Robert Alan Rife – Art & Theology

Roundup: Kyries for Lent, refugee-themed art exhibition at Portsmouth Cathedral, “Forevergreen,” and more

February 21, 2026March 2, 2026 Victoria Emily Jones3 Comments

NEW BOOK: Bread and Wine: Readings for Lent and Easter, Second Edition: Plough is the publishing house of the Bruderhof, an international Anabaptist communal movement. This year they released a revised and expanded edition of their popular Lent and Easter devotional, increasing the original seventy-two entries to ninety-six to cover the full fifty days of Easter—although the last section is themed around Pentecost. The selections are all from previously published material, but what a treasure-house has been curated here from across denominations, countries, and eras, from early church fathers to medieval mystics to modern saints. Clement of Rome, Julian of Norwich, Kahlil Gibran, Watchman Nee, Gonzalo Báez Camargo, Thomas Merton, Simone Veil, Howard Thurman, Toyohiko Kagawa, Barbara Brown Taylor, Jürgen Moltmann, Tish Harrison Warren—these are some of the many voices included here that reflect on and expound the beautiful truths of the Lent and Easter seasons. Each reading is just a few pages long, so it’s easy to pick up with your morning coffee or just before bed.

Besides the expansion, other changes I’ve noticed in this edition are:

Thinner pages, which, despite the additional content, reduce the overall thickness of the book
The epigraph at the beginning of each reading was removed, as these were not the authors’.
Thirteen of the original readings were replaced, possibly due to permissions costs, but maybe also just to get in some fresh voices or content, and in one case, to remove an accused sex abuser.
A misattribution in the original to Mother Teresa was corrected to Joseph Langford, who founded the Missionaries of Charity Fathers with her.
There is a slight reordering of readings so that pertinent meditations appear during Holy Week.

I’ve provided a link to the Plough book page above, but you can also purchase through Amazon or your retailer of choice.

+++

SONGS:

I grew up in an independent Baptist church, ignorant of most of the historic prayers of the church at large. The first time I ever heard the phrase “Kyrie eleison” [previously] was on track 5 of the Christian recording artist Mark Schultz’s 2001 album Song Cinema, which is a cover of an eighties rock song by Mr. Mister. I was in middle school, and I had to look up what it meant. Derived from a prayer found in multiple places in the Psalms and the Gospels, “Kyrie eleison” (pronounced KEER-ee-ay eh-LAY-ee-sohn) is Greek for “Lord, have mercy,” and it’s traditionally followed by “Christe eleison”—Christ, have mercy. An inheritance from early Eastern Christian liturgies, it has been part of the Ordinary of the Catholic Mass since the fifth century, which means it’s recited or sung in every eucharistic service regardless of the liturgical season, and it’s used in many other Christian traditions as well. I’ve never been part of a church that sings the Kyrie, but I occasionally sing it in my personal devotions. It’s been set to music by hundreds of composers, for choirs, contemporary bands, and more. Here are two settings that I’ve recently come across and enjoy, followed by a song that entreats (God’s?) mercy on father, brother, church, country, and every living thing.

>> “Kyrie (Lord, Have Mercy)” by Robert Alan Rife: This song was written by Robert Alan Rife [previously], a minister with the Evangelical Covenant Church, serving in Edinburgh. It’s performed here by worship musicians at Great Road Church (formerly Highrock Covenant Church) in Acton, Massachusetts. The lead vocalist is Caelyn Jarrett Poetz; she’s accompanied on guitar by her dad, Travis Jarrett, the church’s music pastor, and Hannah Moulton provides backing vocals. Rife tells me you can purchase the sheet music here, and that other songs of his can be streamed on Spotify, Apple Music, etc.; he has not yet recorded this one, but it’s in the works.

>> “Kyrie” by Paul Smith: This peaceful, resonant setting of the Kyrie was composed by Paul Smith, cofounder of the Grammy-nominated British vocal ensemble VOCES8, who perform it here. The song appears on Smith’s 2025 album Revelations.

