Michaelmas blackberries ripening on Mill Lane in Stony Stratford (Photograph: Patrick Comerford, 2025)
Patrick Comerford
This was a bumper summer for fruit, with the extra sunshine and rain at the right time giving bumper crops of apples and pears. Most of this year's blackberries are gone by now, but there are still some blackberries coming to full fruit along Mill Lane in Stony Stratford. I I wonder, though, how many people will reach up to pick them and taste them after today, Michaelmas (29 September).
In Irish, sméar dubh or the definite form sméar dhubh is the word for blackberry, and it translates literally as ‘black berry’: smear is the base word for ‘berry’, while dubh means black.
Smearagan is another but less common term for blackberry, while the words dris and dris-choille refer to brambles and blackberry bushes.
The phrase sméar dubh translates directly as ‘black berry’. But when I first heard it as a young boy I imagined – with childish humour – how descriptive the phrase was, thinking how often and how easily I smeared my face and mouth and hands black while picking and eating blackberries on the brambles and hedgerows by the lanes around my grandmother’s farm near Cappoquin in Co Waterford.
A well-known belief states that blackberries should not be picked after Michaelmas Day on 29 September because it is believed the devil spits on them after this date.
I remember too the way the phrase ‘Blackmouth’ was used a derogatory label for Presbyterians, especially in parts of Northern Ireland. It goes back to the times in the 18th and 17th century, when Presbyterians were seen as political radicals due to their opposition to the established Church and monarchy.
Before that, in Tudor and Stuart England, a ‘blackmouth’ was a railer, a slanderer, a foulmouthed or malicious person. In the north of England it later referred to a seditious person, and was even used occasionally in the sense of Blackleg.
Some say the phrase was used in Ulster for fugitive Presbyterians or Covenanters eating blackberries as sustenance while they hid, staining their lips and tongues black, although others relate it to their refusal to take the ‘Black Oath’ in 1639.
In Scotland, ‘Blackneb’ emerged in the late 18th and early 19th centuries as a label to denote a person who had sympathies with French revolutionaries.
The phrase ‘Blackmouth’ gained prominence in Ulster once again at the end of the 18th century as an insult, used in a contemptuous way to demean Presbyterians who supported the United Irish rebellion in 1798. Many Presbyterians were seen as politically disaffected and radical and were suspected of being a threat to church and state in Ireland. They were reviled and accused of republican sympathies and revolutionary activities, and the epithet came to be applied to the whole Presbyterian community.
Sadly, as my friend and former Irish Times colleague Andy Pollak observes in a blog posting earlier today, much of Presbyterian Ulster has, ‘unfortunately … become … right-wing, fundamentalist, separatist and Orange.’
Saint Michael depicted in a window by Charles Eamer Kempe in the tower of Saint Mary and Saint Giles Church, Stony Stratford (Photograph: Patrick Comerford, 2025)
As I was looking at those blackberries along Mill Lane in Stony Stratford at the weekend, I was brought back to childhood memories of West Waterford, and how we were told as children that Michaelmas Day is the last day for picking blackberries.
According to folklore, when the Archangel Michael expelled the Devil from Heaven on this day, he fell into a blackberry bush, cursed the brambles he had fallen into, and continues to spit on them after this day. It is a superstition shared across these islands, from Achill to Lichfield, and from Wexford to Essex and Cambridge.
In his poem ‘Trebetherick,’ the late John Betjeman seems to link ripening blackberries and the closing in of the autumn days with old age and the approach of death:
Thick with sloe and blackberry, uneven in the light,
Lonely round the hedge, the heavy meadow was remote,
The oldest part of Cornwall was the wood as black as night,
And the pheasant and the rabbit lay torn open at the throat.
Betjeman had spent much of his childhood in Trebetherick, and he died there on 19 May 1984, at the age of 77. But the former poet laureate had a more benign view of blackberries on a visit to the Isle of Man, when he described ‘wandering down your late-September lanes when dew-hung cobwebs glisten in the gorse and blackberries shine, waiting to be picked.’
Saint Michael in a statue at the tower in Saint Mary and Saint Giles Church, Stony Stratford (Photograph: Patrick Comerford, 2025)
In his poem ‘At the chiming of light upon sleep,’ first drafted on this day 79 years ago [29 September 1946], the poet Philip Larkin links Michaelmas and a lost paradise with the chances and opportunities that he failed to take in his youth.
