{"id":236,"date":"2015-12-17T13:41:47","date_gmt":"2015-12-17T13:41:47","guid":{"rendered":"https:\/\/www.vaughanassociation.org\/?page_id=236"},"modified":"2020-09-02T16:23:12","modified_gmt":"2020-09-02T16:23:12","slug":"scintilla-10","status":"publish","type":"page","link":"https:\/\/sites.cardiff.ac.uk\/scintilla\/scintilla-issues\/scintilla-10\/","title":{"rendered":"Scintilla 10"},"content":{"rendered":"

\"Scintilla-10-cvr\"<\/a><\/p>\n

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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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n7<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nTraherne’s Cosmic Consciousness<\/td>\n9<\/td>\n<\/tr>\n
B. J. Buckley<\/td>\nParallel Universe<\/td>\n22<\/td>\n<\/tr>\n
Glenda Beagan<\/td>\nTime’s Egg<\/td>\n24<\/td>\n<\/tr>\n
<\/td>\nBrighid<\/td>\n25<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nIn Orbit<\/td>\n27<\/td>\n<\/tr>\n
<\/td>\nOn the visit<\/td>\n28<\/td>\n<\/tr>\n
Peter Gruffydd<\/td>\nMixing Colours<\/td>\n29<\/td>\n<\/tr>\n
Seamus Heaney<\/td>\nMoyulla<\/td>\n31<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nReflections on ‘ground’<\/td>\n34<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nBronze Fennel<\/td>\n42<\/td>\n<\/tr>\n
Linda Black<\/td>\nWho is to say?<\/td>\n43<\/td>\n<\/tr>\n
Jane Routh<\/td>\nThe Path to the Helleborine<\/td>\n45<\/td>\n<\/tr>\n
John Killick<\/td>\nThe Big House<\/td>\n47<\/td>\n<\/tr>\n
John Barnie<\/td>\nBetween the Town and Llanwenarth<\/td>\n49<\/td>\n<\/tr>\n
<\/td>\nThe Deri in August<\/td>\n49<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nNow<\/td>\n50<\/td>\n<\/tr>\n
Clare Crossman<\/td>\nSunflowers<\/td>\n52<\/td>\n<\/tr>\n
Hubert Moore<\/td>\nWatering<\/td>\n53<\/td>\n<\/tr>\n
Glyn Pursglove<\/td>\nStorms rurn to music<\/td>\n54<\/td>\n<\/tr>\n
Mary Michaels<\/td>\nFresco<\/td>\n77<\/td>\n<\/tr>\n
Mimi Khalvati<\/td>\nOn Lines from Fahmida Riaz and Foroogh Farrokhzad<\/td>\n78<\/td>\n<\/tr>\n
<\/td>\nGhazal (of ghazals)<\/td>\n79<\/td>\n<\/tr>\n
<\/td>\nOn a Line from Sappho<\/td>\n80<\/td>\n<\/tr>\n
Kate Foley<\/td>\nTo Dream of Animals<\/td>\n81<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nRepair: Writing, Poetry and Therapy<\/td>\n82<\/td>\n<\/tr>\n
Kim Taplin<\/td>\nNot a Breath<\/td>\n97<\/td>\n<\/tr>\n
<\/td>\n“We Are Made To Lov”<\/td>\n99<\/td>\n<\/tr>\n
Penelope Shuttle<\/td>\nShawl of Dew<\/td>\n100<\/td>\n<\/tr>\n
<\/td>\nFatherghost<\/td>\n101<\/td>\n<\/tr>\n
Pat Earnshaw<\/td>\nFugitive Art<\/td>\n102<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nWhy I write<\/td>\n104<\/td>\n<\/tr>\n
Lotte Kramer<\/td>\nThe Ampersand<\/td>\n106<\/td>\n<\/tr>\n
John Welch<\/td>\nWhen in Rome<\/td>\n107<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Open Poetry Competition<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Adjudications<\/td>\n<\/td>\n118<\/td>\n<\/tr>\n
