{"id":930,"date":"2019-07-13T16:24:33","date_gmt":"2019-07-13T16:24:33","guid":{"rendered":"http:\/\/www.vaughanassociation.org\/?page_id=930"},"modified":"2020-09-02T16:55:41","modified_gmt":"2020-09-02T16:55:41","slug":"searchable-scintilla-tables-of-contents","status":"publish","type":"page","link":"https:\/\/sites.cardiff.ac.uk\/scintilla\/scintilla-issues\/searchable-scintilla-tables-of-contents\/","title":{"rendered":"Searchable Scintilla: Tables of Contents"},"content":{"rendered":"

 <\/p>\n

\"\"<\/a><\/p>\n

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

 <\/p>\n

\"\"<\/a><\/p>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n9<\/td>\n<\/tr>\n
Jonathan F.S. Post<\/td>\nWalking with Vaughan in\u00a0Silex Scintillans<\/em><\/td>\n11<\/td>\n<\/tr>\n
Frances-Anne King<\/td>\nNautilus<\/td>\n30<\/td>\n<\/tr>\n
Howard Wright<\/td>\nClocks<\/td>\n32<\/td>\n<\/tr>\n
Marc Harshman<\/td>\nGlebe Wall, Oxfordshire<\/td>\n33<\/td>\n<\/tr>\n
Paul Connolly<\/td>\nStruldbrugs<\/td>\n37<\/td>\n<\/tr>\n
<\/td>\nLondon Baptism<\/td>\n39<\/td>\n<\/tr>\n
Lawrence Sail<\/td>\nSea Pictures<\/td>\n40<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nHere on earth<\/td>\n42<\/td>\n<\/tr>\n
Thomas R. Smith<\/td>\nDartmoor Morning<\/td>\n44<\/td>\n<\/tr>\n
John Barnie<\/td>\nNature Study<\/td>\n46<\/td>\n<\/tr>\n
<\/td>\nSunglasses<\/td>\n47<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\n‘The Philosopher’s Vision: Experiencing the Consolatio Philosophiae in Silex Scintillans and Thalia Rediviva’<\/td>\n48<\/td>\n<\/tr>\n
Neil Curry<\/td>\nOf The Puritan Dead<\/td>\n64<\/td>\n<\/tr>\n
Mike Jenkins<\/td>\nAnother Country<\/td>\n67<\/td>\n<\/tr>\n
<\/td>\nShapes in Bronze<\/td>\n68<\/td>\n<\/tr>\n
Paul Murphy<\/td>\nBerlin<\/td>\n69<\/td>\n<\/tr>\n
<\/td>\nSomma Vesuviana<\/td>\n71<\/td>\n<\/tr>\n
S.A. Leavesley<\/td>\nA Countryside Town<\/td>\n72<\/td>\n<\/tr>\n
<\/td>\nThe Lamp Post<\/td>\n74<\/td>\n<\/tr>\n
Grevel Lindhop<\/td>\nIn Arcadia<\/td>\n75<\/td>\n<\/tr>\n
<\/td>\nSnails<\/td>\n76<\/td>\n<\/tr>\n
<\/td>\nThe Allgreave Menhir<\/td>\n77<\/td>\n<\/tr>\n
Emma Lee<\/td>\nStitching America<\/td>\n78<\/td>\n<\/tr>\n
Bruce McRae<\/td>\nThe Day That Was Night<\/td>\n79<\/td>\n<\/tr>\n
Elizabeth Siberry<\/td>\nHenry Vaughan Remembered: some further reflections from nineteenth-century Wales<\/td>\n80<\/td>\n<\/tr>\n
Pete Limbrick<\/td>\nWavicle<\/td>\n96<\/td>\n<\/tr>\n
Rose Flint<\/td>\nSeptember Tenancies at Witham<\/td>\n97<\/td>\n<\/tr>\n
<\/td>\nLake Lillies<\/td>\n99<\/td>\n<\/tr>\n
Eve Jackson<\/td>\nSwan Feathers<\/td>\n100<\/td>\n<\/tr>\n
Se\u00e1n Street<\/td>\nThe Stone Bird<\/td>\n101<\/td>\n<\/tr>\n
Caroline Natzler<\/td>\nPre-history<\/td>\n102<\/td>\n<\/tr>\n
Helen Moore<\/td>\nSeed Yoga Sutra<\/td>\n103<\/td>\n<\/tr>\n
Michael Henry<\/td>\nPetrichor<\/td>\n105<\/td>\n<\/tr>\n
Lesley Saunders<\/td>\nShowing, Not Telling<\/td>\n107<\/td>\n<\/tr>\n
Chris Preddle<\/td>\nPerspective<\/td>\n108<\/td>\n<\/tr>\n
<\/td>\nRoland and Aude<\/td>\n109<\/td>\n<\/tr>\n
Sarah Lindon<\/td>\nIcework<\/td>\n110<\/td>\n<\/tr>\n
<\/td>\nThere is Nothing Automatic<\/td>\n111<\/td>\n<\/tr>\n
Sean H. McDowell<\/td>\nThe Sonnet Made New in George Herbert’s ‘The Temple’<\/td>\n112<\/td>\n<\/tr>\n
Ric Hool<\/td>\nThings You Learn in Scouts<\/td>\n131<\/td>\n<\/tr>\n
Prue Chamberlayne<\/td>\nA Different Anchoring of Love<\/td>\n132<\/td>\n<\/tr>\n
B.J. Buckley<\/td>\nAlong Goose Creek<\/td>\n133<\/td>\n<\/tr>\n
<\/td>\nEquinox<\/td>\n135<\/td>\n<\/tr>\n
William Virgil Davis<\/td>\nHopper’s “Automat”<\/td>\n136<\/td>\n<\/tr>\n
<\/td>\nPoem Beginning with a Sentence from Stevens<\/td>\n137<\/td>\n<\/tr>\n
Pamela Coren<\/td>\nPressure<\/td>\n138<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nThe Third<\/td>\n139<\/td>\n<\/tr>\n
<\/td>\nAfter The Rain<\/td>\n140<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nCrusader<\/td>\n141<\/td>\n<\/tr>\n
Charles Wilkinson<\/td>\nPocket of Loss<\/td>\n142<\/td>\n<\/tr>\n
Josephine Scott<\/td>\nThe End of the Season<\/td>\n143<\/td>\n<\/tr>\n
Vicki Kay<\/td>\nBrilliana Harley: Civil War Woman<\/td>\n144<\/td>\n<\/tr>\n
Chris Hall<\/td>\nno ifs<\/td>\n155<\/td>\n<\/tr>\n
Tom Gouthwaite<\/td>\nCedar<\/td>\n159<\/td>\n<\/tr>\n
Thor Bacon<\/td>\nRobert Capa’s Leica<\/td>\n160<\/td>\n<\/tr>\n
Oliver Comins<\/td>\nSunflowers at Night<\/td>\n161<\/td>\n<\/tr>\n
Oliver Mort<\/td>\nBoat in Belfast<\/td>\n162<\/td>\n<\/tr>\n
Kay Syrad<\/td>\nChagall Window<\/td>\n163<\/td>\n<\/tr>\n
Miriam Craig<\/td>\nSunset<\/td>\n164<\/td>\n<\/tr>\n
Hubert Moore<\/td>\nAt the feeding-station<\/td>\n165<\/td>\n<\/tr>\n
Rosie Jackson<\/td>\nAn Anchorite Laments the Destruction of Her Cell, 1537<\/td>\n166<\/td>\n<\/tr>\n
Mai Matsumoto<\/td>\nMagnetic Power in Henry Vaughan’s Poetry<\/td>\n167<\/td>\n<\/tr>\n
Christopher Norris<\/td>\nMissing Hues<\/td>\n188<\/td>\n<\/tr>\n
Roselle Angwin<\/td>\nBefore the World Turned Again<\/td>\n190<\/td>\n<\/tr>\n
<\/td>\nRooks<\/td>\n191<\/td>\n<\/tr>\n
Jonathan Wooding<\/td>\nPodcast<\/td>\n192<\/td>\n<\/tr>\n
Linda Saunders<\/td>\nQuahog<\/td>\n193<\/td>\n<\/tr>\n
Patricia McCarthy<\/td>\nDiscovery<\/td>\n194<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Andrew Neilson<\/td>\nReview of\u00a0A Thickness of Particulars: The Poetry of Anthony Hech\u00a0<\/em> by Jonathan F.S. Post (Oxford University Press)<\/td>\n195<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors<\/td>\n197<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n9<\/td>\n<\/tr>\n
Rowen Williams<\/td>\nReflections on The Vaughan Brothers: Poetry meets Metaphysics<\/td>\n11<\/td>\n<\/tr>\n
John Freeman<\/td>\nBeing There<\/td>\n22<\/td>\n<\/tr>\n
Ricky Ray<\/td>\nHaunting for Good<\/td>\n24<\/td>\n<\/tr>\n
Cristopher Meredith<\/td>\nFumitory<\/td>\n25<\/td>\n<\/tr>\n
<\/td>\nVillage Birds<\/td>\n26<\/td>\n<\/tr>\n
<\/td>\nGhost<\/td>\n29<\/td>\n<\/tr>\n
Eithne Lannon<\/td>\nPulse<\/td>\n30<\/td>\n<\/tr>\n
<\/td>\nThin Pulse<\/td>\n31<\/td>\n<\/tr>\n
Carol DeVaughn<\/td>\nEvening<\/td>\n32<\/td>\n<\/tr>\n
<\/td>\nSunrise<\/td>\n33<\/td>\n<\/tr>\n
<\/td>\nMidnight<\/td>\n34<\/td>\n<\/tr>\n
Robert Wilcher<\/td>\nHenry Vaughan’s Art Poetica<\/em><\/td>\n35<\/td>\n<\/tr>\n
Rosie Jackson<\/td>\nInterrupted<\/td>\n53<\/td>\n<\/tr>\n
<\/td>\nRabia and the Thief<\/td>\n54<\/td>\n<\/tr>\n
Charles Wilkinson<\/td>\nForme<\/td>\n55<\/td>\n<\/tr>\n
Alan Payne<\/td>\nMoving the Lawn<\/td>\n56<\/td>\n<\/tr>\n
<\/td>\nHurricanoes<\/td>\n57<\/td>\n<\/tr>\n
John Haynes<\/td>\nA Watching Still Awhile<\/td>\n58<\/td>\n<\/tr>\n
<\/td>\nAnd then your Secondary School Ring Binder<\/td>\n59<\/td>\n<\/tr>\n
Susan Wallace<\/td>\nTimber<\/td>\n60<\/td>\n<\/tr>\n
Sean H. McDowell<\/td>\nHenry Vaughan’s Welsh Bird<\/td>\n61<\/td>\n<\/tr>\n
Paul Matthews<\/td>\nFor Now<\/td>\n83<\/td>\n<\/tr>\n
<\/td>\nHere Now<\/td>\n84<\/td>\n<\/tr>\n
<\/td>\nThis Moment<\/td>\n85<\/td>\n<\/tr>\n
<\/td>\nHearts are Trumps<\/td>\n86<\/td>\n<\/tr>\n
<\/td>\nFrom Left to Right<\/td>\n87<\/td>\n<\/tr>\n
James Peake<\/td>\nThe Hum<\/td>\n88<\/td>\n<\/tr>\n
<\/td>\nThe Luxury Apartment<\/td>\n88<\/td>\n<\/tr>\n
<\/td>\nThe Would-be Venue<\/td>\n89<\/td>\n<\/tr>\n
<\/td>\nThe Club<\/td>\n90<\/td>\n<\/tr>\n
<\/td>\nThe Tunnel<\/td>\n91<\/td>\n<\/tr>\n
<\/td>\nThe Open Window<\/td>\n92<\/td>\n<\/tr>\n
Patrick Deeley<\/td>\nThe Ash Pit<\/td>\n93<\/td>\n<\/tr>\n
<\/td>\nAnthony of the Dessert<\/td>\n95<\/td>\n<\/tr>\n
<\/td>\nT. Rex Skull, Ulster Museum<\/td>\n96<\/td>\n<\/tr>\n
Michael Durrant<\/td>\n‘Who hears or reads of That<\/em>, shall publish Thee<\/em>‘: Print, Transmission, and the King’s Book<\/td>\n97<\/td>\n<\/tr>\n
Pete Mullineaux<\/td>\nSmall Hungers<\/td>\n121<\/td>\n<\/tr>\n
Rose Flint<\/td>\nfrom Lunar Station<\/em>: Icy Salty Cocktail in a Thin Stemmed Glass<\/td>\n122<\/td>\n<\/tr>\n
K.V. Skene<\/td>\nSAD – Seasonal Affective Disorder<\/td>\n124<\/td>\n<\/tr>\n
K.F. Duffin<\/td>\nMrs. Reed<\/td>\n125<\/td>\n<\/tr>\n
<\/td>\nLate Cicada<\/td>\n126<\/td>\n<\/tr>\n
Chris Preddle<\/td>\nThe Grey Heron<\/td>\n127<\/td>\n<\/tr>\n
<\/td>\nJacqueline on the Hill<\/td>\n128<\/td>\n<\/tr>\n
W.D. Jackson<\/td>\nAs You Like It – Rosalind<\/td>\n129<\/td>\n<\/tr>\n
<\/td>\nThe Tempest – Miranda<\/td>\n130<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\nFrom Letter to Spirit: Henry Vaughan’s Herbertian Poetic<\/td>\n131<\/td>\n<\/tr>\n
Maria Apichella<\/td>\nAn Epilectic Entering Chartres Cathedral<\/td>\n142<\/td>\n<\/tr>\n
<\/td>\nStar-lit<\/td>\n143<\/td>\n<\/tr>\n
Nicholas Murray<\/td>\nDiptych<\/td>\n144<\/td>\n<\/tr>\n
<\/td>\nThe Empty Book<\/td>\n145<\/td>\n<\/tr>\n
Roger Garfitt<\/td>\nAfter the Great Storm<\/td>\n146<\/td>\n<\/tr>\n
Alyson Hallett<\/td>\nThe Last Time<\/td>\n148<\/td>\n<\/tr>\n
Matthew Barton<\/td>\nWalking the Frome<\/td>\n149<\/td>\n<\/tr>\n
Philip Gross<\/td>\nSpiegel im Spiegel<\/td>\n151<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nDavid Jones, Metaphysical Poet<\/td>\n158<\/td>\n<\/tr>\n
Laura Potts<\/td>\nJarrow Doll<\/td>\n173<\/td>\n<\/tr>\n
Jonathan Wooding<\/td>\nmaker<\/td>\n174<\/td>\n<\/tr>\n
<\/td>\nDaleth\/Adhaesit pavimento<\/td>\n175<\/td>\n<\/tr>\n
<\/td>\nWaw\/Et veniat super me<\/td>\n176<\/td>\n<\/tr>\n
<\/td>\nTeth\/Bonitatem fecisti<\/td>\n177<\/td>\n<\/tr>\n
<\/td>\nYodh\/Manus tuae feverunt me<\/td>\n178<\/td>\n<\/tr>\n
Beatrice Tessier<\/td>\nNew Life<\/td>\n179<\/td>\n<\/tr>\n
<\/td>\nCopper loch<\/td>\n180<\/td>\n<\/tr>\n
Paul Connolly<\/td>\nDead Dog<\/td>\n181<\/td>\n<\/tr>\n
John Barnie<\/td>\nHouse Party<\/td>\n183<\/td>\n<\/tr>\n
Miriam Craig<\/td>\nJackdaws, the Lake District<\/td>\n184<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nReviews<\/td>\n<\/td>\n<\/tr>\n
Sarah Hutton<\/td>\nReview of Thomas Traherne and Seventeenth-Century Thought<\/em><\/td>\n185<\/td>\n<\/tr>\n
Anne-Marie Miller-Blaise<\/td>\nReview of Henry Vaughan and the Usk Valley<\/em><\/td>\n187<\/td>\n<\/tr>\n
Sean H. McDowell<\/td>\nReview of Returning to Donne<\/em><\/td>\n189<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors<\/td>\n192<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n\u00a0Preface<\/td>\n7<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\nVarying Arrangements: Observations on Some Copies of Henry Vaughan\u2019s\u00a0Silex Scintillans<\/em> (1655)<\/td>\n9<\/td>\n<\/tr>\n
Elizabeth Rapp<\/td>\nElijah<\/td>\n19<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nTing<\/td>\n20<\/td>\n<\/tr>\n
Charles Wilkinson<\/td>\nTracking Westwards<\/td>\n21<\/td>\n<\/tr>\n
<\/td>\nStones in the Bowman\u2019s Dreams<\/td>\n23<\/td>\n<\/tr>\n
<\/td>\nHunter<\/td>\n24<\/td>\n<\/tr>\n
<\/td>\nReaping<\/td>\n24<\/td>\n<\/tr>\n
Jock Stein<\/td>\nOn a Retreat at Beech Hill<\/td>\n25<\/td>\n<\/tr>\n
John Freeman<\/td>\nCountry Dancing<\/td>\n26<\/td>\n<\/tr>\n
Hilary Davies<\/td>\nSebastian Barker: The Spiritual Journey of a Poet in the Modern World<\/td>\n27<\/td>\n<\/tr>\n
Helen Moore<\/td>\nFirst Contact<\/td>\n49<\/td>\n<\/tr>\n
<\/td>\nMother Tongue<\/td>\n51<\/td>\n<\/tr>\n
Alex Barr<\/td>\nLight and Dark<\/td>\n52<\/td>\n<\/tr>\n
<\/td>\nGerman Girl in Old Castile<\/td>\n53<\/td>\n<\/tr>\n
Thomas R. Smith<\/td>\nAt Trinity College<\/td>\n54<\/td>\n<\/tr>\n
Jonathan Wooding<\/td>\nSilent School<\/td>\n55<\/td>\n<\/tr>\n
<\/td>\nS\u00f8ren Kierkegaard\u2019s Garden<\/td>\n57<\/td>\n<\/tr>\n
Lesley Saunders<\/td>\nSappho on Inishbofin<\/td>\n59<\/td>\n<\/tr>\n
Elizabeth S. Dodd<\/td>\nThe Spirit of the Religious Lyric: Towards Further Conversations between Literature and Theology<\/td>\n66<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nLike wax melting<\/td>\n79<\/td>\n<\/tr>\n
<\/td>\nRomney Marsh<\/td>\n80<\/td>\n<\/tr>\n
<\/td>\nFerry Quay<\/td>\n81<\/td>\n<\/tr>\n
Rose Flint<\/td>\nStorm in May, Crete<\/td>\n82<\/td>\n<\/tr>\n
Stevie Krayer<\/td>\nThis thing<\/td>\n83<\/td>\n<\/tr>\n
<\/td>\nGarden of Remembrance<\/td>\n84<\/td>\n<\/tr>\n
Nicholas Murray<\/td>\nA Green Thought<\/td>\n85<\/td>\n<\/tr>\n
<\/td>\nSweetness<\/td>\n86<\/td>\n<\/tr>\n
<\/td>\nShowings<\/td>\n87<\/td>\n<\/tr>\n
<\/td>\nWhite Gloves<\/td>\n88<\/td>\n<\/tr>\n<\/tbody>\n
Victoria Field<\/td>\nCevennes<\/td>\n89<\/td>\n<\/tr>\n
<\/td>\nRitual<\/td>\n90<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nRevisiting \u2018God\u2019s Houses\u2019<\/td>\n91<\/td>\n<\/tr>\n
Helen Overell<\/td>\nEmpty your heart and pour out all created things<\/td>\n104<\/td>\n<\/tr>\n
Jill Townsend<\/td>\nCrossing Over<\/td>\n105<\/td>\n<\/tr>\n
John Welch<\/td>\nIn Folly\u2019s Shade<\/td>\n106<\/td>\n<\/tr>\n
Kay Cotton<\/td>\nA postcard from Honfleur<\/td>\n110<\/td>\n<\/tr>\n
Miles Parker<\/td>\nNorth-East<\/td>\n111<\/td>\n<\/tr>\n
Tony Brown<\/td>\nPrey and Other Poems: Some Late Unpublished Manuscripts by R.S. Thomas<\/td>\n112<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nFurther to the World<\/td>\n132<\/td>\n<\/tr>\n
<\/td>\nTurns<\/td>\n134<\/td>\n<\/tr>\n
Alan Vaughan Williams<\/td>\nChange<\/td>\n137<\/td>\n<\/tr>\n
Mandy Pannett<\/td>\nAn Accidental Shattering<\/td>\n139<\/td>\n<\/tr>\n
Maria Apichella<\/td>\nPraise<\/td>\n140<\/td>\n<\/tr>\n
Patrick Bond<\/td>\nJanuary Mordant<\/td>\n141<\/td>\n<\/tr>\n
W. Richard Bowen<\/td>\nInterim Reports of the Inaccessible: The Quest for Meaning in the Poetry of John Ormond<\/td>\n142<\/td>\n<\/tr>\n
Philip Gross<\/td>\nAuditorium<\/td>\n161<\/td>\n<\/tr>\n
<\/td>\nDanseuse Cambodgienne<\/td>\n164<\/td>\n<\/tr>\n<\/tbody>\n
<\/td>\nEar Candle<\/td>\n165<\/td>\n<\/tr>\n<\/tbody>\n
Thor Bacon<\/td>\nOde to the Conductor<\/td>\n167<\/td>\n<\/tr>\n
Chris Preddle<\/td>\nMag Brook 1<\/td>\n168<\/td>\n<\/tr>\n
<\/td>\nMag Brook 2<\/td>\n170<\/td>\n<\/tr>\n<\/tbody>\n
David Hart<\/td>\nIt is not customary<\/td>\n171<\/td>\n<\/tr>\n
Greg Miller<\/td>\nThe Burning Bush Triptych (1476)<\/td>\n172<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors<\/td>\n174<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla<\/p>\n