In contrast to Larkin’s dejection, I was reminded earlier today of a well-known story in Orthodox piety:
The devil appeared to three monks and said to them: ‘If I gave you power to change something from the past, what would you change?’
The first monk replied with great fervour: ‘I would prevent you from making Adam and Eve fall into sin so that humanity could not turn away from God.’
The second monk pondered awhile and then said: ‘I would keep you far from God so that you condemn yourself eternally.’
The third monk was the simplest. Instead of responding, he fell to his knees, made the sign of the cross and prayed: ‘Lord, free me from the temptation of what could be and was not’.
The devil cried out, shuddered in pain, and vanished.
The other two, surprised, asked: ‘Brother, why have you responded like this?’
He replied: ‘First, we must never dialogue with the devil. Second, Nobody in the world has the power to change the past. Third: satan’s interest was not to prove our virtue, but to trap us in the past, so that we neglect the present, the only time God gives us his grace and we can cooperate with him to fulfil his will.’
Of all the demons, he continued, the one that catches the most people and prevents us from being happy is that of ‘what could have been and was not’. The past is left to the mercy of God and the future to his Providence. Only the present is in our hands. ‘Live in God, in the moment.’
I was listening yesterday to Morning Worship broadcast from Lichfield Cathedral on BBC Radio 4. The theme was drawn from the Nicene Creed – ‘Maker of all that is, seen and unseen’ – and Canon Gregory Platten reminded us of what it means to believe in God as Creator in a world facing climate change, extinction, and disconnection from nature.
The ripening blackberries along Mill Lane in Stony Stratford these days are yet another reminder that Michaelmas today is a day to allow my mind to wander back to childhood memories, and a time for contemplation and unstructured prayers, but to think less of lost opportunities not taken in youth and more about giving thanks for the beauty of the creation and taking responsibility for it.
‘Thick with sloe and blackberry, uneven in the light’ … ripening blackberries in Stony Stratford (Photograph: Patrick Comerford, 2025)
29 September 2025
Smeared blackberries,
childhood memories, and
Michaelmas reflections
on the beauty of creation
Labels:
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Co Waterford,
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John Betjeman,
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Orthodoxy,
Philip Larkin,
Poetry,
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Talking about 1798
Daily prayer in Ordinary Time 2025:
140, Monday 29 September 2025,
Saint Michael and All Angels
‘Archangel Michael The Protector’ by Emily Young at Saint Pancras Church, London … today is the Feast of Saint Michael and All Angels (Photograph: Patrick Comerford)
Patrick Comerford
We are continuing in Ordinary Time in the Church Calendar. This week began with the Fifteenth Sunday after Trinity (Trinity XV, 28 September 2025) and today the Feast of Saint Michael and All Angels (29 September).
This morning, before today begins, I am taking some quiet time to give thanks, and for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
Angel I by Emily Young (2003), Paternoster Square, London (Photograph: Patrick Comerford)
John 4: 47-51 (NRSVA):
47 When Jesus saw Nathanael coming towards him, he said of him, ‘Here is truly an Israelite in whom there is no deceit!’ 48 Nathanael asked him, ‘Where did you come to know me?’ Jesus answered, ‘I saw you under the fig tree before Philip called you.’ 49 Nathanael replied, ‘Rabbi, you are the Son of God! You are the King of Israel!’ 50 Jesus answered, ‘Do you believe because I told you that I saw you under the fig tree? You will see greater things than these.’ 51 And he said to him, ‘Very truly, I tell you, you will see heaven opened and the angels of God ascending and descending upon the Son of Man.’
Angel II by Emily Young (2003), Paternoster Square, London (Photograph: Patrick Comerford)
Today’s Reflections:
Like many people, I never cease to be fascinated by the Caryatids that make Saint Pancras Church facing Euston Station in London a unique and captivating church. But I wonder how many miss the opportunity to appreciate Emily Young’s ‘Archangel Michael The Protector’ in the church gardens.
‘Archangel Michael The Protector’ is in onyx and can be viewed in the church grounds from Upper Woburn Place, around the corner from Euston Road. An inscription on a plaque between the sculpture and the railings reads: ‘In memory of the victims of the 7th July 2005 bombings and all victims of violence. ‘I will lift up my eyes unto the hills’ Psalm 121.’