>> “Mercy Now” by Mary Gauthier: In this video from the 2010 Americana Music Festival in Nashville, folk singer-songwriter Mary Gauthier (last name pronounced go-SHAY) performs her most famous song, “Mercy Now,” originally released on her 2005 album of the same title. It doesn’t directly invoke God, but it feels like a prayer, asking for mercy (forgiveness, relief, compassion, lovingkindness) first for two family members—her father on his deathbed, and her drug-addicted brother—and then for the institutions of church and state, both in need of repair, and then for everyone: “We all could use a little mercy now / I know we don’t deserve it / But we need it anyhow,” and “only the hand of grace” can give it, can intervene to save us from our self-destructive ways. In response to the song’s being listed as “one of the saddest 40 country songs of all time” by Rolling Stone in 2014, Gauthier said, “It is not a sad song. It is about hope.”

+++

EXHIBITION: Sanctuary by Nicholas Mynheer, February 18–April 12, 2026, Portsmouth Cathedral, UK: One of my favorite artists, Nicholas Mynheer, has a show that opened on Ash Wednesday at Portsmouth Cathedral, aka the Cathedral of the Sea, and that will continue for the duration of Lent plus some. “The exhibition features paintings and sculptures that explore the experiences of refugees, both ancient and contemporary. The story of Jesus, Mary and Joseph fleeing to Egypt sits alongside the realities faced by people crossing the English Channel today. Mynheer’s work doesn’t offer easy answers – instead, it asks questions. What would we do if our home were no longer safe? How do we respond to those seeking refuge? What does it mean to hope for a better life when the risks are so great?”

Mynheer, Nicholas_The Holy Family Cross the English Channel — Nicholas Mynheer (British, 1958–), *The Holy Family Cross the English Channel*, 2025. Oil on canvas, 30 × 30 cm.

View artworks from the exhibition on the artist’s website at https://www.mynheer-art.co.uk/gallery/sanctuary-exhibition.html. Follow him on Instagram @mynheer_art. Mynheer writes:

As an artist, one of the themes that I’ve been drawn to repeatedly is that of the Holy Family on the Flight to Egypt. The fact that even Jesus, Mary and Joseph became refugees to escape the wrath of Herod reminds us that it could happen to any one of us.

Over the past years we have become increasingly aware of the plight of refugees; from Syria, Afghanistan, Ukraine, Somalia, along with daily reports of refugees attempting to cross the English Channel. Whether they flee from war, persecution, famine, political instability or for economic reasons, the risks are the same; all driven by hope, the hope of a better life.

I often wonder what I would do if I lived in a country ravaged by war? What would I do if I was persecuted for my faith, my colour or my culture? What would I do if scrolling on my phone, others’ lives seemed easier, happier, and all I had to do was get there?

It is my hope that these meditations in paint and stone might draw us in to question how we might respond if we, like Jesus, Mary and Joseph, were forced to seek refuge; to be refugees . . . to search for Sanctuary.

Starting February 25, Portsmouth Cathedral is offering a free four-week Lent course (classes are in person on Wednesday evenings) inspired by the exhibition. The first class will be a talk by Mynheer himself, and the other three will be led by clergy, exploring biblical themes of journey, rescue, and redemption through the art on display.

+++

CALL FOR ART: The Valley of Dry Bones, Museum of the Bible, Washington, DC: “The Valley of Dry Bones art invitational seeks to inspire the creation of new artwork based on Ezekiel 37:1–14, the biblical vision in which God brings life, renewal, and restoration to a valley of dry bones. Museum of the Bible invites Christian and Jewish artists residing in the continental United States to create original pieces in a variety of media that show their personal and spiritual reflections on this powerful theme. The goal is to show how the Bible can shape modern art and give visitors a meaningful way to connect with biblical themes through creativity. Museum of the Bible will choose 15 artists through a national call and design a professional exhibition to showcase their art from May 7–November 7, 2027. The museum will also help promote the artists and their work through talks, social media, and special events. Each artist chosen will be paid a stipend of $3,000 to cover the costs of creation, travel, and shipping.” Entry deadline: April 24, 2026.

Here’s a double print on the subject by my friend Margaret Adams Parker, aka Peggy:

Parker, Margaret Adams_Ezekiel 37 — Margaret Adams Parker (American, 1948–), *Ezekiel 37*, from The Vigil Etchings, 2013–14. Etching with roulette and aquatint on Somerset velvet white paper, each 8 1/2 × 5 1/2 in. Edition of 15.