Table of Contents<\/h3>\n

 <\/p>\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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n9<\/td>\n<\/tr>\n
Robert Wilcher<\/td>\n\u2018Henry Vaughan\u2019s Public and Private Elegies\u2019<\/td>\n12<\/td>\n<\/tr>\n
Maria Apichella<\/td>\nDavid Calls<\/td>\n28<\/td>\n<\/tr>\n
<\/td>\nDeuteronomy Reads<\/td>\n29<\/td>\n<\/tr>\n
<\/td>\nBless me,<\/td>\n30<\/td>\n<\/tr>\n
Matthew Barton<\/td>\nBurial Chamber<\/td>\n31<\/td>\n<\/tr>\n
<\/td>\nBackwoods<\/td>\n32<\/td>\n<\/tr>\n
<\/td>\nBalancing Act<\/td>\n33<\/td>\n<\/tr>\n
Joseph Ashmore<\/td>\nReimagining Scriptural Places in the Writing of Henry Vaughan<\/td>\n34<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nExtremes<\/td>\n52<\/td>\n<\/tr>\n
<\/td>\nMaking May<\/td>\n53<\/td>\n<\/tr>\n
<\/td>\nTriptych<\/td>\n54<\/td>\n<\/tr>\n
Prue Chamberlayne<\/td>\nHow Beauty Travels<\/td>\n57<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\nDuplex Emulation: George Herbert\u2019s \u201cChristmas\u201d & Henry Vaughan\u2019s \u201cChrist\u2019s Nativity<\/td>\n58<\/td>\n<\/tr>\n
William Virgil Davis<\/td>\nHis Life<\/td>\n67<\/td>\n<\/tr>\n
<\/td>\nA Sonnet for Paul Muldoon<\/td>\n68<\/td>\n<\/tr>\n
<\/td>\nDepartures<\/td>\n69<\/td>\n<\/tr>\n
<\/td>\nWoman with Her Hair Tousled by the Wind in Front of an Eclipse<\/td>\n70<\/td>\n<\/tr>\n
John Freeman<\/td>\nA First Visit to Steep<\/td>\n71<\/td>\n<\/tr>\n
Joseph Sterrett<\/td>\n\u2018John Davies of Hereford, the King of Denmark & Shakespeare\u2019s Meeting of Kings: Praise Beyond Praise\u2019<\/td>\n73<\/td>\n<\/tr>\n
Marc Harshman<\/td>\nRecoveries<\/td>\n83<\/td>\n<\/tr>\n
<\/td>\nStone<\/td>\n84<\/td>\n<\/tr>\n
Graham Harthill<\/td>\nfor Anne<\/td>\n85<\/td>\n<\/tr>\n
<\/td>\nMigrating Bones<\/td>\n86<\/td>\n<\/tr>\n
Rosie Jackson<\/td>\nMary Shelley, Hyde Park, 1850<\/td>\n90<\/td>\n<\/tr>\n
<\/td>\nJohn Donne Arriving in Heaven<\/td>\n91<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\n\u2018\u201cVaughan Variations\u201d: Anne Cluysenaar in conversation with Henry Vaughan\u2019<\/td>\n92<\/td>\n<\/tr>\n
Oliver Marlow<\/td>\nWould you grasp a nettle?<\/td>\n110<\/td>\n<\/tr>\n
<\/td>\nSchool Chapel<\/td>\n111<\/td>\n<\/tr>\n
<\/td>\nInside a church<\/td>\n112<\/td>\n<\/tr>\n
Caroline Natzler<\/td>\nI Saw<\/td>\n114<\/td>\n<\/tr>\n
<\/td>\nInto Life<\/td>\n115<\/td>\n<\/tr>\n
<\/td>\nAs If<\/td>\n116<\/td>\n<\/tr>\n
Doiran Williams<\/td>\nSpring Cleaning<\/td>\n117<\/td>\n<\/tr>\n
Howard Wright<\/td>\nGarden Furniture<\/td>\n118<\/td>\n<\/tr>\n
<\/td>\nHearth and Home<\/td>\n120<\/td>\n<\/tr>\n
Jeremy Young<\/td>\nNarcissus<\/td>\n121<\/td>\n<\/tr>\n
Alan Rudrum<\/td>\nPeter Thomas: A Remembrance<\/td>\n122<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors<\/td>\n126<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n11<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\n\u2018Classicism and Conversion: The Role of the Poems\u2028 and Letters of St. Paulinus of Nola in Henry Vaughan\u2019s Silex Scintillans<\/em>\u2019<\/td>\n13<\/td>\n<\/tr>\n
Lesley Saunders<\/td>\nCell<\/td>\n28<\/td>\n<\/tr>\n
<\/td>\nSpeculum<\/td>\n29<\/td>\n<\/tr>\n
<\/td>\nPipette<\/td>\n30<\/td>\n<\/tr>\n
<\/td>\nThe Crystal Wombs of Katharinenthal<\/td>\n31<\/td>\n<\/tr>\n
<\/td>\nIn Vitro<\/td>\n32<\/td>\n<\/tr>\n
Richard Berengarten<\/td>\nThe Doubling<\/td>\n33<\/td>\n<\/tr>\n
<\/td>\nHome<\/td>\n34<\/td>\n<\/tr>\n
<\/td>\nOnce, twice<\/td>\n35<\/td>\n<\/tr>\n
<\/td>\nA Resonance<\/td>\n36<\/td>\n<\/tr>\n
<\/td>\nText and Intertext<\/td>\n37<\/td>\n<\/tr>\n
<\/td>\nDot<\/td>\n38<\/td>\n<\/tr>\n
Sam Adams<\/td>\n21 September, 7.15 am<\/td>\n39<\/td>\n<\/tr>\n
<\/td>\n25\/26 September<\/td>\n40<\/td>\n<\/tr>\n
<\/td>\n30 May<\/td>\n41<\/td>\n<\/tr>\n
Clare Crossman<\/td>\n1. Stefani<\/td>\n42<\/td>\n<\/tr>\n
<\/td>\nJune at Dowera\u2019s Manor<\/td>\n43<\/td>\n<\/tr>\n
Alex Barr<\/td>\nAsh<\/td>\n44<\/td>\n<\/tr>\n
John Killick<\/td>\nRemembering James Leggat (1896 \u2013 1993)<\/td>\n46<\/td>\n<\/tr>\n
Patrick Bond<\/td>\nShaving by Candlelight<\/td>\n47<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nThat donkey, she was my freedom<\/td>\n48<\/td>\n<\/tr>\n
<\/td>\nI hope it still happens, as then<\/td>\n49<\/td>\n<\/tr>\n
<\/td>\nWhy click on Fontaine de Vaucluse<\/em>?<\/td>\n50<\/td>\n<\/tr>\n
Noam Reisner<\/td>\n\u2018Martyred Signs: Robert Southwell\u2019s religious use of metaphor\u2019<\/td>\n51<\/td>\n<\/tr>\n
Alison Brakenbury<\/td>\nThe North<\/td>\n68<\/td>\n<\/tr>\n
<\/td>\nKeats in Hampstead<\/td>\n69<\/td>\n<\/tr>\n
<\/td>\nBeneath Battersea Bridge<\/td>\n70<\/td>\n<\/tr>\n
<\/td>\nAll March<\/td>\n71<\/td>\n<\/tr>\n
Michael Curtis<\/td>\nOther<\/td>\n72<\/td>\n<\/tr>\n
Kate Foley<\/td>\nFruit Harmony in the Dark<\/td>\n73<\/td>\n<\/tr>\n
<\/td>\nParis Church<\/td>\n74<\/td>\n<\/tr>\n
<\/td>\nOnly To Be There<\/td>\n75<\/td>\n<\/tr>\n
Chris Dodd<\/td>\nChange of Light<\/td>\n76<\/td>\n<\/tr>\n
<\/td>\nThe Northern Lights<\/td>\n77<\/td>\n<\/tr>\n
<\/td>\nThe Measuring<\/td>\n78<\/td>\n<\/tr>\n
<\/td>\nAmong Beech Trees<\/td>\n79<\/td>\n<\/tr>\n
K. E. Duffin<\/td>\nHouse at Scituate<\/td>\n80<\/td>\n<\/tr>\n
<\/td>\nRubythroat<\/td>\n81<\/td>\n<\/tr>\n
Rhian Edwards<\/td>\nThe Gulls are Mugging<\/td>\n82<\/td>\n<\/tr>\n
<\/td>\nMurmuration<\/td>\n83<\/td>\n<\/tr>\n
<\/td>\nReturn of the Native<\/td>\n84<\/td>\n<\/tr>\n
Rose Flint<\/td>\nAshes and Dust<\/td>\n85<\/td>\n<\/tr>\n
<\/td>\nWelsh Church on the Hill<\/td>\n87<\/td>\n<\/tr>\n
<\/td>\nSnake in Quietness<\/td>\n88<\/td>\n<\/tr>\n
Kay Cotton<\/td>\nWalnut Tree<\/td>\n89<\/td>\n<\/tr>\n
John Freeman<\/td>\nMy Father Swimming<\/td>\n90<\/td>\n<\/tr>\n
<\/td>\nSpace Travellers<\/td>\n91<\/td>\n<\/tr>\n
Anna Lewis<\/td>\nAt the George and Pilgrim<\/td>\n92<\/td>\n<\/tr>\n
Dorian Williams<\/td>\nTriptych<\/td>\n93<\/td>\n<\/tr>\n
Philip Gross<\/td>\nFrequencies<\/td>\n96<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\n\u2018Leading into strangeness: Rowan Williams, Poet and theologian\u2019<\/td>\n98<\/td>\n<\/tr>\n
David Hart<\/td>\nThe Border Sketchy<\/td>\n117<\/td>\n<\/tr>\n
Richard Hawtree<\/td>\nStray Versicles<\/td>\n119<\/td>\n<\/tr>\n
W. D. Jackson<\/td>\nviii, Love\u2019s Labour\u2019s Lost<\/em>\u2014Berowne<\/td>\n120<\/td>\n<\/tr>\n
<\/td>\nx, A Midsummer Night\u2019s Dream\u2014<\/em>Hippolyta<\/td>\n121<\/td>\n<\/tr>\n
<\/td>\nxvi, Much Ado About Nothing<\/em>\u2014Benedick<\/td>\n122<\/td>\n<\/tr>\n
Sean H. McDowell<\/td>\nWind at D\u00fan Aonghasa<\/td>\n123<\/td>\n<\/tr>\n
Maureen Jivani<\/td>\nDear God<\/td>\n124<\/td>\n<\/tr>\n
<\/td>\nAugust<\/td>\n125<\/td>\n<\/tr>\n
Oliver Comins<\/td>\nRed Horse<\/td>\n126<\/td>\n<\/tr>\n
Brenda Lealman<\/td>\nExodus<\/td>\n127<\/td>\n<\/tr>\n
<\/td>\nLooming<\/td>\n129<\/td>\n<\/tr>\n
Patricia McCarthy<\/td>\nBell Ringers<\/td>\n130<\/td>\n<\/tr>\n
Edward Storey<\/td>\nSeeing Music<\/td>\n131<\/td>\n<\/tr>\n
<\/td>\nBringing Home a Nightingale\u2019s Egg-shell<\/td>\n132<\/td>\n<\/tr>\n
Se\u00e1n Street<\/td>\nMass in E-flat Major<\/td>\n133<\/td>\n<\/tr>\n
Helen Moore<\/td>\nHoneydew at Solstice<\/td>\n137<\/td>\n<\/tr>\n
Philip West<\/td>\n\u2018John Chatwin\u2019s Translations of Henry Vaughan\u2019<\/td>\n138<\/td>\n<\/tr>\n
Howard Wright<\/td>\nHeatwave<\/td>\n147<\/td>\n<\/tr>\n
<\/td>\nThe Repair Kit<\/td>\n148<\/td>\n<\/tr>\n
<\/td>\nThe Old School<\/td>\n149<\/td>\n<\/tr>\n
Chris Preddle<\/td>\nSomme<\/td>\n150<\/td>\n<\/tr>\n
<\/td>\nTianfei<\/td>\n151<\/td>\n<\/tr>\n
<\/td>\nSappho<\/td>\n152<\/td>\n<\/tr>\n
<\/td>\nTethys<\/td>\n153<\/td>\n<\/tr>\n
Regina Walton<\/td>\nLooking at Memling<\/td>\n154<\/td>\n<\/tr>\n
Robert Nisbet<\/td>\nHotel Room, Bermuda<\/td>\n155<\/td>\n<\/tr>\n
<\/td>\nAs You Like It<\/em> in the Bishop\u2019s Palace<\/td>\n156<\/td>\n<\/tr>\n
Chris Norris<\/td>\nFrom Symbolon: An Essay on Rhyme<\/em><\/td>\n157<\/td>\n<\/tr>\n
Jock Stein<\/td>\nOn the Runway<\/td>\n159<\/td>\n<\/tr>\n
Alan Payne<\/td>\nNorth<\/td>\n160<\/td>\n<\/tr>\n
<\/td>\nThat They Are There!<\/td>\n161<\/td>\n<\/tr>\n
Thomas R. Smith<\/td>\nHoly Saturday<\/td>\n162<\/td>\n<\/tr>\n
Charles Wilkinson<\/td>\nCaves<\/td>\n163<\/td>\n<\/tr>\n
<\/td>\nFrom \u2018Of the Red & the White Books\u2019<\/td>\n164<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nIS<\/td>\n166<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nAbsence, Presence: Recalling Peter Thomas<\/td>\n171<\/td>\n<\/tr>\n
Fiona Owen<\/td>\n\u2018Into all this\u2019: a tribute to Anne Cluysenaar<\/td>\n174<\/td>\n<\/tr>\n
Susan Bassnett<\/td>\nIn Memoriam: Anne Cluysenaar 1936-2014<\/td>\n179<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors<\/td>\n185<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