Nothing moves in this image, a silent reminder of what is being commemorated in the sculpture. Because Saint Michael’s face has only one eye, and this is closed, some critics have wondered whether the quotation is ill-chosen. But the full context is provided in Psalm 121: 1-2:
1 I lift up my eyes to the hills –
from where will my help come?
2 My help comes from the Lord,
who made heaven and earth.
The London bombings twenty years ago on 7 July 2005, often referred to as 7/7, were a series of four co-ordinated suicide attacks that targeted commuters on the public transport system in the morning rush hour.
Three homemade bombs packed into backpacks were detonated in quick succession on Underground trains on the Circle line near Aldgate and at Edgware Road, and on the Piccadilly line near Russell Square; later, a fourth bomb went off on a bus in Tavistock Square, near Upper Woburn Place and Saint Pancras Church.
Apart from the four bombers, 52 people of 18 different nationalities were killed and more than 700 people were injured in the attacks. It was Britain’s deadliest terrorist incident since the 1988 bombing of Pan Am Flight 103 near Lockerbie, and the first Islamist suicide attack in the UK.
Emily Young has been described as ‘Britain’s foremost female stone sculptor’ and ‘Britain’s greatest living stone sculptor.’ On different occasions, as I have strolled through London, I stopped and taken time at an open-air exhibition at ENO Southbank of works by Emily Young.
A number of her works have formed a sculpture trail or garden at the NEO Bankside development on South Bank in ‘Emily Young: Sculptor Trail.’ The exhibition was both a continuation and a broadening of her presence on the South Bank, echoing three large-scale works on long-loan facing the Tate Modern from NEO Bankside.
Emily Young’s sculptures of five angel heads in stone stand on five columns in Saint Paul’s Churchyard, London. The sequence of heads are mounted on columns under the arcade of a new classical-inspired building to the north west side of Saint Paul's, redeveloped as part of the redesign of Paternoster Square at the top of Ludgate Hill.
Her five angels’ heads are placed dramatically on columns in the arcade of Juxon House and almost face the west front of Saint Paul’s Cathedral.
Emily Young’s works are instantly recognisable and accessible. She deals in spectacular lumps of stone – quartzite, onyx, marble, alabaster – to which she gives an identity by carving a face but leaving the remainder of the rock displayed in its raw, craggy intensity, as if the face had grown or evolved organically. The Financial Times says: ‘Her sculptures meditate on time, nature, memory, man’s relationship to the Earth.’
xxx Emily Young was born in London in 1951 into a family of writers, artists and politicians. Her grandmother, the sculptor Kathleen Scott (1878-1947), was a colleague of Auguste Rodin, and the widow of the Polar explorer, Captain Robert Falcon Scott, ‘Scott of the Antarctic’. Her works included a statue of Edward Smith, the captain of the Titanic, now in Beacon Park, Lichfield. She later married Emily Young’s paternal grandfather, the politician and writer Edward Hilton Young, 1st Lord Kennet.
Emily Young’s father, Wayland Hilton Young, 2nd Lord Kennet, was also a politician, conservationist and writer. Her mother was the writer and commentator Elizabeth Young; her uncle was the ornithologist, conservationist and painter, Sir Peter Scott.
She was still a student when she achieved fame (or notoriety) in 1971 as the inspiration for the Pink Floyd song See Emily Play written by Syd Barrett of Pink Floyd. But the song had earlier origins in the 1960s. She was 15 when she met Syd Barrett at the London Free School in 1965. ‘I used to go there because there were a lot of Beat philosophers and poets around,’ she said many years later. ‘There were fundraising concerts with The Pink Floyd Sound, as they were then called. I was more keen on poets than rockers. I was educating myself. I was a seeker. I wanted to meet everyone and take every drug.’
As a young woman, Emily Young worked primarily as a painter while she was studying at Chelsea School of Art in 1968 and later at Central Saint Martins. She travelled around the world in the late 1960s and 1970s, spending time in the US, Afghanistan, Pakistan, India, France, Italy, Africa, South America, the Middle East and China, encountering a variety of cultures and developing her experiences of art.
In the early 1980s, she abandoned painting and turned to carving, sourcing stone from all over the world. Travelling from a London childhood, to a European education, to a life lived as an artist round the world, she began to interact with the timeless quality of stone to produce breath-taking sculptures of luminous intensity and great beauty.
