\/tr>\n
Rosie Jackson<\/td>\nResurrection<\/td>\n259<\/td>\n<\/tr>\n
<\/td>\nAfter the Door has Opened<\/td>\n260<\/td>\n<\/tr>\n
Frank Dullaghan<\/td>\nSkull<\/td>\n262<\/td>\n<\/tr>\n
Kevin Cahill<\/td>\nLao Tzu has a Go<\/td>\n263<\/td>\n<\/tr>\n
Patrick Deeley<\/td>\nDream of a Fallen Beast<\/td>\n264<\/td>\n<\/tr>\n
<\/td>\nRigour<\/td>\n266<\/td>\n<\/tr>\n
Miles Parker<\/td>\nLuggala* 1982<\/td>\n268<\/td>\n<\/tr>\n
B.J. Buckley<\/td>\nMusic for the Third Ear<\/td>\n269<\/td>\n<\/tr>\n
Linda Saunders<\/td>\nMy Mother Being Very Deaf<\/td>\n271<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Philip West<\/td>\nReview: The Works of Henry Vaughan<\/td>\n273<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors to this Issue<\/td>\n281<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents   Author Title # Preface 5 Peter Pike ‘Rending the veil of the usual’: grace conveyed through \u2026<\/p>\n

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