<\/div>\n
<\/div>\n
\n
\"\"<\/a><\/div>\n
<\/div>\n
\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n9<\/td>\n<\/tr>\n
Robert Wilcher<\/td>\nHenry Vaughan’s Borrowings in the Secular Poems: Plagiarism, Imitation, Allusion<\/td>\n11<\/td>\n<\/tr>\n
Andie Lewenstein<\/td>\nGenesis<\/td>\n29<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nSource<\/td>\n30<\/td>\n<\/tr>\n
Meredith Andrea<\/td>\nTributary<\/td>\n31<\/td>\n<\/tr>\n
<\/td>\nEphemera<\/td>\n32<\/td>\n<\/tr>\n
Roger Garfitt<\/td>\nLadywell<\/td>\n33<\/td>\n<\/tr>\n
Ric Hool<\/td>\nBoot Hill<\/td>\n34<\/td>\n<\/tr>\n
<\/td>\nDecember: Remote<\/td>\n35<\/td>\n<\/tr>\n
Naomi Marklew<\/td>\nSilex Scintillians<\/em>: Henry Vaughan’s Interregnum Elegy<\/td>\n36<\/td>\n<\/tr>\n
Elizabeth Barrett<\/td>\nMorgan’s Revenge<\/td>\n53<\/td>\n<\/tr>\n
<\/td>\nEven the Salt Sea<\/td>\n54<\/td>\n<\/tr>\n
Myra Scneider<\/td>\nBreathing Space<\/td>\n56<\/td>\n<\/tr>\n
Doiran Williams<\/td>\nFughetta<\/td>\n58<\/td>\n<\/tr>\n
Regina Walton<\/td>\nExemplum<\/td>\n59<\/td>\n<\/tr>\n
<\/td>\nOn the Feast of Bernard of Clairvaux<\/td>\n60<\/td>\n<\/tr>\n
Michael Martin<\/td>\nDat rosa mel apibus<\/td>\n61<\/td>\n<\/tr>\n
Eve Jackson<\/td>\nBedazzled by Beetles<\/td>\n62<\/td>\n<\/tr>\n
Tony Brown<\/td>\nJourney without Maps: R. S. Thomas’s Unpublished Exphrastic Poems<\/td>\n63<\/td>\n<\/tr>\n
Stecie Krayer<\/td>\nArachnophilia<\/td>\n82<\/td>\n<\/tr>\n
Helen Overell<\/td>\nQuadrat<\/td>\n83<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nSkies<\/td>\n84<\/td>\n<\/tr>\n
Phil Maillard<\/td>\nThe Confidence of Swallows<\/td>\n85<\/td>\n<\/tr>\n
Patrick Bond<\/td>\nAbbey Dore<\/td>\n86<\/td>\n<\/tr>\n
<\/td>\nAmbassadors of the Limits<\/td>\n87<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nAbbey Dore<\/td>\n89<\/td>\n<\/tr>\n
<\/td>\nSt. Bride’s, Llansantffraed<\/td>\n91<\/td>\n<\/tr>\n
Colleen Wethered<\/td>\n‘The watches of the night’: Henry Vaughan and R. S. Thomas<\/td>\n92<\/td>\n<\/tr>\n
Hilary Davies<\/td>\nIn the Neuadd Valley, Brecon Beacons<\/td>\n101<\/td>\n<\/tr>\n
Charles Wilkinson<\/td>\nOf the Red and the White Books\/From ‘The First Branch’: Rhiannon Riding<\/td>\n102<\/td>\n<\/tr>\n
John Freeman<\/td>\nOn the Field of Battle<\/td>\n104<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\n‘It was marvellous and actual’: In Memory of Seamus Heaney<\/td>\n106<\/td>\n<\/tr>\n
<\/td>\nOn receiving from Michael Srigley a letter about ‘Crossings, xxxvi’ in Seamus Heaney’s Seeing Things<\/td>\n107<\/td>\n<\/tr>\n
<\/td>\nAfter the launch of\u00a0Moved by the Spirits<\/em>, poems in Polish with translations<\/td>\n108<\/td>\n<\/tr>\n
William Oxley<\/td>\nResting Suns<\/td>\n109<\/td>\n<\/tr>\n
Graham Parry<\/td>\n‘An unsettled mind in unsettled times’: The Poems of John Collop<\/td>\n111<\/td>\n<\/tr>\n
Sam Adams<\/td>\nConcerning the Reverend George and Sarah Williams – a fragment of family history in seven episodes<\/td>\n119<\/td>\n<\/tr>\n
Jock Stein<\/td>\nThe Father’s hands<\/td>\n127<\/td>\n<\/tr>\n
W.D. Jackson<\/td>\nFrom: ‘A Giotto Triptych’<\/td>\n128<\/td>\n<\/tr>\n
Dilys Wood<\/td>\nSomeone not far from here has been waiting<\/td>\n130<\/td>\n<\/tr>\n
Rupert M. Loydell<\/td>\nNeed to Know<\/td>\n132<\/td>\n<\/tr>\n
Mike Jenkins<\/td>\nDark Ice<\/td>\n133<\/td>\n<\/tr>\n
Katerina Fretwell<\/td>\nHey Death,<\/td>\n134<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nEcce Homo<\/em><\/td>\n135<\/td>\n<\/tr>\n
Erik Ankerberg<\/td>\nThe Poetry of Wallce Stevens and the Purposes of Ardour<\/td>\n136<\/td>\n<\/tr>\n
Jan Fortune<\/td>\nVI. A Litany for Cwmorthin<\/td>\n151<\/td>\n<\/tr>\n
David Hart<\/td>\nDrift<\/td>\n153<\/td>\n<\/tr>\n
Kate Foley<\/td>\nA Table is the Still Life of a Tree<\/td>\n156<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nLike Trees Shaped By A Prevailing Wind<\/td>\n157<\/td>\n<\/tr>\n
Niall McDevitt<\/td>\nA Mother<\/td>\n165<\/td>\n<\/tr>\n
Kay Cotton<\/td>\nThe Labours of Hercules<\/td>\n166<\/td>\n<\/tr>\n
Christoper Norris<\/td>\nSoul and Form<\/td>\n170<\/td>\n<\/tr>\n
Sarah Lindon<\/td>\nOwl hallow<\/td>\n178<\/td>\n<\/tr>\n
Colin Moss<\/td>\nMaking<\/td>\n179<\/td>\n<\/tr>\n
Greg Miller<\/td>\nConcert to Mary, La Sainte Chapelle, after a mission to South Sudan during a time of war<\/td>\n180<\/td>\n<\/tr>\n
Jay Ramsay<\/td>\nJosselin<\/td>\n182<\/td>\n<\/tr>\n
Alan Payne<\/td>\nMount Ballow<\/td>\n183<\/td>\n<\/tr>\n
Tony Curtis<\/td>\nWyeth’s Liberty Launch<\/td>\n184<\/td>\n<\/tr>\n
Aidan Dun<\/td>\nColorado<\/td>\n185<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nHeartlands: on some poems by Ruth Bidgood and Christopher Meredith<\/td>\n186<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nThe Unvocation of Kuya<\/td>\n201<\/td>\n<\/tr>\n
Roselle Angwin<\/td>\nBuddha Garden, Gardoussel<\/td>\n203<\/td>\n<\/tr>\n
<\/td>\nSeptember (Gardoussel)<\/td>\n204<\/td>\n<\/tr>\n
Paul Matthews<\/td>\nOracles<\/td>\n205<\/td>\n<\/tr>\n
Rose Flint<\/td>\nSomething That Loves Us<\/td>\n209<\/td>\n<\/tr>\n
Victoria Field<\/td>\nSunday on Iona<\/td>\n210<\/td>\n<\/tr>\n
<\/td>\nVeil<\/td>\n211<\/td>\n<\/tr>\n
Hubert Moore<\/td>\nFeeders<\/td>\n212<\/td>\n<\/tr>\n
<\/td>\nOutfits<\/td>\n213<\/td>\n<\/tr>\n
Se\u00e1n Street<\/td>\nWhite as Jasmine<\/td>\n214<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors to this Issue<\/td>\n215<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
<\/div>\n

 <\/p>\n<\/div>\n

\"\"<\/a><\/div>\n
<\/div>\n

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
Robert Wilcher<\/td>\n“Thalia” and the “Father of Lights”: Nature and God in the Works of Henry Vaughan and Thomas Vaughan<\/td>\n9<\/td>\n<\/tr>\n
Alan Payne<\/td>\nHigger Tor<\/td>\n37<\/td>\n<\/tr>\n
Greg Miller<\/td>\nFrom Fire by Fire<\/td>\n38<\/td>\n<\/tr>\n
<\/td>\nKing David<\/td>\n39<\/td>\n<\/tr>\n
Andie Lewenstein<\/td>\nLeaving Iona<\/td>\n41<\/td>\n<\/tr>\n
<\/td>\nEvening Blues<\/td>\n42<\/td>\n<\/tr>\n
Christopher Meredith<\/td>\nNothing<\/td>\n43<\/td>\n<\/tr>\n
<\/td>\nGuitar<\/td>\n44<\/td>\n<\/tr>\n
Alexander Barr<\/td>\nLetters to my Daughter<\/td>\n46<\/td>\n<\/tr>\n
John Freeman<\/td>\nBrought to Mind<\/td>\n49<\/td>\n<\/tr>\n
Peter Finch<\/td>\nBoots<\/td>\n50<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nThe Price<\/td>\n51<\/td>\n<\/tr>\n
Christopher Hodgkins<\/td>\n“We Split!”: Divided Consciousness and Redemptive Space in Hakluyt’s Mexico and Prospero’s Isle<\/td>\n53<\/td>\n<\/tr>\n
Stevie Krayer<\/td>\nSunbrick Burial Ground<\/td>\n68<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nFrom Time to Time<\/td>\n70<\/td>\n<\/tr>\n
Rose Flint<\/td>\nAngel With Glittering Hands<\/td>\n71<\/td>\n<\/tr>\n
Carol Devaughn<\/td>\nA Meeting of Angels<\/td>\n73<\/td>\n<\/tr>\n
Marina Sanchez<\/td>\nBefore Birth<\/td>\n74<\/td>\n<\/tr>\n
Mario Petrucci<\/td>\nmonitor i<\/td>\n75<\/td>\n<\/tr>\n
Paul Matthews<\/td>\nTongues of Fire<\/td>\n77<\/td>\n<\/tr>\n
Joseph Sterrett<\/td>\nThe Dynamic of Despair: Evolving Toleration for Cain in Herbet and Vaughan<\/td>\n81<\/td>\n<\/tr>\n
Aled Jones Williams<\/td>\n1<\/td>\n92<\/td>\n<\/tr>\n
<\/td>\n2<\/td>\n92<\/td>\n<\/tr>\n
<\/td>\nLitwergiau\u00a0<\/em>(Liturgies)<\/td>\n93<\/td>\n<\/tr>\n
Charles Wilkinson<\/td>\nHidden<\/td>\n94<\/td>\n<\/tr>\n
Philip Gross<\/td>\nConversations with the Taff<\/td>\n96<\/td>\n<\/tr>\n
Helen Moore<\/td>\nOn Sitting for Christopher Twigg<\/td>\n103<\/td>\n<\/tr>\n
Kate Foley<\/td>\nA Tree Thinks<\/td>\n105<\/td>\n<\/tr>\n
Katerina Vaughan Fretwell<\/td>\nHope<\/td>\n106<\/td>\n<\/tr>\n
<\/td>\nMary’s Parlour Trick: 5<\/td>\n107<\/td>\n<\/tr>\n
Ivy Alvarez<\/td>\nCasglu Afalau\/Apple Picking<\/td>\n108<\/td>\n<\/tr>\n
Alyson Hallett<\/td>\nThe Sound We Make Without Having to Make It<\/td>\n110<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nReflections on the lyrics “I”<\/td>\n111<\/td>\n<\/tr>\n
Dileys Wood<\/td>\nA Russian Poet at the British Museum, 1926<\/td>\n119<\/td>\n<\/tr>\n
Neil Curry<\/td>\nTo: Antonio Vivaldi, Ospedale della Piet\u00e0, Venice<\/td>\n121<\/td>\n<\/tr>\n
David Greenslade<\/td>\nAddicted to Verse<\/td>\n123<\/td>\n<\/tr>\n
Jay Ramsay<\/td>\nIn the Aber Valley<\/td>\n124<\/td>\n<\/tr>\n
Eileen Dewhurst<\/td>\nMartha’s Way<\/td>\n126<\/td>\n<\/tr>\n
Ric Hool<\/td>\nThe United States of Time<\/td>\n128<\/td>\n<\/tr>\n
<\/td>\nBy a Single Leaf<\/td>\n129<\/td>\n<\/tr>\n
Oliver Comins<\/td>\nGetting Tuned In<\/td>\n130<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nPraying<\/td>\n131<\/td>\n<\/tr>\n
<\/td>\nOne Afternoon in a Church<\/td>\n132<\/td>\n<\/tr>\n
Erik Ankerberg<\/td>\nPoetry and “practic piety” in Herbert and Vaughan<\/td>\n133<\/td>\n<\/tr>\n
Kenneth Steven<\/td>\nCalvinism<\/td>\n153<\/td>\n<\/tr>\n
John Killick<\/td>\nOn Harris<\/td>\n154<\/td>\n<\/tr>\n
John Barnie<\/td>\nThe Stone Man of Cardigan Bay<\/td>\n156<\/td>\n<\/tr>\n
Se\u00e1n Street<\/td>\nAvebury<\/td>\n157<\/td>\n<\/tr>\n
Phil Maillard<\/td>\nUn \u00cddolo Prehist\u00f3rico<\/td>\n160<\/td>\n<\/tr>\n
Hilary Davies<\/td>\nSlender as Aspen, Slow as Peacocks<\/td>\n161<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nFrom a Diary, February 2012<\/td>\n162<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nThe Thing<\/td>\n164<\/td>\n<\/tr>\n
Joan Poulson<\/td>\nAnd if I saw a toad<\/td>\n165<\/td>\n<\/tr>\n
<\/td>\nAutumn morning<\/td>\n166<\/td>\n<\/tr>\n
Meredith Andrea and Fiona Owen<\/td>\nSinging the Green Between Us<\/td>\n167<\/td>\n<\/tr>\n
David Hart<\/td>\nAnd vanishes<\/td>\n179<\/td>\n<\/tr>\n
Chris Hall<\/td>\nA journey<\/td>\n184<\/td>\n<\/tr>\n
Colin Moss<\/td>\nThe Traveller<\/td>\n187<\/td>\n<\/tr>\n
Frank Olding<\/td>\nMynydd Du – Black Mountain<\/td>\n188<\/td>\n<\/tr>\n
Steve Griffiths<\/td>\nThe first Chinese spacewalker wanders off-message<\/td>\n194<\/td>\n<\/tr>\n
Patricia McCarthy<\/td>\nFrom a sequence: Trodden Before<\/td>\n195<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nFrom “With a Stranger’s Eye”<\/td>\n197<\/td>\n<\/tr>\n
Mike Jenkins<\/td>\nLife-line Black<\/td>\n200<\/td>\n<\/tr>\n
Paul Groves<\/td>\nLate Ruralist<\/td>\n201<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nAfter Hokusai<\/td>\n202<\/td>\n<\/tr>\n
<\/td>\nHot Summer Evening<\/td>\n203<\/td>\n<\/tr>\n
Roselle Angwin<\/td>\nChagford haibun<\/td>\n204<\/td>\n<\/tr>\n
Lyndon Davies<\/td>\nThe Wood and the Cave<\/td>\n205<\/td>\n<\/tr>\n
Tony Conran<\/td>\n“Lucy in the Sky with Diamonds”, A meditation between thumb and forefinger<\/td>\n208<\/td>\n<\/tr>\n
Sebastian Barker<\/td>\nThe Orange Tree<\/td>\n211<\/td>\n<\/tr>\n
Victoria Field<\/td>\nWalking to Rosslyn Chaplin<\/td>\n212<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nContributors to this Issue<\/td>\n213<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

