14 November 2024

Daily prayer in the Kingdom Season:
15, Friday 15 November 2024

‘Just as it was in the days of Noah, so too it will be in the days of the Son of Man’ (Luke 17: 26) … ‘Noah and the Dove’ (2006), a sculpture by Simon Manby in the courtyard of Saint John’s Hospital, Lichfield (Photograph: Patrick Comerford, 2024)

Patrick Comerford

We are in the Kingdom Season, the time between All Saints and Advent, and this week began with the Third Sunday before Advent, which was also Remembrance Sunday.

Before today begins, I am taking some quiet time early this morning to give thanks, and for reflection, prayer and reading in these ways:

1, today’s Gospel reading;

2, a short reflection;

3, a prayer from the USPG prayer diary;

4, the Collects and Post-Communion prayer of the day.

‘There will be two women grinding meal together (Luke 17: 35) … one of the millstones at Bradwell Windmill in Milton Keynes (Photograph: Patrick Comerford)

Luke 17: 26-37 (NRSVA):

[Jesus said:] 26 Just as it was in the days of Noah, so too it will be in the days of the Son of Man. 27 They were eating and drinking, and marrying and being given in marriage, until the day Noah entered the ark, and the flood came and destroyed all of them. 28 Likewise, just as it was in the days of Lot: they were eating and drinking, buying and selling, planting and building, 29 but on the day that Lot left Sodom, it rained fire and sulphur from heaven and destroyed all of them 30 – it will be like that on the day that the Son of Man is revealed. 31 On that day, anyone on the housetop who has belongings in the house must not come down to take them away; and likewise anyone in the field must not turn back. 32 Remember Lot’s wife. 33 Those who try to make their life secure will lose it, but those who lose their life will keep it. 34 I tell you, on that night there will be two in one bed; one will be taken and the other left. 35 There will be two women grinding meal together; one will be taken and the other left.’ 37 Then they asked him, ‘Where, Lord?’ He said to them, ‘Where the corpse is, there the vultures will gather.’

‘Likewise anyone in the field must not turn back’ (Luke 17: 31) … harvest fields south of Lichfield (Photograph: Patrick Comerford, 2024)

Today’s reflection:

The Gospel reading at the Eucharist today (Luke 17: 26-37) is one of the stories about preparing for the kingdom of God and the arrival of the Son of God on earth, not only as the incarnate Christ Child at Christmas in nativity story or in a decorative crib, but also as Christ the King.

As we prepare for the Feast of Christ the King in nine days’ time (Sunday 24 November) and for Advent, we should expect many of our readings to have apocalyptic themes, looking forward to that Coming of Christ the King at his second coming.

The apocalyptic images in today’s Gospel reading anticipate some of these themes, looking back at unexpected terrors in the past and with apocalyptic warnings about what the future may hold.

TS Eliot’s poem East Coker, the second of his Four Quartets, is set in late November and ends:

In my end is my beginning.

But it opens:

In my beginning is my end.

The radical author, professor and preacher, the Revd Robin Meyers, once described by the late Archbishop Desmond Tutu as ‘scholarly, pastoral, prophetic, and eloquent,’ has written: ‘Life itself passes daily judgment on the idea that [God is in control], that good deeds and righteous living exempt us from mindless tragedy, or that the meek will inherit anything other than a crushing debt and a dead planet.’

But in a sermon some years ago in the First [Congregational] Church in Harvard Square, Cambridge, Massachusetts, on the First Sunday of Advent, his colleague, the church historian, the Revd Dr J Mary Luti, of Andover Newton Theological School, responded: ‘Nonetheless, and hoping against hope, today’s scriptures emphatically encourage us to stand firm, to refuse to throw in the towel. God really is in charge, they assert, and one day you won’t have to take that on faith.’

She says: ‘Advent intends to make a pre-emptive strike on despair as the Church sets out on another year of following Christ from manger to grave, and beyond.’

As we approach Advent, we find ourselves in a unique position, standing both at the beginning and at the end, at the turning–point of the liturgical year. This peculiar experience of living within a paradox is a characteristic of the Christian faith. However, perhaps the greatest paradox of Advent, we shall find, is the tension between the joyous anticipation of the birth of Jesus and the inevitability of the cross.

In a true sense, Advent does not end at Christmas. The nativity, the Incarnation, cannot be separated from the crucifixion, the Atonement and the Resurrection. The purpose of Christ’s coming into the world, of the ‘Word made flesh’ and dwelling among us, is to reveal God and his grace to the world through Jesus’ life and teaching, but also through his suffering, death, and resurrection.

So, at the beginning of things, we think about the end of things. The Gospel reading today reflects this emphasis on Christ’s second coming and include themes of accountability, judgment, but also prompts us to renew our hope of eternal life. In the words of TS Eliot,

What we call the beginning is often the end
and to make an end is to make a beginning.
The end is where we start from
. (TS Eliot, Little Gidding)

‘On that day, anyone on the housetop who has belongings in the house must not come down to take them away’ (Luke 17: 31) … the rooftops of Saint Mark’s Basilica and Venice (Photograph: Patrick Comerford)

Today’s Prayers (Friday 15 November 2024):

The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘A Look at Education in the Church of the Province of Myanmar’. This theme was introduced on Sunday with a Programme Update by Nadia Sanchez, Regional Programme Coordinator, USPG.