As well as marble, she carves in semi-precious stone – agate, alabaster, lapis lazuli. These not only reflect and refract the light – but glow with a passionate intensity (as Winged Golden Onyx Head), revealing the hidden crystalline structure of the material and the subtle layers the time has laid down, showing the liquid qualities of hard rock.
The primary objective of her sculpture is to bring the natural beauty and energy of stone to the fore. Her sculptures have unique characters because each stone has an individual geological history and geographical source. Her approach allows the viewer to comprehend a deep grounding across time, land and cultures. She combines traditional carving skills with technology to produce work that is both contemporary and ancient, with a unique, serious and poetic presence.
Emily Young now divides her time between studios in London and Italy. Her permanent installations and public collections can be seen in many places, including Saint Paul’s Churchyard, Saint Pancras Church, NEO Bankside, and the Imperial War Museum in London; La Defense, Paris; Salisbury Cathedral, Wiltshire; the Whitworth Art Gallery, Manchester; and the Cloister of Madonna Dell’Orto, Venice.
After years of being feted as ‘Britain’s foremost female stone sculptor,’ the art critic of the Financial Times called her ‘Britain’s greatest living stone sculptor.’ The Daily Telegraph has written: ‘Emily Young has inherited the mantle as Britain’s greatest female stone sculptor from Dame Barbara Hepworth.’
She recently explained: ‘So my work is a kind of temple activity now, devotional; when I work a piece of stone, the mineral occlusions of the past are revealed, the layers of sediment unpeeled; I may open in one knock something that took millions of years to form: dusts settling, water dripping, forces pushing, minerals growing – material and geological revelations: the story of time on Earth shows here, sometimes startling, always beautiful.’
She told an interviewer: ‘I carve in stone the fierce need in millions of us to retrieve some semblance of dignity for the human race in its place on Earth. We can show ourselves to posterity as a primitive and brutal life form – that what we are best at is rapacity, greed, and wilful ignorance, and we can also show that we are creatures of great love for our whole planet, that everyone of us is a worshipper in her temple of life.’
Angel III by Emily Young (2003), Paternoster Square, London (Photograph: Patrick Comerford)
Today’s Prayers (Monday 29 September 2025, Saint Michael and All Angels):
The theme this week (28 September to 4 October) in Pray with the World Church, the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘One Faith: Many Voices’ (pp 42-43). This theme was introduced yesterday with Reflections from Rachel Weller, Communications Officer, USPG.
The USPG Prayer Diary today (Monday 29 September 2025, Saint Michael and All Angels) invites us to pray in these words:
O God, who has given us the feast of Saint Michael and All Angels, grant us your protection and guidance. May we, with the help of your heavenly hosts, stand firm in the faith and be strong in your service.
Angel IV by Emily Young (2003), Paternoster Square, London (Photograph: Patrick Comerford)
The Collect:
Everlasting God,
you have ordained and constituted
the ministries of angels and mortals in a wonderful order:
grant that as your holy angels always serve you in heaven,
so, at your command,
they may help and defend us on earth;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
Lord of heaven,
in this eucharist you have brought us near
to an innumerable company of angels
and to the spirits of the saints made perfect:
as in this food of our earthly pilgrimage
we have shared their fellowship,
so may we come to share their joy in heaven;
through Jesus Christ our Lord.
Yesterday’s Reflections
Continued Tomorrow
Angel V by Emily Young (2003), Paternoster Square, London (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
‘Archangel Michael The Protector’ by Emily Young in the gardens of Saint Pancras Church near Euston Station (Photograph: Patrick Comerford)
Patrick Comerford
We are continuing in Ordinary Time in the Church Calendar. This week began with the Fifteenth Sunday after Trinity (Trinity XV, 28 September 2025) and today the Feast of Saint Michael and All Angels (29 September).
This morning, before today begins, I am taking some quiet time to give thanks, and for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
Angel I by Emily Young (2003), Paternoster Square, London (Photograph: Patrick Comerford)
John 4: 47-51 (NRSVA):
47 When Jesus saw Nathanael coming towards him, he said of him, ‘Here is truly an Israelite in whom there is no deceit!’ 48 Nathanael asked him, ‘Where did you come to know me?’ Jesus answered, ‘I saw you under the fig tree before Philip called you.’ 49 Nathanael replied, ‘Rabbi, you are the Son of God! You are the King of Israel!’ 50 Jesus answered, ‘Do you believe because I told you that I saw you under the fig tree? You will see greater things than these.’ 51 And he said to him, ‘Very truly, I tell you, you will see heaven opened and the angels of God ascending and descending upon the Son of Man.’