<\/h3>\n

 <\/p>\n

\"scintilla15-cover\"<\/a><\/h3>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Roger Hubank<\/td>\nWithout Contraries is no Progression: William Blake’s ‘Songs of Innocence and of Experience’<\/td>\n9<\/td>\n<\/tr>\n
Rowan Williams<\/td>\nTo the City<\/td>\n30<\/td>\n<\/tr>\n
Tony Connor<\/td>\nNo 1 in A Minor<\/td>\n32<\/td>\n<\/tr>\n
Doiran Williams<\/td>\nSt Teilo at St Fagans<\/td>\n33<\/td>\n<\/tr>\n
Jeremy Hilton<\/td>\nthe night watch<\/td>\n34<\/td>\n<\/tr>\n
Marion Tr acy<\/td>\nCorn Crake<\/td>\n36<\/td>\n<\/tr>\n
Jill To wnsend<\/td>\nTwist<\/td>\n37<\/td>\n<\/tr>\n
William Oxley<\/td>\nNatural Living All Around Me<\/td>\n38<\/td>\n<\/tr>\n
Kenneth Steven<\/td>\nSpiders<\/td>\n39<\/td>\n<\/tr>\n
Neil Curry<\/td>\nHoly George Herbert<\/td>\n41<\/td>\n<\/tr>\n
Amanda Lloyd<\/td>\nStone Walled<\/td>\n52<\/td>\n<\/tr>\n
Sheila Bryer<\/td>\nBearing<\/td>\n54<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nAnish Kapoor<\/td>\n55<\/td>\n<\/tr>\n
<\/td>\nThe Scent of Bluebells<\/td>\n56<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nMore of the Same<\/td>\n57<\/td>\n<\/tr>\n
Gary AJlen<\/td>\nAfter a painting by an unknown Dutch artist<\/td>\n58<\/td>\n<\/tr>\n
Linda Saunders<\/td>\nThe Pool<\/td>\n59<\/td>\n<\/tr>\n
Kim Ta plin<\/td>\nAt L’Avaloue<\/td>\n60<\/td>\n<\/tr>\n
Christine McNeill<\/td>\nI became a famous artist in old age<\/td>\n61<\/td>\n<\/tr>\n
Julia J Smith<\/td>\nThe “unchangeable Seasons of the Delightfull year”: Transcience and Eternity in Thomas Traherne’s View of the Natural World<\/td>\n63<\/td>\n<\/tr>\n
Huw Jones<\/td>\nLines for my Mother<\/td>\n78<\/td>\n<\/tr>\n
John Killick<\/td>\nLooking For My Death<\/td>\n83<\/td>\n<\/tr>\n
Susan Bassnett<\/td>\nPoems for Geoffrey<\/td>\n84<\/td>\n<\/tr>\n
Martina Thomson<\/td>\nSandstorm<\/td>\n86<\/td>\n<\/tr>\n
Clare Crossman<\/td>\nWhat Winter did to the Rope<\/td>\n87<\/td>\n<\/tr>\n
Elizabeth Ford<\/td>\nNews from heaven’: Will Kemp in Titus Andronicus<\/td>\n89<\/td>\n<\/tr>\n
Dilys Wood<\/td>\nMoving House<\/td>\n108<\/td>\n<\/tr>\n
Rowenna Hulton<\/td>\nA Fallen Nest<\/td>\n110<\/td>\n<\/tr>\n
Brenda Lealman<\/td>\nA169<\/td>\n111<\/td>\n<\/tr>\n
<\/td>\nBoulby<\/td>\n113<\/td>\n<\/tr>\n
R ichard W Halperin<\/td>\nPenelope<\/td>\n115<\/td>\n<\/tr>\n
Sam Howell<\/td>\nEchoes Forever<\/td>\n116<\/td>\n<\/tr>\n
Clare Holtham<\/td>\nElegy for the Buddhas of Bamyan<\/td>\n117<\/td>\n<\/tr>\n
<\/td>\nExile in Breconshire: The Double Displacement of Henry Vaughan<\/td>\n119<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nFather, painting<\/td>\n129<\/td>\n<\/tr>\n
<\/td>\nFriend with a sunburst<\/td>\n130<\/td>\n<\/tr>\n
Helen Overell<\/td>\nLacemakers, Chartres<\/td>\n131<\/td>\n<\/tr>\n
Daphne Gloag<\/td>\nTurner at Petworth House<\/td>\n133<\/td>\n<\/tr>\n
David Greenslade<\/td>\nCorvine Date – True Story<\/td>\n135<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nThe Stone<\/td>\n137<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nSomething<\/td>\n139<\/td>\n<\/tr>\n
Allan Wilcox<\/td>\nNicodemus and ‘The Night’<\/td>\n141<\/td>\n<\/tr>\n
Glyn Hughes<\/td>\nAt Bolton Abbey<\/td>\n156<\/td>\n<\/tr>\n
<\/td>\nThe Fowler<\/td>\n159<\/td>\n<\/tr>\n
Ted Walter<\/td>\nWhere leaves are massed<\/td>\n160<\/td>\n<\/tr>\n
<\/td>\nCavatina<\/td>\n161<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nFrom a Diary<\/td>\n162<\/td>\n<\/tr>\n
Heather Coffey<\/td>\nNear Chinnor<\/td>\n164<\/td>\n<\/tr>\n
Sean Street<\/td>\nOn Not Being T here<\/td>\n165<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nMarches of the Spirit<\/td>\n167<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"scintilla14-cover\"<\/a><\/h3>\n