+++

SHORT FILM: Forevergreen (2025), dir. Nathan Engelhardt and Jeremy Spears: With the announcement of the 2025 Academy Award nominations last month, I learned that Forevergreen is one of five nominees for Best Animated Short Film! Written and directed by two Christians in the animation industry (employed by Disney but working independently here) and executed by a team of over a hundred, Forevergreen is a thirteen-minute gospel-oriented film in which “an orphaned bear cub finds a home with a fatherly evergreen tree, until his hunger for trash leads him to danger.” I found out about it last November through the music artists who wrote the soundtrack, Josh Garrels and Isaac Wardell, and am delighted to see it recognized in such a huge way. I really dig its unique animation style, which uses whittled wood figures. The movie is currently streaming for free on YouTube (see embed below), but if you want to see it on a big screen, check your local theater listings.

25 Poems for Christmas, vol. 3

November 29, 2024February 21, 2026 Victoria Emily Jones5 Comments

This is the third installment of my annual “25 Poems for Christmas” series. Included too, on the front end, are poems for Advent, the four-week season of preparation, hope, and expectation leading up to Christmas.

[Read volume 1] [Read volume 2]

1. “Advent (III)” by W. H. Auden, from For the Time Being: Voiced by the Chorus, who cry out from “a dreadful wood / Of conscious evil,” this is the third section of part 1 of Auden’s book-length Christmas poem in nine parts, For the Time Being—“the only direct treatment of sacred subjects I shall ever attempt,” he said. He wrote the poem in 1941–42. He had originally conceived it as the libretto of an oratorio that Benjamin Britten would write the music for, but the text turned out to be too complex, and Britten abandoned the project. The final two lines of this section set us up for the seemingly impossible feat of divine incarnation: “Nothing can save us that is possible: / We who must die demand a miracle.”

Source: For the Time Being: A Christmas Oratorio (Princeton University Press, 2013)

2. “Advent” by Robert Alan Rife: Ten sensory metaphors for Advent, conveying its mood of anticipation.

Source: https://innerwoven.me/ (author’s website)

3. “O Orient Light” by James Ryman: Loosely influenced by the O Antiphons (a set of short chants used in medieval Advent liturgies), this Middle English lyric is by the fifteenth-century Franciscan friar James Ryman of Canterbury; it’s one of 166 sacred poems he published in a 1492 collection. Each stanza consists of one rhyme repeated six times, and the Latin refrain translates to “O Christ, king of the nations, / O life of the living.” The fourth stanza is a standout, connecting the salvation wrought by Christ to the healing properties of plants: “O Jesse root, most sweet and sote, / In rind and root most full of bote, / To us be bote, bound hand and foot, / O vita viventium.”

Source: Cambridge University Library, MS Ee. 1.12; compiled in The Early English Carols, ed. Richard Leighton Greene, 2nd ed., revised and enlarged (The Clarendon Press, 1977). Public Domain.

Helmantel, Henk_New Life II — Henk Helmantel (Dutch, 1945–), *Nieuw Leven II* (New Life II), 1999 (after the 1972 original that was stolen). Oil on canvas, 27 × 24 cm.

4. “Merger Poem” by Judy Chicago: “Merger Poem” is an aspiration that artist Judy Chicago wrote to accompany her 1979 monumental artwork The Dinner Party, a celebration of the richness of women’s heritage, expressed as place settings around a table, that is housed at the Brooklyn Museum. Her vision in the poem is not theistic, at least not explicitly so, but she uses the language of “Eden,” and her descriptions evoke passages from Isaiah about a future harmony, a merging of heaven and earth, in which justice and equity are achieved at last—not to mention the strong eschatological tones that feasting has in Christianity. Each line begins with “And then,” cumulatively generating a longing in the reader for “then” to arrive.

Source: The Dinner Party, exh. cat. (San Francisco Museum of Modern Art, 1979) | https://judychicago.com/

5. “truth” by Gwendolyn Brooks: “And if sun comes / How shall we greet him?” the speaker asks at the opening of this poem. The sun here represents truth, revelation, illumination, which we may seek with weeping and prayer but which can be dreadful when it actually comes. It’s often more comfortable to stay asleep in the dark than to confront the stark brightness of day. But oh, what we miss when we do! Gwendolyn Brooks uses the pronoun “him” for the sun, and it’s easy to read the poem Christologically: you can read it in the sense of any of Christ’s three comings—as a baby in Bethlehem, in personal, inner ways (he reveals himself, and seeks entrance, to human hearts), or as a king and judge at the end of time. Did you catch the reference to Revelation 3:20?