Angel II by Emily Young (2003), Paternoster Square, London (Photograph: Patrick Comerford)
Today’s Reflections:
Like many people, I never cease to be fascinated by the Caryatids that make Saint Pancras Church facing Euston Station in London a unique and captivating church. But I wonder how many miss the opportunity to appreciate Emily Young’s ‘Archangel Michael The Protector’ in the church gardens.
‘Archangel Michael The Protector’ is in onyx and can be viewed in the church grounds from Upper Woburn Place, around the corner from Euston Road. An inscription on a plaque between the sculpture and the railings reads: ‘In memory of the victims of the 7th July 2005 bombings and all victims of violence. ‘I will lift up my eyes unto the hills’ Psalm 121.’
Nothing moves in this image, a silent reminder of what is being commemorated in the sculpture. Because Saint Michael’s face has only one eye, and this is closed, some critics have wondered whether the quotation is ill-chosen. But the full context is provided in Psalm 121: 1-2:
1 I lift up my eyes to the hills –
from where will my help come?
2 My help comes from the Lord,
who made heaven and earth.
The London bombings twenty years ago on 7 July 2005, often referred to as 7/7, were a series of four co-ordinated suicide attacks that targeted commuters on the public transport system in the morning rush hour.
Three homemade bombs packed into backpacks were detonated in quick succession on Underground trains on the Circle line near Aldgate and at Edgware Road, and on the Piccadilly line near Russell Square; later, a fourth bomb went off on a bus in Tavistock Square, near Upper Woburn Place and Saint Pancras Church.
Apart from the four bombers, 52 people of 18 different nationalities were killed and more than 700 people were injured in the attacks. It was Britain’s deadliest terrorist incident since the 1988 bombing of Pan Am Flight 103 near Lockerbie, and the first Islamist suicide attack in the UK.
Emily Young has been described as ‘Britain’s foremost female stone sculptor’ and ‘Britain’s greatest living stone sculptor.’ On different occasions, as I have strolled through London, I stopped and taken time at an open-air exhibition at ENO Southbank of works by Emily Young.
A number of her works have formed a sculpture trail or garden at the NEO Bankside development on South Bank in ‘Emily Young: Sculptor Trail.’ The exhibition was both a continuation and a broadening of her presence on the South Bank, echoing three large-scale works on long-loan facing the Tate Modern from NEO Bankside.
Emily Young’s sculptures of five angel heads in stone stand on five columns in Saint Paul’s Churchyard, London. The sequence of heads are mounted on columns under the arcade of a new classical-inspired building to the north west side of Saint Paul's, redeveloped as part of the redesign of Paternoster Square at the top of Ludgate Hill.
Her five angels’ heads are placed dramatically on columns in the arcade of Juxon House and almost face the west front of Saint Paul’s Cathedral.
Emily Young’s works are instantly recognisable and accessible. She deals in spectacular lumps of stone – quartzite, onyx, marble, alabaster – to which she gives an identity by carving a face but leaving the remainder of the rock displayed in its raw, craggy intensity, as if the face had grown or evolved organically. The Financial Times says: ‘Her sculptures meditate on time, nature, memory, man’s relationship to the Earth.’
xxx Emily Young was born in London in 1951 into a family of writers, artists and politicians. Her grandmother, the sculptor Kathleen Scott (1878-1947), was a colleague of Auguste Rodin, and the widow of the Polar explorer, Captain Robert Falcon Scott, ‘Scott of the Antarctic’. Her works included a statue of Edward Smith, the captain of the Titanic, now in Beacon Park, Lichfield. She later married Emily Young’s paternal grandfather, the politician and writer Edward Hilton Young, 1st Lord Kennet.
Emily Young’s father, Wayland Hilton Young, 2nd Lord Kennet, was also a politician, conservationist and writer. Her mother was the writer and commentator Elizabeth Young; her uncle was the ornithologist, conservationist and painter, Sir Peter Scott.
She was still a student when she achieved fame (or notoriety) in 1971 as the inspiration for the Pink Floyd song See Emily Play written by Syd Barrett of Pink Floyd. But the song had earlier origins in the 1960s. She was 15 when she met Syd Barrett at the London Free School in 1965. ‘I used to go there because there were a lot of Beat philosophers and poets around,’ she said many years later. ‘There were fundraising concerts with The Pink Floyd Sound, as they were then called. I was more keen on poets than rockers. I was educating myself. I was a seeker. I wanted to meet everyone and take every drug.’