Table of Contents<\/h3>\n

 <\/p>\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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nPoetry of Touch<\/td>\n9<\/td>\n<\/tr>\n
Sue Proffitt<\/td>\nT he White Roebuck<\/td>\n19<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nNew Year Dream<\/td>\n21<\/td>\n<\/tr>\n
Meredith Andrea<\/td>\nPipistrelle<\/td>\n22<\/td>\n<\/tr>\n
Sheila Bryer<\/td>\nTaking time<\/td>\n23<\/td>\n<\/tr>\n
<\/td>\nWave (1)<\/td>\n24<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nWater<\/td>\n25<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nImago<\/td>\n26<\/td>\n<\/tr>\n
Robert Wilcher<\/td>\nHenry Vaughan and the Poetry of Trees<\/td>\n28<\/td>\n<\/tr>\n
Martina T homson<\/td>\nThe River Nairn<\/td>\n52<\/td>\n<\/tr>\n
<\/td>\nVisitation<\/td>\n53<\/td>\n<\/tr>\n
<\/td>\nMemoir<\/td>\n53<\/td>\n<\/tr>\n
Hilary Llewellyn-Williams<\/td>\nVigil<\/td>\n55<\/td>\n<\/tr>\n
Lotte Kramer<\/td>\nFirst Avalanche<\/td>\n56<\/td>\n<\/tr>\n
Carrie Etter<\/td>\nNo Swan<\/td>\n57<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nNo excuse<\/td>\n58<\/td>\n<\/tr>\n
<\/td>\nKept<\/td>\n59<\/td>\n<\/tr>\n
Denise Bennett<\/td>\nAt Hardy’s Cottage<\/td>\n60<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nNot As Usual<\/td>\n61<\/td>\n<\/tr>\n
Jill Eulalie Dawson<\/td>\nErithracus Rubecula<\/td>\n62<\/td>\n<\/tr>\n
Glyn Pursglove<\/td>\nEdmund Blunden and Henry Vaughan: A Reminiscence and Some Observations<\/td>\n63<\/td>\n<\/tr>\n
Open Poetry Competition<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Adjudications<\/td>\n<\/td>\n82<\/td>\n<\/tr>\n
Short Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Daphne Gloag<\/td>\nThe radio clock<\/td>\n87<\/td>\n<\/tr>\n
Angela Morton<\/td>\nBetween the moving shadows<\/td>\n89<\/td>\n<\/tr>\n
Meredith Andrea<\/td>\nJug<\/td>\n91<\/td>\n<\/tr>\n
Short Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Pat Borthwick<\/td>\nThe Spiny Mud Loach<\/td>\n93<\/td>\n<\/tr>\n
Heather Coffey<\/td>\nLegacy<\/td>\n95<\/td>\n<\/tr>\n
Janice Fixter<\/td>\nOnly the camel knows<\/td>\n96<\/td>\n<\/tr>\n
Kate Foley<\/td>\nTikkun Olam<\/td>\n97<\/td>\n<\/tr>\n
Ted Walter<\/td>\nMy Place or Theirs?<\/td>\n99<\/td>\n<\/tr>\n
Long Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Philip Gross<\/td>\nPraise Song for the Taff<\/td>\n101<\/td>\n<\/tr>\n
Clare Holtham<\/td>\nWalter the Tramp<\/td>\n104<\/td>\n<\/tr>\n
Rose Flint<\/td>\nAfternoon, a Spit from the Road<\/td>\n106<\/td>\n<\/tr>\n
Long Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Mark Leech<\/td>\nSaint and City<\/td>\n108<\/td>\n<\/tr>\n
Angela Morton<\/td>\nThe Black and Silver Notebook<\/td>\n119<\/td>\n<\/tr>\n
Jane Rouch<\/td>\nThe Private Life of ‘Lepus lepus’<\/td>\n123<\/td>\n<\/tr>\n
K V Skene<\/td>\nLike the Heart Itself<\/td>\n126<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nGood Friday, Greece, 2009<\/td>\n128<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\nAlternative Saints: Eucherius and Silex Scintillans<\/td>\n132<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nThinking Allowed<\/td>\n138<\/td>\n<\/tr>\n
Anthony Watts<\/td>\nThe Midwife<\/td>\n142<\/td>\n<\/tr>\n
John Daniel<\/td>\nOn Buying a Book of Poems by a Modern French Poet<\/td>\n144<\/td>\n<\/tr>\n
Christine McNeill<\/td>\nIdyll<\/td>\n145<\/td>\n<\/tr>\n
<\/td>\nTime<\/td>\n146<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nUnder Old Fruit Trees<\/td>\n147<\/td>\n<\/tr>\n
Denise Inge<\/td>\nThe Lost Public Concerns of Thomas Traherne<\/td>\n149<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nMy Aunt and Zbigniew Herbert<\/td>\n158<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nTrouble with Light A personal introduction to the work of Ernest Becker<\/td>\n168<\/td>\n<\/tr>\n
Doiran Williams<\/td>\nSpeech Therapy<\/td>\n177<\/td>\n<\/tr>\n
Kate Foley<\/td>\nThe Myth of Snow and Love<\/td>\n178<\/td>\n<\/tr>\n
Gary Allen<\/td>\nDown ro the river<\/td>\n179<\/td>\n<\/tr>\n
<\/td>\nvan der Waals farm<\/td>\n181<\/td>\n<\/tr>\n
Ted Walter<\/td>\nCompany of Strangers<\/td>\n183<\/td>\n<\/tr>\n
Howard Wright<\/td>\nMuseum Sunday<\/td>\n186<\/td>\n<\/tr>\n
Angela Morton<\/td>\nFrom the Far Side of Silence<\/td>\n188<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Artwork by Robert Greenhalf<\/td>\n<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"scintilla13\"<\/a><\/h3>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Roger Hubank<\/td>\nTrying to be Haunted’: Nature and Spirit in the later poetry of Denise Levertov<\/td>\n9<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nSutton Hoo<\/td>\n33<\/td>\n<\/tr>\n
James Aitchison<\/td>\nTo Be A Pilgrim<\/td>\n38<\/td>\n<\/tr>\n
Tony Connor<\/td>\nIn My Own Company<\/td>\n39<\/td>\n<\/tr>\n
<\/td>\nComfortable Cardigan<\/td>\n39<\/td>\n<\/tr>\n
Anna Adams<\/td>\nIt<\/td>\n40<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nSpirituality and Doctrine<\/td>\n42<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nAcceptable<\/td>\n55<\/td>\n<\/tr>\n
Gary Allen<\/td>\nThe Cinder Patch<\/td>\n56<\/td>\n<\/tr>\n
Rowenna Hulton<\/td>\nBall-flower, Worcester Cathedral<\/td>\n57<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nThe Shed<\/td>\n58<\/td>\n<\/tr>\n
<\/td>\nFirst Thing<\/td>\n59<\/td>\n<\/tr>\n
Sally Carr<\/td>\nClearing Nettles<\/td>\n60<\/td>\n<\/tr>\n
<\/td>\nSpadework<\/td>\n61<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nGreen Man<\/td>\n62<\/td>\n<\/tr>\n
<\/td>\nRemembering a Memory of Snow<\/td>\n63<\/td>\n<\/tr>\n
Christine McNeil!<\/td>\nComposing<\/td>\n64<\/td>\n<\/tr>\n
Joseph Sterrett<\/td>\nSuch a Peace: Answered Prayer in Shakespeare’s ‘Late Plays”<\/td>\n65<\/td>\n<\/tr>\n
Mary MacRae<\/td>\nBlue Material<\/td>\n84<\/td>\n<\/tr>\n
<\/td>\nIn the Wood<\/td>\n85<\/td>\n<\/tr>\n
<\/td>\nInside the Brightness of Red<\/td>\n86<\/td>\n<\/tr>\n
Hillary Llewellyn-Williams<\/td>\nThe Way to the Well<\/td>\n88<\/td>\n<\/tr>\n
<\/td>\nComfort in Blackthorn<\/td>\n89<\/td>\n<\/tr>\n
Clare Crossman<\/td>\nRocks, Stones, Water and the Rowan<\/td>\n91<\/td>\n<\/tr>\n
Hubert Moore<\/td>\nAr Staplehurst<\/td>\n93<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nFor Roland Mathias: Tribute and Apology<\/td>\n95<\/td>\n<\/tr>\n
Open Poetry Competition<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Adjudications<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Short Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Sue MacIntyre<\/td>\nIce Sculpture<\/td>\n109<\/td>\n<\/tr>\n
Liz Cashdan<\/td>\nEpithalamion June 21st 2008<\/td>\n110<\/td>\n<\/tr>\n
Russell Jones<\/td>\nNess<\/td>\n111<\/td>\n<\/tr>\n
Short Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Pat Earnshaw<\/td>\nWe All Fall Down<\/td>\n112<\/td>\n<\/tr>\n
Roger Elkin<\/td>\nDelivering<\/td>\n114<\/td>\n<\/tr>\n
Edmund Matyjaszek<\/td>\nThe Tr ees at Shalfleet<\/td>\n116<\/td>\n<\/tr>\n
Mandy Pannett<\/td>\nMemorial Chairs in the Wetlands<\/td>\n117<\/td>\n<\/tr>\n
Ted Walter<\/td>\nFluff<\/td>\n119<\/td>\n<\/tr>\n
Long Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Gabriel Griffin<\/td>\nWinter Afternoon on Mottarone<\/td>\n121<\/td>\n<\/tr>\n
Dilys Wood<\/td>\nThe Salt Smell of Light<\/td>\n125<\/td>\n<\/tr>\n
Elizabeth Burns<\/td>\nMoon Over Catterline<\/td>\n131<\/td>\n<\/tr>\n
Long Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Rosi Beech<\/td>\nThe Monastery Garden<\/td>\n134<\/td>\n<\/tr>\n
Liz Cashdan<\/td>\nLand of Lost Content<\/td>\n142<\/td>\n<\/tr>\n
Roger Elkin<\/td>\nBirthday Gift<\/td>\n146<\/td>\n<\/tr>\n
David Grubb<\/td>\nThe Saint Francis Poems<\/td>\n151<\/td>\n<\/tr>\n
Clare Holtham<\/td>\nThe Simorgh<\/td>\n155<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\nNieremberg’s Patience of the Saints: Experiencing Flores Solitudinis in Silex Scintillans<\/td>\n160<\/td>\n<\/tr>\n
Carole Coates<\/td>\nWriters’ Rooms<\/td>\n175<\/td>\n<\/tr>\n
<\/td>\nStrange Meeting<\/td>\n176<\/td>\n<\/tr>\n
Norman Schwenk<\/td>\nFennel<\/td>\n177<\/td>\n<\/tr>\n
<\/td>\nGarden<\/td>\n177<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nAn Encounter<\/td>\n179<\/td>\n<\/tr>\n
<\/td>\nHomecoming<\/td>\n180<\/td>\n<\/tr>\n
Ann Quid<\/td>\nA Little Whimsy<\/td>\n181<\/td>\n<\/tr>\n
Jill Eulalie Dawson<\/td>\nWhere She Leads Me<\/td>\n182<\/td>\n<\/tr>\n
Kate Foley<\/td>\nGreen Woman<\/td>\n183<\/td>\n<\/tr>\n
Graham Parry<\/td>\nVaughan and Laudianism<\/td>\n185<\/td>\n<\/tr>\n
Neil Curry<\/td>\nTo: Mrs Anna Maria Smart, c\/o The Reading Mercury, Reading, Berkshire<\/td>\n197<\/td>\n<\/tr>\n
Elizabeth Cook<\/td>\nThe Tent<\/td>\n199<\/td>\n<\/tr>\n
Angela Morton<\/td>\nWhen Language Pales to Dust<\/td>\n200<\/td>\n<\/tr>\n
<\/td>\nSnow Falling on this House of Glass<\/td>\n201<\/td>\n<\/tr>\n
Rose Flint<\/td>\nReciprocal<\/td>\n202<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nLittle Haven<\/td>\n203<\/td>\n<\/tr>\n
Colin Moss<\/td>\nThe Gates of Wonder in Childhood and the Future<\/td>\n206<\/td>\n<\/tr>\n
Kenneth Steven<\/td>\nLenin I Punishment<\/td>\n221<\/td>\n<\/tr>\n
John Daniel<\/td>\nFrog<\/td>\n222<\/td>\n<\/tr>\n
Elizabeth Barrett<\/td>\nHem I Lighteater<\/td>\n223<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nSummer Grasses<\/td>\n224<\/td>\n<\/tr>\n
Paul Matthews<\/td>\nRain at Midnight<\/td>\n229<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-12-cvr\"<\/a><\/p>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nThrough the Gate: a Poetics of Engagement<\/td>\n9<\/td>\n<\/tr>\n
Ru th Bidgood<\/td>\nIce<\/td>\n23<\/td>\n<\/tr>\n
<\/td>\nThe Well<\/td>\n23<\/td>\n<\/tr>\n
Zenobia Venner<\/td>\nStill<\/td>\n25<\/td>\n<\/tr>\n
Prue Chamberlayne<\/td>\nPostonja<\/td>\n26<\/td>\n<\/tr>\n
Linda Saunders<\/td>\nWoodcock<\/td>\n27<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nBa ru-Angas<\/td>\n29<\/td>\n<\/tr>\n
Philip Gross<\/td>\nThe Presence<\/td>\n32<\/td>\n<\/tr>\n
Glyn Pu rsglove<\/td>\nNot with leaf only, but with some fruit also<\/td>\n34<\/td>\n<\/tr>\n
Open Poetry Competition<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Adjudication<\/td>\n<\/td>\n56<\/td>\n<\/tr>\n
Short Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Chris Preddle<\/td>\nCattle Console Him<\/td>\n63<\/td>\n<\/tr>\n
Pat Borthwick<\/td>\nIn Praise of the Oologists’ Art<\/td>\n65<\/td>\n<\/tr>\n
Susan Wallace<\/td>\nThe Last Station Srop<\/td>\n67<\/td>\n<\/tr>\n
Short Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Heather Coffey<\/td>\nFlood<\/td>\n68<\/td>\n<\/tr>\n
Kare Foley<\/td>\nGreen Woman<\/td>\n70<\/td>\n<\/tr>\n
Sue MacIntyre<\/td>\nTree House<\/td>\n71<\/td>\n<\/tr>\n
Susan Anne Moore<\/td>\nDead Stag on Burgh<\/td>\n72<\/td>\n<\/tr>\n
Robert Sea tter<\/td>\n21 Ways of Starting a New Life<\/td>\n73<\/td>\n<\/tr>\n
Long Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nDrought<\/td>\n76<\/td>\n<\/tr>\n
Margaret Wilmot<\/td>\nNovember Journal<\/td>\n81<\/td>\n<\/tr>\n
Christine McNeill<\/td>\nMartha’s reverie<\/td>\n85<\/td>\n<\/tr>\n
Long Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Heather Coffey<\/td>\nNear Kingsbridge<\/td>\n88<\/td>\n<\/tr>\n
Daphne Gloag<\/td>\nThe Paths of Light<\/td>\n90<\/td>\n<\/tr>\n
Anne Ryland<\/td>\nOn the Stairs<\/td>\n95<\/td>\n<\/tr>\n
Dilys Wood<\/td>\nLament Based on a Corona of Sonnets<\/td>\n101<\/td>\n<\/tr>\n
Lynne Wycherley<\/td>\nTowards Eden<\/td>\n104<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Alan Rudrum<\/td>\nBringing Peace Back to Life: The Anglican Irenicism of Lancelot Andrewes, Henry Vaughan and Rowan Williams<\/td>\n111<\/td>\n<\/tr>\n
Sebastian Barker<\/td>\nRed Kite Against a Dark Blue Sky: On the Aesthetic of Art in the Theology of Rowan Williams<\/td>\n121<\/td>\n<\/tr>\n
Kim Taplin<\/td>\nWake-up Call<\/td>\n131<\/td>\n<\/tr>\n
Brenda Lealman<\/td>\nSo Close<\/td>\n132<\/td>\n<\/tr>\n
Roger Waterfield<\/td>\nGrowth<\/td>\n133<\/td>\n<\/tr>\n
Lotte Kramer<\/td>\nRain<\/td>\n134<\/td>\n<\/tr>\n
Ruth Valentine<\/td>\nThe Government Scientist Deciphers the Clay Tablets<\/td>\n135<\/td>\n<\/tr>\n
Paul Matthews<\/td>\nWatching the Puls<\/td>\n138<\/td>\n<\/tr>\n
Peter Gilmour<\/td>\nAlone<\/td>\n139<\/td>\n<\/tr>\n
Robert Wilcher<\/td>\nHenry Vaughan, Jeremy Taylor, Edward Sparke, and the Preservation of the Anglican Communion<\/td>\n141<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nStill<\/td>\n160<\/td>\n<\/tr>\n
Meredith Andrea<\/td>\nThe Rea Book<\/td>\n161<\/td>\n<\/tr>\n
Jill Eulalie Dawson<\/td>\nThe Fragrance of Dead Bracken<\/td>\n163<\/td>\n<\/tr>\n
Paul Groves<\/td>\nNow<\/td>\n164<\/td>\n<\/tr>\n
Jacqueline Sousa<\/td>\nOne of Her Last Sundays<\/td>\n165<\/td>\n<\/tr>\n
Pippa Little<\/td>\nR iddling<\/td>\n166<\/td>\n<\/tr>\n
Judy Gahagan<\/td>\nLibellules<\/td>\n167<\/td>\n<\/tr>\n
William Oxley<\/td>\nThe Dance of Detail<\/td>\n169<\/td>\n<\/tr>\n
John Killick<\/td>\nEssence of Essences: Poetry and Dementia<\/td>\n171<\/td>\n<\/tr>\n
Norman Schwenk<\/td>\nWaiting<\/td>\n181<\/td>\n<\/tr>\n
Ian Parks<\/td>\nThe Vicinity<\/td>\n182<\/td>\n<\/tr>\n
Davide Trame<\/td>\nThe Stare<\/td>\n183<\/td>\n<\/tr>\n
Gary Allen<\/td>\nFestival of Neptune<\/td>\n184<\/td>\n<\/tr>\n
<\/td>\nPurgatory<\/td>\n185<\/td>\n<\/tr>\n
Zeeba Ansari<\/td>\nRenaissance Painter<\/td>\n186<\/td>\n<\/tr>\n
<\/td>\nSheela-na-gig<\/td>\n187<\/td>\n<\/tr>\n
Angela Morton<\/td>\nThe High Wire<\/td>\n188<\/td>\n<\/tr>\n
Donald Allchin<\/td>\nThe Many-Sided Traherne<\/td>\n192<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nFour for Grandchildren<\/td>\n203<\/td>\n<\/tr>\n
Neil Curry<\/td>\nTo: Robert Sutton, Worcester Cathedral<\/td>\n205<\/td>\n<\/tr>\n
Hilary Llewellyn-Williams<\/td>\nAn Eye Test<\/td>\n209<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-11-cvr\"<\/a><\/h3>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nMetaphysical Presence<\/td>\n9<\/td>\n<\/tr>\n
Bruce James<\/td>\nFierce Weight<\/td>\n26<\/td>\n<\/tr>\n
Christine Evans<\/td>\nFirst day<\/td>\n27<\/td>\n<\/tr>\n
<\/td>\nMaking Hay<\/td>\n28<\/td>\n<\/tr>\n
<\/td>\nCave-swinging<\/td>\n29<\/td>\n<\/tr>\n
Pat Earnshaw<\/td>\nCutting the Grass<\/td>\n30<\/td>\n<\/tr>\n
Nicholas Jagger<\/td>\nPhoenix<\/td>\n31<\/td>\n<\/tr>\n
<\/td>\nCult<\/td>\n32<\/td>\n<\/tr>\n
Jay Ramsay<\/td>\nA Dream for Easter<\/td>\n33<\/td>\n<\/tr>\n
Janice Fixter<\/td>\nOne Hundred and Eight Beads<\/td>\n34<\/td>\n<\/tr>\n
Alison Brackenbury<\/td>\nThe Shaker chair<\/td>\n35<\/td>\n<\/tr>\n
Mimi Khalvati<\/td>\nThe Middle Tone<\/td>\n36<\/td>\n<\/tr>\n
<\/td>\nSoapstone Retreat<\/td>\n36<\/td>\n<\/tr>\n
Jill Eulalie Dawson<\/td>\nIn the Library<\/td>\n37<\/td>\n<\/tr>\n
Bill Shepherd<\/td>\nBronze on Blue<\/td>\n38<\/td>\n<\/tr>\n
Alan Rudrum<\/td>\nNot destroyed but hidden: Paradise Lost, Edenic consciousness and British Radicalism<\/td>\n40<\/td>\n<\/tr>\n
Damian Walford Davies<\/td>\nIdeal City<\/td>\n48<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nJourney<\/td>\n51<\/td>\n<\/tr>\n
Lance Lee<\/td>\nNocturne, London, First Frost<\/td>\n53<\/td>\n<\/tr>\n
Mary MacRae<\/td>\nAt the Party<\/td>\n54<\/td>\n<\/tr>\n
Phil Maillard<\/td>\nEsther<\/td>\n56<\/td>\n<\/tr>\n
Fergus Chadwick<\/td>\nHospital Visitor<\/td>\n58<\/td>\n<\/tr>\n
Martyn Crucefix<\/td>\nCaldey lighthouse<\/td>\n60<\/td>\n<\/tr>\n
Anne Cluysennar, Graham Hartill and<\/td>\nForm and Spirituality: Connections and Contrasts in Poetic Practice<\/td>\n63<\/td>\n<\/tr>\n
Open Poetry Competition<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Adjudications<\/td>\n<\/td>\n86<\/td>\n<\/tr>\n
Short Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Sue Maclnryre<\/td>\nDeep Forest<\/td>\n91<\/td>\n<\/tr>\n
Marion Tracy<\/td>\nShooting Star<\/td>\n93<\/td>\n<\/tr>\n
Heather Coffey<\/td>\nPilgrim<\/td>\n94<\/td>\n<\/tr>\n
Short Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Hubert Moore<\/td>\nThe burnt tree<\/td>\n96<\/td>\n<\/tr>\n
Victoria Pugh<\/td>\nLord God<\/td>\n97<\/td>\n<\/tr>\n
Angela Rigby<\/td>\nFeline Art<\/td>\n98<\/td>\n<\/tr>\n
Andrew Rudd<\/td>\nOn the A488<\/td>\n100<\/td>\n<\/tr>\n
Dilys Wood<\/td>\nHonor Oak Garden of Remembrance<\/td>\n101<\/td>\n<\/tr>\n
Long Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nTime Being<\/td>\n104<\/td>\n<\/tr>\n
DilysWood<\/td>\nApsley Cherry-Garrard Addresses The Royal Geographical Society<\/td>\n108<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nAugust Caterpillar<\/td>\n113<\/td>\n<\/tr>\n
Long Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
John Freeman<\/td>\nApollonian Spring<\/td>\n116<\/td>\n<\/tr>\n
John Godfrey<\/td>\nBeautiful Contraptions<\/td>\n119<\/td>\n<\/tr>\n
Rowenna Hulton<\/td>\nDiscovered through Bronze<\/td>\n122<\/td>\n<\/tr>\n
Jacqueline Karp<\/td>\nFound in Tr anslation<\/td>\n126<\/td>\n<\/tr>\n
John Killick<\/td>\nKarelian Lyrics<\/td>\n130<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Allan and Helen Wilcox<\/td>\nMatter and Spirit Conjoined: Sacred Places in the Poetry of George Herbert, Henry Vaughan, R S Thomas and Rowan Williams<\/td>\n133<\/td>\n<\/tr>\n
Wendy Mulford<\/td>\nAlltud<\/td>\n153<\/td>\n<\/tr>\n
Mike Jenkins<\/td>\nClimbing-Tree<\/td>\n162<\/td>\n<\/tr>\n
<\/td>\nOur Garden<\/td>\n162<\/td>\n<\/tr>\n
Daphne Rock<\/td>\nEast Coast: Dunwich Heath with Sizewell in sight<\/td>\n163<\/td>\n<\/tr>\n
Ian Caws<\/td>\nHorses<\/td>\n164<\/td>\n<\/tr>\n
Frances Sackett<\/td>\nThe Asphalt Road<\/td>\n166<\/td>\n<\/tr>\n
Lynne Wycherley<\/td>\nThe Apple-Tree, Woolthorpe<\/td>\n167<\/td>\n<\/tr>\n
M Wynn Thomas<\/td>\nFidelities where beams together run’: Vernon Watkins and Henry Vaughan<\/td>\n169<\/td>\n<\/tr>\n
Kenneth Steven<\/td>\nThe Strangest Gift<\/td>\n185<\/td>\n<\/tr>\n
Ted Walter<\/td>\nEvent Horizons<\/td>\n186<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nTo The Outer<\/td>\n188<\/td>\n<\/tr>\n
Mercer Simpson<\/td>\nThe Uncompleted Voyage<\/td>\n189<\/td>\n<\/tr>\n
Christine McNeill<\/td>\nA Cup of Milk<\/td>\n190<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