The USPG Prayer Diary today (Friday 15 November 2024) invites us to pray:

We pray for clergy and lay people within churches who are always looking outward for ways in which they can serve those around them.

The Collect:

Almighty Father,
whose will is to restore all things
in your beloved Son, the King of all:
govern the hearts and minds of those in authority,
and bring the families of the nations,
divided and torn apart by the ravages of sin,
to be subject to his just and gentle rule;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

Post Communion Prayer:

God of peace,
whose Son Jesus Christ proclaimed the kingdom
and restored the broken to wholeness of life:
look with compassion on the anguish of the world,
and by your healing power
make whole both people and nations;
through our Lord and Saviour Jesus Christ.

Additional Collect:

God, our refuge and strength,
bring near the day when wars shall cease
and poverty and pain shall end,
that earth may know the peace of heaven
through Jesus Christ our Lord.

Yesterday’s Reflection

Continued Tomorrow

‘I tell you, on that night there will be two in one bed; one will be taken and the other left’ (Luke 17: 34) … a corner bedroom in Ballybur Castle, once the home of the Comerford family in Co Kilkenny (Photograph: Patrick Comerford)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org

Leonard Siaw’s murals
pay homage to the vibrant
cultures, stories, history
and traditions of Kuching

The Clog Makers of Carpenter Street … Leonard Siaw’s mural recalls an old craft and tradition (Photograph: Patrick Comerford, 2024)

Patrick Comerford

Throughout the streets of Kuching over the past four or five weeks, I have admired Leonard Siaw’s awe-inspiring murals, which depict traditional life in Kuching.

His best-known work is probably ‘The Last Ring Ladies’, a mural at Mile 10 Kota Padawan, entitled ‘Dayung Hmaui Semban’ (‘The Beautiful Ladies of Semban’). I have passed many times in the past month, but have not yet managed to photograph it.

But his inspiring work can be found throughout the old town, in streets like Carpenter Street, China Street, Bishopsgate Street, on the gable ends of buildings in Padungan and in streets off the Main Bazaar and the Waterfront such as India Street and Kai Joo Street.

The tin smiths of China Street, depicted by Leonard Siaw (Photograph: Patrick Comerford, 2024)

Leonard Siaw’s artistic journey began as a self-taught mural artist. He was born and raised in Kuching, and studied at Limkokwing University in Kuching and at Anglia Ruskin University in Cambridge and Chelmsford, graduating with an honours degree in graphic design in 2010.

His works can be seen in several prominent places throughout the city but are also seen Kuala Lumpur, the Genting Highlands, Penang and others parts of Malysia. Before the pandemic, he had been invited to paint as far as Boston and Australia, and he was the first Asian to be part of the Wall to Wall Festival Benalla 2018 in Melbourne.

He has taken part in many competitions and exhibitions, including the ‘Strong Word’ Art Exhibition, Tun Jugah Portrait Competition, the Rainforest World Bazaar T-shirt Design Contest and many more.

Leonard Siaw’s Coffee Maker on Padungan Street (Photograph: Patrick Comerford, 2024)

For Leonard Siaw, walls have become his canvas, and he specialises in infusing realism with optical illusions that play on the interaction between the viewer and his artwork. His creations have become tourist landmarks in Kuching and have had a strong impact on the local street art scene, inspiring a new interest in public art in the city.

His artwork is deeply intertwined with the intimacy and relationships he shares with his subjects. With his distinctive style and his adept use of colour, dynamic motion and impactful imagery, he breathes life into his work.

Historians continue to debate whether the name of Kuching is derived from a word meaning cat, or from an old well that was once located off China Street, near the corner with Carpenter Street. Both traditions are depicted in murals he has created in China Street.

The Old Well and a young woman with a cat … two murals by Leonard Siaw at China Street reflect the debate about the name of Kuching (Photographs: Patrick Comerford, 2024)

His murals collectively are awe-inspiring and are a testament to the rich, vibrant cultures, stories, history and traditions of Kuching. They are heartfelt tributes to Sarawak and have inspired a resurgence in public interest in street art in this city.

He says, ‘When life gets tough, art is absolutely the first thing to go. You must find the courage to prioritise your art, you must dare to protect your creativity.’

‘Sometimes your emotions can paint your life in beautiful and shimmering colours, while other days are darker, more muted, less alive,’ he says. ‘To be more specific, you can’t rush the feelings and emotions that come with the situations that life throws at you. Or brush them aside, for that matter. No, really. You can’t. You shouldn’t. And yet, you do. Yes! We all do.’

‘When was the last time you slowed down your pace’ … Leonard Siaw’s horse racing on Padungan Street (Photograph: Patrick Comerford, 2024)

He asks: ‘When was the last time you slowed down your pace and sat down to do some self-reflect and go through your emotions? Or open up a diary and wrote down what you were feeling? … You can’t get rid of your emotions. To be human is to have them.

In addition to his mural work on the street of Kuching, he is an active member of the Sarawak Artists Society. Recently, he has expanded his creative horizons by venturing into canvas painting.

Leonard Siaw’s Bicycle Repair Man on Padungan Street (Photograph: Patrick Comerford, 2024)

The cloth merchants of India Street depicted in a mural by Leonard Siaw (Photograph: Patrick Comerford, 2024)

The Sweet Maker by Leonard Siaw on Padungan Street (Photograph: Patrick Comerford, 2024)

A Tofu Seller by Leonard Siaw on Kai Joo Street, off India Street (Photograph: Patrick Comerford, 2024)