As a young woman, Emily Young worked primarily as a painter while she was studying at Chelsea School of Art in 1968 and later at Central Saint Martins. She travelled around the world in the late 1960s and 1970s, spending time in the US, Afghanistan, Pakistan, India, France, Italy, Africa, South America, the Middle East and China, encountering a variety of cultures and developing her experiences of art.
In the early 1980s, she abandoned painting and turned to carving, sourcing stone from all over the world. Travelling from a London childhood, to a European education, to a life lived as an artist round the world, she began to interact with the timeless quality of stone to produce breath-taking sculptures of luminous intensity and great beauty.
As well as marble, she carves in semi-precious stone – agate, alabaster, lapis lazuli. These not only reflect and refract the light – but glow with a passionate intensity (as Winged Golden Onyx Head), revealing the hidden crystalline structure of the material and the subtle layers the time has laid down, showing the liquid qualities of hard rock.
The primary objective of her sculpture is to bring the natural beauty and energy of stone to the fore. Her sculptures have unique characters because each stone has an individual geological history and geographical source. Her approach allows the viewer to comprehend a deep grounding across time, land and cultures. She combines traditional carving skills with technology to produce work that is both contemporary and ancient, with a unique, serious and poetic presence.
Emily Young now divides her time between studios in London and Italy. Her permanent installations and public collections can be seen in many places, including Saint Paul’s Churchyard, Saint Pancras Church, NEO Bankside, and the Imperial War Museum in London; La Defense, Paris; Salisbury Cathedral, Wiltshire; the Whitworth Art Gallery, Manchester; and the Cloister of Madonna Dell’Orto, Venice.
After years of being feted as ‘Britain’s foremost female stone sculptor,’ the art critic of the Financial Times called her ‘Britain’s greatest living stone sculptor.’ The Daily Telegraph has written: ‘Emily Young has inherited the mantle as Britain’s greatest female stone sculptor from Dame Barbara Hepworth.’
She recently explained: ‘So my work is a kind of temple activity now, devotional; when I work a piece of stone, the mineral occlusions of the past are revealed, the layers of sediment unpeeled; I may open in one knock something that took millions of years to form: dusts settling, water dripping, forces pushing, minerals growing – material and geological revelations: the story of time on Earth shows here, sometimes startling, always beautiful.’
She told an interviewer: ‘I carve in stone the fierce need in millions of us to retrieve some semblance of dignity for the human race in its place on Earth. We can show ourselves to posterity as a primitive and brutal life form – that what we are best at is rapacity, greed, and wilful ignorance, and we can also show that we are creatures of great love for our whole planet, that everyone of us is a worshipper in her temple of life.’
Angel III by Emily Young (2003), Paternoster Square, London (Photograph: Patrick Comerford)
Today’s Prayers (Monday 29 September 2025, Saint Michael and All Angels):
The theme this week (28 September to 4 October) in Pray with the World Church, the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘One Faith: Many Voices’ (pp 42-43). This theme was introduced yesterday with Reflections from Rachel Weller, Communications Officer, USPG.
The USPG Prayer Diary today (Monday 29 September 2025, Saint Michael and All Angels) invites us to pray in these words:
O God, who has given us the feast of Saint Michael and All Angels, grant us your protection and guidance. May we, with the help of your heavenly hosts, stand firm in the faith and be strong in your service.
Angel IV by Emily Young (2003), Paternoster Square, London (Photograph: Patrick Comerford)
The Collect:
Everlasting God,
you have ordained and constituted
the ministries of angels and mortals in a wonderful order:
grant that as your holy angels always serve you in heaven,
so, at your command,
they may help and defend us on earth;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
Lord of heaven,
in this eucharist you have brought us near
to an innumerable company of angels
and to the spirits of the saints made perfect:
as in this food of our earthly pilgrimage
we have shared their fellowship,
so may we come to share their joy in heaven;
through Jesus Christ our Lord.
Yesterday’s Reflections
Continued Tomorrow
Angel V by Emily Young (2003), Paternoster Square, London (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
‘Archangel Michael The Protector’ by Emily Young in the gardens of Saint Pancras Church near Euston Station (Photograph: Patrick Comerford)
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