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

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

\"Scintilla-09-cvr\"<\/a><\/p>\n

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
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
Jeremy Hooker<\/td>\nNostalgia and the Kiss of Life<\/td>\n9<\/td>\n<\/tr>\n
Ian Caws<\/td>\nThistledown<\/td>\n25<\/td>\n<\/tr>\n
<\/td>\nThe Potter<\/td>\n26<\/td>\n<\/tr>\n
Stephen Parr<\/td>\nBridge of Mornings<\/td>\n27<\/td>\n<\/tr>\n
Peter Gruffydd<\/td>\nMatters of Survival<\/td>\n29<\/td>\n<\/tr>\n
Robert Wilcher<\/td>\nThe darkened scribe and the blessed man: changing uses of allusion in the work of Henry Vaughan<\/td>\n38<\/td>\n<\/tr>\n
Gordon Kennedy<\/td>\nanimal pilgrimage<\/td>\n53<\/td>\n<\/tr>\n
Brendan McMahon<\/td>\nBlack<\/td>\n54<\/td>\n<\/tr>\n
<\/td>\nWitness<\/td>\n54<\/td>\n<\/tr>\n
Robin Ford<\/td>\nAs Albatross<\/td>\n55<\/td>\n<\/tr>\n
Phil Maillard<\/td>\nTwo for Mnemosyne<\/td>\n56<\/td>\n<\/tr>\n
Gabriel Griffin<\/td>\nRoller Kids<\/td>\n59<\/td>\n<\/tr>\n
Michael Thomas<\/td>\nA Mouth Full of Pegs<\/td>\n61<\/td>\n<\/tr>\n
<\/td>\nCast!etownroche, North Cork<\/td>\n62<\/td>\n<\/tr>\n
Gary Allen<\/td>\nThe Mountain<\/td>\n64<\/td>\n<\/tr>\n
<\/td>\nOn high<\/td>\n64<\/td>\n<\/tr>\n
<\/td>\nAnxiety<\/td>\n65<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nBhopal<\/td>\n67<\/td>\n<\/tr>\n
Rose Flint<\/td>\nThe Source<\/td>\n68<\/td>\n<\/tr>\n
Philip West<\/td>\nSilex Scintillans and the “public”<\/td>\n70<\/td>\n<\/tr>\n
Open Poetry Competition<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Adjudications<\/td>\n<\/td>\n86<\/td>\n<\/tr>\n
Short Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Lynne Rees<\/td>\nThe Fright Box<\/td>\n91<\/td>\n<\/tr>\n
Joan Poulson<\/td>\nRelics<\/td>\n92<\/td>\n<\/tr>\n
Mary MacRae<\/td>\nThe Various Light<\/td>\n94<\/td>\n<\/tr>\n
Short Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Christine Coleman Skin<\/td>\nSkin<\/td>\n95<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nDoor<\/td>\n96<\/td>\n<\/tr>\n
Jane Routh<\/td>\nSula Sgeir<\/td>\n97<\/td>\n<\/tr>\n
Frances Thompson<\/td>\nMrs Jones<\/td>\n98<\/td>\n<\/tr>\n
Pat Borthwick<\/td>\nIn Praise of Things<\/td>\n107<\/td>\n<\/tr>\n
Long Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nCore<\/td>\n100<\/td>\n<\/tr>\n
Pat Borthwick<\/td>\nAll Things Being Equal<\/td>\n104<\/td>\n<\/tr>\n
Daphne Gloag<\/td>\nThe Beginning<\/td>\n109<\/td>\n<\/tr>\n
Long Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Gabriel Griffin<\/td>\nTransumanza<\/td>\n117<\/td>\n<\/tr>\n
Lucy Hamilton<\/td>\nSonnets for my Mother<\/td>\n120<\/td>\n<\/tr>\n
David Hart<\/td>\nFeldman says, if anyone asks<\/td>\n123<\/td>\n<\/tr>\n
Victoria Pugh<\/td>\nTalking Cure<\/td>\n128<\/td>\n<\/tr>\n
Anne Ryland<\/td>\nThe Girl with Silver Hands<\/td>\n130<\/td>\n<\/tr>\n
David Scott<\/td>\nPriest as Poet<\/td>\n134<\/td>\n<\/tr>\n
<\/td>\nPrayer and the Hair Salon<\/td>\n141<\/td>\n<\/tr>\n
<\/td>\nResurrection<\/td>\n142<\/td>\n<\/tr>\n
Lotte Kramer<\/td>\nSt. Mary’s Altar by Tilman Riemenschneider at Creglingen<\/td>\n143<\/td>\n<\/tr>\n
<\/td>\nUnder the Stairs<\/td>\n144<\/td>\n<\/tr>\n
Stuart B. Campbell<\/td>\nPrologue<\/td>\n145<\/td>\n<\/tr>\n
Lisa Darr<\/td>\nSalome Holding the Head of Saint John the Baptist<\/td>\n147<\/td>\n<\/tr>\n
Lucy Calcott<\/td>\nThe Red Tent<\/td>\n148<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nClasped Hands<\/td>\n149<\/td>\n<\/tr>\n
Lynne Wycherley<\/td>\nDarwin Waits for his Wife<\/td>\n150<\/td>\n<\/tr>\n
<\/td>\nA Menhir for the Cathars<\/td>\n151<\/td>\n<\/tr>\n
Neil Curry<\/td>\nA Word with Bede<\/td>\n152<\/td>\n<\/tr>\n
Barbara Coulton<\/td>\nThe Poet and the Preacher: Henry Vaughan and Vavasor Powell in their place and time<\/td>\n155<\/td>\n<\/tr>\n
Patricia McCarthy<\/td>\nWalking Out<\/td>\n175<\/td>\n<\/tr>\n
<\/td>\nI Will<\/td>\n176<\/td>\n<\/tr>\n
<\/td>\nClose Watch<\/td>\n177<\/td>\n<\/tr>\n
Linda Black<\/td>\nI think of you<\/td>\n179<\/td>\n<\/tr>\n
Kate North<\/td>\nSleep Disorder<\/td>\n181<\/td>\n<\/tr>\n
Caroline Price<\/td>\nChair Lift<\/td>\n185<\/td>\n<\/tr>\n
<\/td>\nLac Negre<\/td>\n186<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nGwen<\/td>\n187<\/td>\n<\/tr>\n
Donald R. Dickson<\/td>\nHenry Vaughan’s Medical Library<\/td>\n189<\/td>\n<\/tr>\n
Paul Groves<\/td>\nReprieve<\/td>\n210<\/td>\n<\/tr>\n
Geoff Slater<\/td>\nMud Woman<\/td>\n211<\/td>\n<\/tr>\n
Anne Ryland<\/td>\nAn Overflow of Letters<\/td>\n216<\/td>\n<\/tr>\n
<\/td>\nThe Marathon Runner<\/td>\n218<\/td>\n<\/tr>\n
Jill Dawson<\/td>\nThe Place of Renewal\/Sculpting the Light<\/td>\n219<\/td>\n<\/tr>\n
Michael Heery<\/td>\nTo Mary Takahama<\/td>\n220<\/td>\n<\/tr>\n
Selwyn Pritchard<\/td>\nPenultimate<\/td>\n221<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-08-cvr\"<\/a><\/p>\n

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
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
Alan\u00a0Rudrum<\/td>\nNarrative, Typology and Politics in Henry Vaughan’s ‘Isaac’s Marriage’<\/td>\n9<\/td>\n<\/tr>\n
Chris Torrance<\/td>\nPATH\/Finder<\/td>\n19<\/td>\n<\/tr>\n
Edwina Trentham<\/td>\nCalling My Father By Name<\/td>\n22<\/td>\n<\/tr>\n
Angela Morton<\/td>\nTraces<\/td>\n23<\/td>\n<\/tr>\n
William Oxley<\/td>\nMemory, Snowflakes<\/td>\n25<\/td>\n<\/tr>\n
Dilys Wood<\/td>\nSingularity<\/td>\n27<\/td>\n<\/tr>\n
Clare Crossman<\/td>\nWriting Back<\/td>\n28<\/td>\n<\/tr>\n
Viki Holmes<\/td>\nThe Visitor<\/td>\n30<\/td>\n<\/tr>\n
Pat Earnshaw<\/td>\nEveryone a Stranger<\/td>\n32<\/td>\n<\/tr>\n
Richard George<\/td>\nReliving the Calendar<\/td>\n33<\/td>\n<\/tr>\n
Lynne Wycherley<\/td>\nFragments of Iraqi Calligraphy<\/td>\n34<\/td>\n<\/tr>\n
Merryn Williams<\/td>\nAfter Mandelstam<\/td>\n35<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nThis Even Frailer Flesh<\/td>\n37<\/td>\n<\/tr>\n
Tony Connor<\/td>\nHay making<\/td>\n53<\/td>\n<\/tr>\n
Jay Ramsay<\/td>\nThe Boreen<\/td>\n55<\/td>\n<\/tr>\n
Phil Maillard<\/td>\nThe Press of Silence. A Walk to Patricio<\/td>\n57<\/td>\n<\/tr>\n
Christine McNeil]<\/td>\nExpedition<\/td>\n67<\/td>\n<\/tr>\n
Kim Taplin<\/td>\nA Road ro Dover<\/td>\n69<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nFrom ‘Upstate: a North American Journal’<\/td>\n77<\/td>\n<\/tr>\n
Rowan Williams<\/td>\nInvocation: a sculpture for winter<\/td>\n86<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nTowards Elsinore<\/td>\n87<\/td>\n<\/tr>\n
John Welch<\/td>\nTurning<\/td>\n92<\/td>\n<\/tr>\n
<\/td>\nDaybreak<\/td>\n92<\/td>\n<\/tr>\n
<\/td>\nFamily<\/td>\n93<\/td>\n<\/tr>\n
Greagir O Duill<\/td>\nTideline<\/td>\n94<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nWinged Heads<\/td>\n95<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nPatricio 2001<\/td>\n99<\/td>\n<\/tr>\n
<\/td>\nPattern<\/td>\n99<\/td>\n<\/tr>\n
Lucy Calcott<\/td>\nMaundy Thursday<\/td>\n101<\/td>\n<\/tr>\n
Michael Srigley<\/td>\nFlowers in Rich Fields: The Poetry of Thomas Vaughan’s Pamphlets<\/td>\n103<\/td>\n<\/tr>\n
Open Poetry Competition<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nAdjudications<\/td>\n124<\/td>\n<\/tr>\n
Short Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
James Harpur<\/td>\nThe Monastic Star Timetable (1st Prize)<\/td>\n129<\/td>\n<\/tr>\n
Jemma Borg<\/td>\nThe Pond (2nd Prize)<\/td>\n131<\/td>\n<\/tr>\n
Brett Van Toen<\/td>\nBullfrogs (3rd Prize)<\/td>\n132<\/td>\n<\/tr>\n
Short Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Helen Burke<\/td>\nThe Lace-worker of Ghent<\/td>\n133<\/td>\n<\/tr>\n
Rose Flint<\/td>\nGrace<\/td>\n134<\/td>\n<\/tr>\n
Mary MacRae<\/td>\nFlycatcher<\/td>\n135<\/td>\n<\/tr>\n
John Weston<\/td>\nTo Alaska and Back<\/td>\n136<\/td>\n<\/tr>\n
Samantha Wynne-Rhydderch<\/td>\nLipstick<\/td>\n137<\/td>\n<\/tr>\n
Long Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Alyson Hallett<\/td>\nThe Storm Trilogy (1st Prize)<\/td>\n140<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nOrpheus in the Underground (2nd Prize)<\/td>\n146<\/td>\n<\/tr>\n
\u00a0M. C. Newton<\/td>\nBeliefs Broad and Narrow (3rd Prize)<\/td>\n155<\/td>\n<\/tr>\n
Long Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
James Harpur<\/td>\nJoseph of Arimathea<\/td>\n160<\/td>\n<\/tr>\n
Greg Hill<\/td>\nMyddleton’s River<\/td>\n166<\/td>\n<\/tr>\n
Mary MacRae<\/td>\nShades of Grey<\/td>\n170<\/td>\n<\/tr>\n
Philip Rush<\/td>\nHow to Listen to Classical Music<\/td>\n172<\/td>\n<\/tr>\n
Maria Jastrzebska<\/td>\nCarrying Her<\/td>\n174<\/td>\n<\/tr>\n
Glyn Pursglove<\/td>\nTaught him at the well: reflections on ‘Isaac’s Marriage’<\/td>\n178<\/td>\n<\/tr>\n
Gary Allen<\/td>\nNew Year<\/td>\n191<\/td>\n<\/tr>\n
Simon Pettifar<\/td>\nTo the Clerk of the Meeting when the Sufis Came to Speak to Us<\/td>\n192<\/td>\n<\/tr>\n
<\/td>\nLaughing Poem<\/td>\n192<\/td>\n<\/tr>\n
<\/td>\nIncense<\/td>\n193<\/td>\n<\/tr>\n
Mercer Simpson<\/td>\nAt Malmesbury Abbey<\/td>\n194<\/td>\n<\/tr>\n
Daphne Gloag<\/td>\nTurning a Square intO an Octagon<\/td>\n195<\/td>\n<\/tr>\n
Kate Foley<\/td>\nWellington Boots<\/td>\n197<\/td>\n<\/tr>\n
Bill Shepherd<\/td>\nGenesis<\/td>\n199<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nThe Last Green Year<\/td>\n201<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-07-cvr\"<\/a><\/p>\n