Short Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Pat Borthwick<\/td>\nPast Twelve O’clock<\/td>\n125<\/td>\n<\/tr>\n
Kate Foley<\/td>\nThrowing Up The Baby<\/td>\n127<\/td>\n<\/tr>\n
Lauraine Palmeri<\/td>\nThe Story of Hen-body and the Secret Self of Egg<\/td>\n128<\/td>\n<\/tr>\n
Short Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Linda Black<\/td>\nSee a Penny<\/td>\n130<\/td>\n<\/tr>\n
Daphne Gloag<\/td>\nAdam Delving<\/td>\n132<\/td>\n<\/tr>\n
Mary MacRae<\/td>\nThe Clearing<\/td>\n133<\/td>\n<\/tr>\n
M. C. Newton<\/td>\nA window in our new house ovedooks the sea<\/td>\n135<\/td>\n<\/tr>\n
Dilys Wood<\/td>\nIn Northamptonshire, I Arn<\/td>\n137<\/td>\n<\/tr>\n
Long Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Stephen Parr<\/td>\nVisiting the Etruscan Tombs at Volterra<\/td>\n138<\/td>\n<\/tr>\n
Sean Street<\/td>\nThe Broadcast<\/td>\n144<\/td>\n<\/tr>\n
Elizabeth Burns<\/td>\nInteriors (after Gwen John)<\/td>\n148<\/td>\n<\/tr>\n
Long Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Heather Coffey<\/td>\nVotive<\/td>\n151<\/td>\n<\/tr>\n
Rose Flint<\/td>\nThe City of Cherished Words<\/td>\n154<\/td>\n<\/tr>\n
Giles Goodland<\/td>\nMyths of the Origin of Language<\/td>\n157<\/td>\n<\/tr>\n
Amanda Parkin<\/td>\nSkin<\/td>\n159<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
John Hines<\/td>\nAire disguis’d’: Metaphors of Genre and Henry Vaughan’s Sacred Hymns<\/td>\n164<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nRenegade<\/td>\n183<\/td>\n<\/tr>\n
Gary AJlen<\/td>\nEquinox<\/td>\n186<\/td>\n<\/tr>\n
Jacqueline Karp<\/td>\nCaged in<\/td>\n188<\/td>\n<\/tr>\n
Lynne Wycherley<\/td>\nThe Westray Angel<\/td>\n190<\/td>\n<\/tr>\n
Jane Routh<\/td>\nThe River Pilot’s Wife<\/td>\n192<\/td>\n<\/tr>\n
Mercer Simpson<\/td>\nThe Island of Fishermen<\/td>\n193<\/td>\n<\/tr>\n
Jonathan Nauman & Peter Thomas<\/td>\nSir Charles Egerton of Newborough<\/td>\n196<\/td>\n<\/tr>\n
Mary MacRae<\/td>\nStone Lanterns<\/td>\n209<\/td>\n<\/tr>\n
<\/td>\nAs dew<\/td>\n210<\/td>\n<\/tr>\n
Neil Curry<\/td>\nBeneath the Wave Off Kanagawa<\/td>\n211<\/td>\n<\/tr>\n
Anne Ryland<\/td>\nSeal Song<\/td>\n213<\/td>\n<\/tr>\n
Rose Flint<\/td>\nCreative Writing for J.<\/td>\n214<\/td>\n<\/tr>\n
Ann Phillips<\/td>\nLife Mask<\/td>\n215<\/td>\n<\/tr>\n
Jeremy Hilton<\/td>\nA Long Darkness<\/td>\n217<\/td>\n<\/tr>\n
Tony Connor<\/td>\nPhillips Table Model V<\/td>\n219<\/td>\n<\/tr>\n
Brian Walsham<\/td>\nSee<\/td>\n221<\/td>\n<\/tr>\n
Holly Faith Nelson<\/td>\nMake all things new! And without end! : The Eschatological Vision of Henry Vaughan<\/td>\n222<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

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

Table of Contents   Author Title # Preface 7 John Powell Ward Traherne’s Cosmic Consciousness 9 B. J. Buckley Parallel \u2026<\/p>\n

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