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
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
Rowan Williams<\/td>\nHas Secularism Failed’: Notes on the Survival of the Spirit<\/td>\n9<\/td>\n<\/tr>\n
E. J. Matyjaszek<\/td>\nA View from Lublin<\/td>\n21<\/td>\n<\/tr>\n
Mario Petrucci<\/td>\nPyre-Watchers<\/td>\n23<\/td>\n<\/tr>\n
Tony Connor<\/td>\nDrawing A War Plane<\/td>\n25<\/td>\n<\/tr>\n
Lucy Calcorc<\/td>\nThe Dark Mad Voice<\/td>\n27<\/td>\n<\/tr>\n
Dannie Abse<\/td>\nAnts<\/td>\n29<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nLlancillin<\/td>\n30<\/td>\n<\/tr>\n
John Welch<\/td>\nBeing Creative<\/td>\n35<\/td>\n<\/tr>\n
Lynne Wycherley<\/td>\nThe Writing Room<\/td>\n40<\/td>\n<\/tr>\n
<\/td>\nThe Miracle of the Clay Birds<\/td>\n41<\/td>\n<\/tr>\n
Ali Glenny<\/td>\nJosefa Paints an Onion<\/td>\n42<\/td>\n<\/tr>\n
Zoe Brigley<\/td>\nCanopy<\/td>\n44<\/td>\n<\/tr>\n
Brian Walsham<\/td>\nBird-fancier<\/td>\n45<\/td>\n<\/tr>\n
Phil Poole<\/td>\nAutumn<\/td>\n47<\/td>\n<\/tr>\n
Larry Burler<\/td>\nBay Window<\/td>\n48<\/td>\n<\/tr>\n
Phil Maillard<\/td>\nDysphasia<\/td>\n49<\/td>\n<\/tr>\n
Michael Srigley<\/td>\nOnce<\/td>\n51<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nA Deep but Dazzling Darkness: Writing Poetry in Extremity 53<\/td>\n53<\/td>\n<\/tr>\n
Hilary Llewellyn-Williams<\/td>\nThe Badge<\/td>\n62<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nMoth<\/td>\n64<\/td>\n<\/tr>\n
Greve! Lindop<\/td>\nThe Wineglass<\/td>\n66<\/td>\n<\/tr>\n
Lance Lee<\/td>\nHaunting<\/td>\n67<\/td>\n<\/tr>\n
Gary Allen<\/td>\nWalls<\/td>\n69<\/td>\n<\/tr>\n
DilysWood<\/td>\nJohn Heath-Stubbs Reading at the Troubadour<\/td>\n70<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nDarkness and Light: Poetry, Religion and the Environment<\/td>\n73<\/td>\n<\/tr>\n
Caroline Price<\/td>\nHawkmoth larva surprised in August<\/td>\n87<\/td>\n<\/tr>\n
Anna Adams<\/td>\nArrival of the Swifts<\/td>\n89<\/td>\n<\/tr>\n
Rose Flint<\/td>\nAbove Saint Cybi’s Well<\/td>\n91<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nThis Much<\/td>\n93<\/td>\n<\/tr>\n
<\/td>\nElsewhere<\/td>\n94<\/td>\n<\/tr>\n
<\/td>\nStrange<\/td>\n95<\/td>\n<\/tr>\n
<\/td>\nTogether<\/td>\n96<\/td>\n<\/tr>\n
Alyson Hallett<\/td>\nDropped, like a stitch<\/td>\n97<\/td>\n<\/tr>\n
Holly Faith Nelson<\/td>\nGender and Politics in the Writings of Henry Vaughan<\/td>\n99<\/td>\n<\/tr>\n
Richard Burns<\/td>\nWayside Shrine<\/td>\n116<\/td>\n<\/tr>\n
<\/td>\nOn the Death of Kate Landers<\/td>\n120<\/td>\n<\/tr>\n
Ian Caws<\/td>\nRose<\/td>\n122<\/td>\n<\/tr>\n
Paul Groves<\/td>\nPhantom Faces in the Floor of a House at Belmez<\/td>\n124<\/td>\n<\/tr>\n
Malanie Challenge<\/td>\nTeeth<\/td>\n126<\/td>\n<\/tr>\n
Maggie Butt<\/td>\nFathering<\/td>\n127<\/td>\n<\/tr>\n
Shanta Acharya<\/td>\nMidnight Stroll<\/td>\n128<\/td>\n<\/tr>\n
Donald R. Dickson<\/td>\nThe Identity of Rebecca Archer Vaughan<\/td>\n129<\/td>\n<\/tr>\n
Open Poetry Competition<\/strong><\/td>\n<\/td>\n143-183<\/td>\n<\/tr>\n
<\/td>\nAdjudications<\/td>\n146<\/td>\n<\/tr>\n
Short Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Pamela Vincent<\/td>\nLosing It (1st Prize)<\/td>\n150<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Liz Cashdan<\/td>\nRed (2nd Prize)<\/td>\n151<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Juanita Bateman<\/td>\nMissing (3rd Prize)<\/td>\n152<\/td>\n<\/tr>\n
Short Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Pat Earnshaw<\/td>\nDarken Our Lightness<\/td>\n154<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Clive Eastwood<\/td>\nTo Do With Moving On<\/td>\n155<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Fiona Owen<\/td>\nWalk<\/td>\n157<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Lynne Rees<\/td>\nSnap<\/td>\n158<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Anna Wigley<\/td>\nAfter Snow<\/td>\n159<\/td>\n<\/tr>\n
Longer Poems<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 John Freeman<\/td>\nTabula Rasa (1st Prize)<\/td>\n162<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Mary MacRae<\/td>\nA sort of homecoming (2nd Prize)<\/td>\n166<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Carol Hughes<\/td>\nThe Floe Edge (3rd Prize)<\/td>\n171<\/td>\n<\/tr>\n
Longer Poems – Commended<\/strong><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Roy Ashwell<\/td>\nA Series<\/td>\n176<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Liz Cashdan<\/td>\nOne Way or Another<\/td>\n178<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Lucy Hamilton<\/td>\nBeing with Annette<\/td>\n181<\/td>\n<\/tr>\n
Helen Wilcox<\/td>\nScribling under so faire a Coppy: the presence of Herbert in the poetry of Vaughan’s contemporaries<\/td>\n185<\/td>\n<\/tr>\n
D.S. Hall<\/td>\nThe Unrepeatable Assembly<\/td>\n201<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-06-cvr\"<\/a><\/p>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Glyn Pursglove<\/td>\nHenry Vaughan and the Glance of Love: Thoughts on ‘The Favour<\/td>\n7<\/td>\n<\/tr>\n
D.S. Hall<\/td>\nTu mults of Forgetting<\/td>\n21<\/td>\n<\/tr>\n
Jean Earle<\/td>\nShadows<\/td>\n22<\/td>\n<\/tr>\n
Hubert Moore<\/td>\nThe Screech<\/td>\n23<\/td>\n<\/tr>\n
Neil Curry<\/td>\nTidelines (Holy Island)<\/td>\n24<\/td>\n<\/tr>\n
Sebastian Barker<\/td>\nHoly The Heart On Which We Hang Our Hope<\/td>\n29<\/td>\n<\/tr>\n
Michael Srigley<\/td>\nThomas Vaughan, the Hartlib Circle and the Rosicrucians<\/td>\n31<\/td>\n<\/tr>\n
Third Scintilla Open Poetry Competition<\/strong><\/td>\n55<\/td>\n<\/tr>\n
Short Poems<\/strong> – Adjudication by Hilary Llewellyn-Williams<\/td>\n57<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 James Lawless<\/td>\nThe Miracle of the Rain (1st Prize)<\/td>\n59<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Pat Earnshaw<\/td>\nRed Planet (2nd Prize)<\/td>\n61<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Jacqueline Karp<\/td>\nMallemaroking (3rd Prize)<\/td>\n62<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 From Commended:<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Bruce Bamber<\/td>\nRevolving Doors<\/td>\n64<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 David Butler<\/td>\nLines written at the onset of Winter<\/td>\n65<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 E. J. Maryjaszek<\/td>\nEel Brook Common -Spring<\/td>\n67<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Angela Morton<\/td>\nThe Knot Garden<\/td>\n69<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Jocelyn Simms<\/td>\nMasquerade<\/td>\n71<\/td>\n<\/tr>\n
Long Poems<\/strong> – Adjudication by Anne Cluysenaar<\/td>\n74<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Colin Moss<\/td>\nSeed Of Time (1st Prize)<\/td>\n75<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Par Earnshaw<\/td>\nToad (2nd Prize)<\/td>\n83<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Ruth Bidgood<\/td>\nRiding the Flood (3rd Prize)<\/td>\n86<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Commended:<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Joseph Clancy<\/td>\nBone Hunter<\/td>\n90<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 John Freeman<\/td>\nA Suite For Summer<\/td>\n93<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Martin Schmandt<\/td>\nHeart’s Desire<\/td>\n99<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Margaret Wilmot<\/td>\nIn Memoriam Paul Forster, 1902-1991<\/td>\n103<\/td>\n<\/tr>\n
\u00a0\u00a0\u00a0 Dilys Wood<\/td>\nAugust 2nd<\/td>\n106<\/td>\n<\/tr>\n
Alex Cadogan<\/td>\nVaughan and the Mundus lmaginalis<\/td>\n110<\/td>\n<\/tr>\n
Hilary Llewellyn-Williams<\/td>\nActaeon<\/td>\n122<\/td>\n<\/tr>\n
John Welch<\/td>\nSt Aignan<\/td>\n124<\/td>\n<\/tr>\n
<\/td>\nI Is<\/td>\n124<\/td>\n<\/tr>\n
<\/td>\nWindow<\/td>\n125<\/td>\n<\/tr>\n
Rose Flint<\/td>\nPromethea<\/td>\n126<\/td>\n<\/tr>\n
David Annwn<\/td>\nConfluences<\/td>\n128<\/td>\n<\/tr>\n
Peter G ruffydd<\/td>\nTalking to Crowfoot<\/td>\n132<\/td>\n<\/tr>\n
John Barnie<\/td>\nAt Llanwenarth<\/td>\n134<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\nF. E. Hutchinson, Louise Guiney, and Henry Vaughan<\/td>\n135<\/td>\n<\/tr>\n
Alicia Stubbersfield<\/td>\nMy Grandmother’s House<\/td>\n148<\/td>\n<\/tr>\n
Caroline Price<\/td>\nMother and Child<\/td>\n150<\/td>\n<\/tr>\n
<\/td>\nRoller Blader<\/td>\n151<\/td>\n<\/tr>\n
Paul Murphy<\/td>\nNecropolis<\/td>\n152<\/td>\n<\/tr>\n
Paul Davidson<\/td>\nHerne Bay<\/td>\n153<\/td>\n<\/tr>\n
Stuart Flynn<\/td>\nNecromancy<\/td>\n155<\/td>\n<\/tr>\n
Phil Maillard<\/td>\nFrog<\/td>\n156<\/td>\n<\/tr>\n
Roland Mathias<\/td>\nA New Language, A New Tradition<\/td>\n161<\/td>\n<\/tr>\n
Matthew Fluharty<\/td>\nThe Interview<\/td>\n183<\/td>\n<\/tr>\n
Kate Foley<\/td>\nCracks in the Pavement<\/td>\n184<\/td>\n<\/tr>\n
Gary Allen<\/td>\nThe Workhouse<\/td>\n187<\/td>\n<\/tr>\n
<\/td>\nLooking for Landmarks<\/td>\n188<\/td>\n<\/tr>\n
<\/td>\nThe Brick Factory<\/td>\n189<\/td>\n<\/tr>\n
Anna Adams<\/td>\nMemorials 2 – Sailing By<\/td>\n190<\/td>\n<\/tr>\n
Liam Aspin<\/td>\nFetish<\/td>\n192<\/td>\n<\/tr>\n
Kim Taplin<\/td>\nHow shall I get a wreath … ?: Some implications of Vaughan’s question for contemporary poetry<\/td>\n194<\/td>\n<\/tr>\n
Kim Taplin<\/td>\nGoodfellow<\/td>\n205<\/td>\n<\/tr>\n
John Jones<\/td>\nis this what you want!<\/td>\n210<\/td>\n<\/tr>\n
<\/td>\nsedimentar y – my dear homes<\/td>\n212<\/td>\n<\/tr>\n
Ian Caws<\/td>\nMovement from a Fixed Point<\/td>\n214<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nClimbing<\/td>\n215<\/td>\n<\/tr>\n
To ny Connor<\/td>\nGuida Farm in January<\/td>\n217<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-05-cvr\"<\/a><\/p>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
David Annwn<\/td>\nDeep Hymns: ‘Holy’ Orpheus in the Poetry of Henry Vaughan, John Milton and Ronald Johnson<\/td>\n7<\/td>\n<\/tr>\n
Henry Vaughan\/Geoffrey Palmer<\/td>\nAwake, Glad Heart!<\/td>\n23<\/td>\n<\/tr>\n
Hilary Llewellyn-Williams<\/td>\nMaking Landfall<\/td>\n27<\/td>\n<\/tr>\n
Anna Adams<\/td>\nMemorials<\/td>\n28<\/td>\n<\/tr>\n
<\/td>\nMillennial Funerals<\/td>\n29<\/td>\n<\/tr>\n
Fred Johnston<\/td>\nShadowing<\/td>\n31<\/td>\n<\/tr>\n
<\/td>\nTo An Old Lover Glimpsed In A Window<\/td>\n32<\/td>\n<\/tr>\n
Kate Foley<\/td>\nHearth Prayer<\/td>\n35<\/td>\n<\/tr>\n
Par vin Loloi<\/td>\nHenry Vaughan and Sufism<\/td>\n37<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nCity Walking (2)<\/td>\n51<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nInward Eye<\/td>\n53<\/td>\n<\/tr>\n
<\/td>\nPictures of Zeugma<\/td>\n53<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nStilled<\/td>\n55<\/td>\n<\/tr>\n
<\/td>\nChoosing<\/td>\n57<\/td>\n<\/tr>\n
<\/td>\nThat Undiscovered Place<\/td>\n59<\/td>\n<\/tr>\n
Alan Rudrum<\/td>\nHenry Vaughan and Rowland Watkyns, neighbours but not friends<\/td>\n61<\/td>\n<\/tr>\n
Second Open Poetry Competition<\/strong><\/td>\n<\/td>\n73<\/td>\n<\/tr>\n
<\/td>\nAdjudication\u00a0by Jeremy Hooker<\/td>\n74<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nVoice Box\u00a0 (1st Prize)<\/td>\n75<\/td>\n<\/tr>\n
Paul Cowlan<\/td>\nFire to The Frost (2nd Prize)<\/td>\n84<\/td>\n<\/tr>\n
Roy Ashwell<\/td>\nTowards and Unknown Ending (Joint<\/td>\n86<\/td>\n<\/tr>\n
Ron Phillips<\/td>\nWoodsmoke\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3rd Prize)<\/td>\n89<\/td>\n<\/tr>\n
Roland Mathias<\/td>\nThe Midlands: Introductions and Identifications<\/td>\n93<\/td>\n<\/tr>\n
Steven Taylor<\/td>\nA Short History of Wales<\/td>\n105<\/td>\n<\/tr>\n
<\/td>\nAbbreviated History of Wales<\/td>\n106<\/td>\n<\/tr>\n
Gary Allen<\/td>\nThe North<\/td>\n107<\/td>\n<\/tr>\n
<\/td>\nReturn to Gal way<\/td>\n108<\/td>\n<\/tr>\n
<\/td>\nWalking to the Islands<\/td>\n109<\/td>\n<\/tr>\n
Graham Hartill<\/td>\nA Place To Stand<\/td>\n110<\/td>\n<\/tr>\n
Glyn Pursglove<\/td>\nBright Shadows: the religious wit of Henry Vaughan<\/td>\n117<\/td>\n<\/tr>\n
John Barnie<\/td>\nGlockenspiel<\/td>\n139<\/td>\n<\/tr>\n
<\/td>\nEaster 3000<\/td>\n140<\/td>\n<\/tr>\n
<\/td>\nWe Are An Experiment<\/td>\n141<\/td>\n<\/tr>\n
<\/td>\nMission Statement<\/td>\n142<\/td>\n<\/tr>\n
Neil Curry<\/td>\nIcon<\/td>\n143<\/td>\n<\/tr>\n
Angela Morton<\/td>\nFish<\/td>\n144<\/td>\n<\/tr>\n
Susan Serrano<\/td>\nThe Brazier<\/td>\n145<\/td>\n<\/tr>\n
Val Collett<\/td>\nReflection<\/td>\n146<\/td>\n<\/tr>\n
Colin Rowbotham<\/td>\nThe Monolith<\/td>\n147<\/td>\n<\/tr>\n
<\/td>\nCharm against Insomnia<\/td>\n148<\/td>\n<\/tr>\n
Jay Ramsay<\/td>\nGetting Through<\/td>\n149<\/td>\n<\/tr>\n
Geoff Stevens<\/td>\nThe Bell Tent<\/td>\n150<\/td>\n<\/tr>\n
Bruce James<\/td>\nWood-Pigeons<\/td>\n151<\/td>\n<\/tr>\n
June Sturrock<\/td>\nCock-crowing<\/td>\n152<\/td>\n<\/tr>\n
Ian Caws<\/td>\nComet<\/td>\n159<\/td>\n<\/tr>\n
<\/td>\nAcorns<\/td>\n160<\/td>\n<\/tr>\n
Phil Maillard<\/td>\nWalk To night<\/td>\n161<\/td>\n<\/tr>\n
<\/td>\nLlantarnham (2)<\/td>\n163<\/td>\n<\/tr>\n
<\/td>\nComing Out Of Films<\/td>\n165<\/td>\n<\/tr>\n
Carole Montoya<\/td>\nIn Shingo where Jesus lived to be 106 and Died<\/td>\n168<\/td>\n<\/tr>\n
Hilary Llewellyn-Williams<\/td>\nLand of Darkness – the Poet in the the Underworld<\/td>\n171<\/td>\n<\/tr>\n
Mike Parker<\/td>\nClearly Something<\/td>\n179<\/td>\n<\/tr>\n
Alex Barr<\/td>\nLlanelli Beach<\/td>\n180<\/td>\n<\/tr>\n
Catherine Fisher<\/td>\nFrom The Sunken Kingdom<\/td>\n181<\/td>\n<\/tr>\n
Elisabeth Standen<\/td>\nKey<\/td>\n184<\/td>\n<\/tr>\n
Lance Lee<\/td>\nThe Deer<\/td>\n185<\/td>\n<\/tr>\n
Greve] Lindop<\/td>\nLighting The First Fire of Au tumn<\/td>\n186<\/td>\n<\/tr>\n
Hubert Moore<\/td>\nNightingale<\/td>\n188<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-04-cvr\"<\/a><\/h2>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nWhat is Sacred Poetry?<\/td>\n7<\/td>\n<\/tr>\n
Kim Taplin<\/td>\nPossible Openings<\/td>\n23<\/td>\n<\/tr>\n
Jeremy Hilton<\/td>\nLighting up time<\/td>\n25<\/td>\n<\/tr>\n
Peter Abbs<\/td>\nDrive In<\/td>\n29<\/td>\n<\/tr>\n
Peter Russell<\/td>\nA Bullfinch?<\/td>\n30<\/td>\n<\/tr>\n
D.S. Hall<\/td>\nInstance<\/td>\n31<\/td>\n<\/tr>\n
<\/td>\nReflector<\/td>\n31<\/td>\n<\/tr>\n
<\/td>\nWithin the Locked Wave<\/td>\n32<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nCircles<\/td>\n33<\/td>\n<\/tr>\n
<\/td>\nWays of Life<\/td>\n34<\/td>\n<\/tr>\n
<\/td>\nShards<\/td>\n34<\/td>\n<\/tr>\n
<\/td>\nDriving through 95% Eclipse<\/td>\n35<\/td>\n<\/tr>\n
Liam Aspin<\/td>\nWirds<\/td>\n36<\/td>\n<\/tr>\n
Peter Gruffydd<\/td>\nLooking Back<\/td>\n38<\/td>\n<\/tr>\n
Alan Rudrum<\/td>\nFor then the Earth shall be all Paradise<\/td>\n39<\/td>\n<\/tr>\n
Gary Allen<\/td>\nFerae Naturae<\/td>\n53<\/td>\n<\/tr>\n
<\/td>\nGeological Notes<\/td>\n54<\/td>\n<\/tr>\n
Jean Earle<\/td>\nShadows<\/td>\n57<\/td>\n<\/tr>\n
Anna Wigley<\/td>\nThe Confinement<\/td>\n58<\/td>\n<\/tr>\n
Ted Walter<\/td>\nThe Divide<\/td>\n59<\/td>\n<\/tr>\n
Phil Maillard<\/td>\nThe Gatherers<\/td>\n60<\/td>\n<\/tr>\n
Brigid Allen<\/td>\nThe Vaughans at Jesus College<\/td>\n68<\/td>\n<\/tr>\n
Open Poetry Competition<\/strong><\/td>\n<\/td>\n79<\/td>\n<\/tr>\n
<\/td>\nPreface<\/td>\n80<\/td>\n<\/tr>\n
\u00a0 \u00a0 \u00a0 Pat Earnshaw<\/td>\nMy Cat Vince (1st Prize)<\/td>\n83<\/td>\n<\/tr>\n
\u00a0 \u00a0 \u00a0 M. C. Newton<\/td>\nM. C. Newton Third Window (2nd Prize)<\/td>\n96<\/td>\n<\/tr>\n
\u00a0 \u00a0 \u00a0 Mary Macrae<\/td>\nMary Macrae Knitting (Third Prize)<\/td>\n101<\/td>\n<\/tr>\n
Roland Mathias<\/td>\nReasons, reasons<\/td>\n109<\/td>\n<\/tr>\n
Mercer Simpson<\/td>\nMercer Simpson Saint Colossus of Arona<\/td>\n125<\/td>\n<\/tr>\n
John Freeman<\/td>\nJohn Freeman Parliament Square<\/td>\n127<\/td>\n<\/tr>\n
<\/td>\nHoly of Holies<\/td>\n129<\/td>\n<\/tr>\n
Wayne Burrows<\/td>\nDuet<\/td>\n130<\/td>\n<\/tr>\n
Clare Crossman<\/td>\nClare Crossman Silent Reading<\/td>\n132<\/td>\n<\/tr>\n
Michael Woodward<\/td>\nMichael Woodward Ice Man<\/td>\n137<\/td>\n<\/tr>\n
Ric Hool<\/td>\nRic Hool Opthalmic Appointment<\/td>\n140<\/td>\n<\/tr>\n
Annemarie Austin<\/td>\nAnnemarie Austin Isolation Hospital<\/td>\n141<\/td>\n<\/tr>\n
Robert Wilcher<\/td>\nFeathering some slower hours: Henry Vaughan’s Verse Translations<\/td>\n142<\/td>\n<\/tr>\n
Jay Ramsay<\/td>\nImprovisation On Flower Mountain<\/td>\n162<\/td>\n<\/tr>\n
Paul Davidson<\/td>\nPaul Davidson Interferometry<\/td>\n173<\/td>\n<\/tr>\n
Rose Flint<\/td>\nRose Flint The Blue Gate<\/td>\n175<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nMyra Schneider Repair<\/td>\n180<\/td>\n<\/tr>\n
David Hart<\/td>\nDavid Hart Trust the Poem<\/td>\n185<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-03-cvr\"<\/a><\/h2>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Peter W. Thomas<\/td>\nThe Language of Light: Henry Vaughan and the Puritans<\/td>\n9<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nChrist of the Trades<\/td>\n30<\/td>\n<\/tr>\n
David Hart<\/td>\nApproaching again<\/td>\n31<\/td>\n<\/tr>\n
Kim Taplin<\/td>\nFound in a Rucksack: Found on a Beach in Orkney<\/td>\n38<\/td>\n<\/tr>\n
Michael Srigley<\/td>\nRitual Entries: Some Approaches to Henry Vaughan’s ‘Silex Scintillans’<\/td>\n43<\/td>\n<\/tr>\n
Seamus Heaney<\/td>\nThe Little Canticles of Asturias<\/td>\n60<\/td>\n<\/tr>\n
<\/td>\nThe Glamoured<\/td>\n62<\/td>\n<\/tr>\n
Hilary Llewellyn-Williams<\/td>\nI Ching Poems<\/td>\n64<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\n‘as a wind or an echo rebounds’<\/td>\n76<\/td>\n<\/tr>\n
Richard Birt<\/td>\n‘Sweet infancy!’ The Affinities between the Vaughans and Thomas Traherne<\/td>\n80<\/td>\n<\/tr>\n
Les Murray<\/td>\nThe Lich and the Blood<\/td>\n91<\/td>\n<\/tr>\n
Janet Dube<\/td>\nSamhain to lmbolc<\/td>\n93<\/td>\n<\/tr>\n
Roland Mathias<\/td>\nThe Making of a Royalist<\/td>\n107<\/td>\n<\/tr>\n
Peter Gruffydd<\/td>\nGetting By<\/td>\n121<\/td>\n<\/tr>\n
<\/td>\nDriftwood’s Song<\/td>\n122<\/td>\n<\/tr>\n
Fiona Owen<\/td>\nThat last week<\/td>\n129<\/td>\n<\/tr>\n
Graham Hartill & Fu-Sheng Wu<\/td>\nTo Cao Biao, The Prince of Baima<\/td>\n131<\/td>\n<\/tr>\n
Jean Earle<\/td>\nThe Ritual Meals<\/td>\n135<\/td>\n<\/tr>\n
Belinda Humfrey<\/td>\nVaughan and Vegetables<\/td>\n137<\/td>\n<\/tr>\n
John Barnie<\/td>\nThat’s How I See It Anyway<\/td>\n150<\/td>\n<\/tr>\n
<\/td>\nOn the Usk<\/td>\n151<\/td>\n<\/tr>\n
<\/td>\nPalaeozoic<\/td>\n152<\/td>\n<\/tr>\n
Marianne Jones<\/td>\nThe Morning of our Eternal Good-bye<\/td>\n153<\/td>\n<\/tr>\n
<\/td>\nPine Needles<\/td>\n155<\/td>\n<\/tr>\n
<\/td>\nVoiceless Grief<\/td>\n156<\/td>\n<\/tr>\n
Nigel Jenkins<\/td>\nPoem for Andie<\/td>\n158<\/td>\n<\/tr>\n
John Jones<\/td>\nPredator One. The Syrup Tin<\/td>\n159<\/td>\n<\/tr>\n
<\/td>\nPredator Two. Verbalising Silence<\/td>\n160<\/td>\n<\/tr>\n
<\/td>\nPredator Three.Terminal<\/td>\n161<\/td>\n<\/tr>\n
Glyn Pursglove<\/td>\n‘Number Makes a Schism’: Number and Unity in Vaughan<\/td>\n163<\/td>\n<\/tr>\n
Bruce James<\/td>\nThe Lip Curved Out and Down<\/td>\n182<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-02-cvr\"<\/a><\/h2>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
M. Wynn Thomas<\/td>\nIn Occidentem & tenebras’: putting Henry Vaughan on the map of Wales<\/td>\n7<\/td>\n<\/tr>\n
Menna Elfyn<\/td>\nEira\/Snow<\/td>\n26, 27<\/td>\n<\/tr>\n
<\/td>\nGwynt\/Wind<\/td>\n28, 29<\/td>\n<\/tr>\n
<\/td>\nTwll y glaw\/Cloudburst<\/td>\n30, 31<\/td>\n<\/tr>\n
Clare Crossman<\/td>\nNature Writing<\/td>\n32<\/td>\n<\/tr>\n
Hilary Llewellyn-Williams<\/td>\nA Lap of Apples<\/td>\n34<\/td>\n<\/tr>\n
A. M. Allchin<\/td>\n‘As if Existence Itself were Heavenliness’: The Proximity of Paradise in Henry Vaughan and Thomas Merton<\/td>\n36<\/td>\n<\/tr>\n
Pauline Stainer<\/td>\nParable Island<\/td>\n54<\/td>\n<\/tr>\n
<\/td>\nGeorge Herbert plays the lute<\/td>\n55<\/td>\n<\/tr>\n
Greg Hill<\/td>\nA Thracian Triptych<\/td>\n56<\/td>\n<\/tr>\n
John Jones<\/td>\nUscavar’s Boy<\/td>\n58<\/td>\n<\/tr>\n
<\/td>\nDeath in the Distance<\/td>\n60<\/td>\n<\/tr>\n
Topher Mills<\/td>\nThe Believer’s Somnal<\/td>\n61<\/td>\n<\/tr>\n
Roland Mathias<\/td>\nThe Silurist Re-Examined<\/td>\n62<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nEncounters with Angels<\/td>\n78<\/td>\n<\/tr>\n
Peter Gruffydd<\/td>\nChurch at Pistyll, Llyn<\/td>\n84<\/td>\n<\/tr>\n
<\/td>\nThe Cleric and The Visitor<\/td>\n85<\/td>\n<\/tr>\n
<\/td>\nThe Voice<\/td>\n86<\/td>\n<\/tr>\n
Dannie Abse<\/td>\nInscription on the Flyleaf of a Bible<\/td>\n88<\/td>\n<\/tr>\n
Robert Wilcher<\/td>\nHenry Vaughan and the Church<\/td>\n90<\/td>\n<\/tr>\n
Joseph Clancy<\/td>\nA Visit to Powis Castle<\/td>\n105<\/td>\n<\/tr>\n
Wendy Mulford<\/td>\n1. Annaghmakerring, Easter 1997<\/td>\n108<\/td>\n<\/tr>\n
<\/td>\n2. Different lines<\/td>\n109<\/td>\n<\/tr>\n
<\/td>\n3. Border blues<\/td>\n110<\/td>\n<\/tr>\n
<\/td>\n4. Reconciliation<\/td>\n112<\/td>\n<\/tr>\n
Stevie Davies<\/td>\nThe Testament of Catherine Vaughan<\/td>\n113<\/td>\n<\/tr>\n
David Annwn<\/td>\nVaughan’s Loom<\/td>\n120<\/td>\n<\/tr>\n
Malcolm Bradley<\/td>\nSeeing Voices<\/td>\n124<\/td>\n<\/tr>\n
Don Rodgers<\/td>\nBurry Holm<\/td>\n126<\/td>\n<\/tr>\n
<\/td>\nThe Fictionalists<\/td>\n127<\/td>\n<\/tr>\n
Jonathan Nauman<\/td>\nTo my Worthy Friend, Master T. Lewes’: Vaughan, Herbert, and the Civil Wars<\/td>\n128<\/td>\n<\/tr>\n
Rose Flint<\/td>\nWeights and Measures<\/td>\n132<\/td>\n<\/tr>\n
Myra Schneider<\/td>\nPool<\/td>\n134<\/td>\n<\/tr>\n
Robert Minhinnick<\/td>\nIn the Days of the Comet<\/td>\n135<\/td>\n<\/tr>\n
Richard Poole<\/td>\nBurning<\/td>\n139<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nQuickness<\/td>\n141<\/td>\n<\/tr>\n
Lee Grandjean<\/td>\nThe Background to the ‘Four Winds’: Drawings<\/td>\n154<\/td>\n<\/tr>\n
Jeremy Hooker<\/td>\nA Note on the ‘Groundwork’ poems<\/td>\n156<\/td>\n<\/tr>\n
<\/td>\nWorkpoints<\/td>\n158<\/td>\n<\/tr>\n
<\/td>\nCyane<\/td>\n166<\/td>\n<\/tr>\n
Steve Griffiths<\/td>\nDipping Through Surfaces<\/td>\n169<\/td>\n<\/tr>\n
John Freeman<\/td>\nSpring Diptych<\/td>\n173<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

\"Scintilla-01-cvr\"<\/a><\/h2>\n

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
Author<\/strong><\/td>\nTitle<\/strong><\/td>\n#<\/strong><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Graham Hartill<\/td>\n‘Healing Wings’<\/td>\n9<\/td>\n<\/tr>\n
Gwyneth Lewis<\/td>\nMelangell Variations<\/td>\n20<\/td>\n<\/tr>\n
Peter W. Thomas<\/td>\nThe Poisoned Grove<\/td>\n27<\/td>\n<\/tr>\n
Robert Minhinnick<\/td>\nRoadkill Blues<\/td>\n45<\/td>\n<\/tr>\n
John Killick<\/td>\nThe Riderless Horse’<\/td>\n62<\/td>\n<\/tr>\n
Fiona Sampson<\/td>\nPoems from ‘de Salmone’: i, ii, iv, v<\/td>\n66<\/td>\n<\/tr>\n
Hilary Llewellyn-Williams<\/td>\n‘As Above, So Below’<\/td>\n69<\/td>\n<\/tr>\n
Ric Hool<\/td>\nUntying the Knot of Gravity<\/td>\n77<\/td>\n<\/tr>\n
<\/td>\nThe Knot and the Lake<\/td>\n78<\/td>\n<\/tr>\n
Ruth Bidgood<\/td>\nCwm Pennant 1-4<\/td>\n79<\/td>\n<\/tr>\n
R. S. Thomas<\/td>\nThe Flesh Made Word<\/td>\n83<\/td>\n<\/tr>\n
Nigel Jenkins<\/td>\nObservatory<\/td>\n88<\/td>\n<\/tr>\n
<\/td>\nAtom I<\/td>\n89<\/td>\n<\/tr>\n
<\/td>\nAtom II<\/td>\n90<\/td>\n<\/tr>\n
<\/td>\nIn\/dependence<\/td>\n91<\/td>\n<\/tr>\n
Norman Schwenk<\/td>\nDemon<\/td>\n91<\/td>\n<\/tr>\n
Henry Vaughan<\/td>\nDistraction<\/td>\n92<\/td>\n<\/tr>\n
Anne Cluysenaar<\/td>\nRereading Henry Vaughan’s ‘Distraction’<\/td>\n93<\/td>\n<\/tr>\n
John Barnie<\/td>\nProblem<\/td>\n109<\/td>\n<\/tr>\n
<\/td>\nTrouble<\/td>\n110<\/td>\n<\/tr>\n
<\/td>\nBy Arrangement<\/td>\n111<\/td>\n<\/tr>\n
Chris Torrance<\/td>\nDecember Meditation<\/td>\n113<\/td>\n<\/tr>\n
David Crane<\/td>\nThe Poetry of Alchemy and the Alchemy of Poetry<\/td>\n115<\/td>\n<\/tr>\n
Joseph P. Clancy<\/td>\nScreens<\/td>\n123<\/td>\n<\/tr>\n
<\/td>\nDown Under<\/td>\n124<\/td>\n<\/tr>\n
Jeremy Hilton<\/td>\nThe Room That Turned<\/td>\n125<\/td>\n<\/tr>\n
Pennant Roberts<\/td>\nAssociations and Confrontations<\/td>\n129<\/td>\n<\/tr>\n
Sean Street<\/td>\nAbove Newton Farm<\/td>\n132<\/td>\n<\/tr>\n
John Powell Ward<\/td>\nEros<\/td>\n133<\/td>\n<\/tr>\n
Angela Morton<\/td>\nThomas Beside the Vaporous Usk<\/td>\n134<\/td>\n<\/tr>\n
Jean Earle<\/td>\nAt the Mirror of Catherine Vaughan<\/td>\n135<\/td>\n<\/tr>\n
Mercer Simpson<\/td>\nHenry Vaughan Visits His Grandfather at Tretower<\/td>\n137<\/td>\n<\/tr>\n
Tony Curtis<\/td>\nIllustration & Poem XVII from ‘The Arches’<\/td>\n139<\/td>\n<\/tr>\n
Catherine Fisher<\/td>\nThe Thicket<\/td>\n140<\/td>\n<\/tr>\n
Pauline Stainer<\/td>\nKarumi<\/td>\n141<\/td>\n<\/tr>\n
<\/td>\nEpiphany in Umbria<\/td>\n142<\/td>\n<\/tr>\n
Glyn Pursglove<\/td>\nHenry Vaughan and the Energies of Rhyme<\/td>\n143<\/td>\n<\/tr>\n
Kim Taplin<\/td>\nReprinted from the ‘Transactions of the World’s End & District Field Club’<\/td>\n158<\/td>\n<\/tr>\n
<\/td>\nThe August Thorn<\/td>\n160<\/td>\n<\/tr>\n
Chandra Wickramasinghe<\/td>\nThe Birch of a Cosmic World View<\/td>\n161<\/td>\n<\/tr>\n
<\/td>\nSpeech<\/td>\n169<\/td>\n<\/tr>\n
<\/td>\nMonsoon<\/td>\n170<\/td>\n<\/tr>\n
<\/td>\nThe Chase<\/td>\n171<\/td>\n<\/tr>\n
<\/td>\nEvening<\/td>\n172<\/td>\n<\/tr>\n
Sue Moules<\/td>\nOcean<\/td>\n173<\/td>\n<\/tr>\n
<\/td>\nDomestic<\/td>\n174<\/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 \u2026<\/p>\n

Read<\/i><\/a><\/p>\n","protected":false},"author":3515,"featured_media":0,"parent":179,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"class_list":["post-930","page","type-page","status-publish","hentry"],"meta_box":[],"_links":{"self":[{"href":"https:\/\/sites.cardiff.ac.uk\/scintilla\/wp-json\/wp\/v2\/pages\/930","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.cardiff.ac.uk\/scintilla\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.cardiff.ac.uk\/scintilla\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.cardiff.ac.uk\/scintilla\/wp-json\/wp\/v2\/users\/3515"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.cardiff.ac.uk\/scintilla\/wp-json\/wp\/v2\/comments?post=930"}],"version-history":[{"count":37,"href":"https:\/\/sites.cardiff.ac.uk\/scintilla\/wp-json\/wp\/v2\/pages\/930\/revisions"}],"predecessor-version":[{"id":1346,"href":"https:\/\/sites.cardiff.ac.uk\/scintilla\/wp-json\/wp\/v2\/pages\/930\/revisions\/1346"}],"up":[{"embeddable":true,"href":"https:\/\/sites.cardiff.ac.uk\/scintilla\/wp-json\/wp\/v2\/pages\/179"}],"wp:attachment":[{"href":"https:\/\/sites.cardiff.ac.uk\/scintilla\/wp-json\/wp\/v2\/media?parent=930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}