Source: Annie Allen (Harper & Row, 1949); compiled in Blacks (Third World Press, 1987)

Raj, Solomon_Waiting for My Lord — P. Solomon Raj (Indian, 1921–2019), *Waiting for My Lord*, batik, published in *Living Flame and Springing Fountain* (ISPCK, 1993)

6. “Advent” by Mary Jo Salter: In this poem a mother and daughter are building a gingerbread house when a wintry gust tears a shutter on their actual house off its hinges, the shock of the thud causing, inside, a gingerbread wall to split. I think “house,” here, could be a metaphor for a faith structure; a house of belief. Shutters are doing a lot of work in the text: one falls off in a storm, and the daughter’s Advent calendar consists of twenty-five shutters, one opened each day until Christmas to reveal a Bible verse or narrative scene.

I’m not quite sure how to interpret the poem overall, but it seems to be addressing themes of (in)stability, brokenness and repair, the desire to believe versus the impulse to shut out belief, openness (“The house cannot be closed”), (dis)enchantment, the mother-child bond, and safety and danger (the Christmas story, like faith itself, characterized by both). I can’t decide if the “blank” in the final tercet sounds hopeful or bleak: does it connote possibility or lack? And is the mother suggesting in the final line (a repurposing of the final line from stanza 15) that what’s most real to her is not Mary and the baby Jesus but herself and her own child, right there in that moment?—or is she finding a point of kinship with Mother Mary in the love she feels for her offspring?

Source: Open Shutters (Knopf, 2003)

7. “Nativity” by Li-Young Lee: “What is the world?” asks a little boy in the darkness; and again as an adult. A poem of spiritual questing, Li-Young Lee’s “Nativity” deals with existential questions, ending with a tercet that evokes Isaac Watts’s famous carol line “Let every heart prepare him room.” Within us we must make a manger, a “safe place,” to receive the wild God.

Source: Book of My Nights (BOA Editions, 2001)

8. “Nazareth” by Drew Jackson: Ancient Nazareth, where Jesus grew up, was an insignificant village that many believed no good could come out of (see John 1:46). This poem by public theologian Drew Jackson accentuates Jesus’s origins there, his identity as a “southsider” (Nazareth is in southern Galilee). Today some urban neighborhoods on the “South Side” are disparaged, their residents dismissed as poor and lacking education and potential. God chose to incarnate in a rural neighborhood with a similar reputation, not simply dropping in and then leaving but, as the second person of the Trinity, being formed and nurtured in that environment. “Nazareth” is from Jackson’s debut poetry collection, in which he works his way through the first eight chapters of Luke’s Gospel, drawing out the theme of liberation and making contemporary connections.

Source: God Speaks Through Wombs: Poems on God’s Unexpected Coming (InterVarsity, 2021) | https://drewejackson.com/

9. “The Visitation” by Calvin B. LeCompte Jr.: The poet imagines the fields that Mary passes on her way to her cousin Elizabeth’s house joining in the Magnificat, praising the Savior in her womb.

Source: I Sing of a Maiden: The Mary Book of Verse, ed. Sister M. Thérèse (Macmillan, 1947)

10. “My Darling” by Alexandra Barylski: Mary and Joseph are cuddling in bed as she reflects on the divine interventions that brought and kept them together. The poem references the legend, originating in the second-century Protoevangelium of James and repeated in the seventh-century Gospel of Pseudo-Matthew, that Joseph was chosen to wed Mary when from his staff, submitted to the high priest along with those of other single men, there miraculously emerged a dove. Mary expresses appreciation for Joseph’s “visionary love,” patience, and courage in their relationship, his spiritual leadership and support.

Source: Reformed Journal, May 11, 2021

Mynheer, Nicholas_Annunciation — Nicholas Mynheer (British, 1958–), *Annunciation*, 2017. Oil on handmade paper, 20 × 20 cm.

11. “A Blessing for the New Baby” by Luci Shaw: The speakers of this poem give a lovely benediction over Christ—preincarnate and then embryonic in the first stanza, then out of the womb in the second and third.

Source: Accompanied by Angels: Poems of the Incarnation (Eerdmans, 2006) | https://lucishaw.com/

12. “Love’s Delights” by Meister Eckhart, rendered by Jon M. Sweeney and Mark S. Burrows: The medieval German mystic Meister Eckhart didn’t write poetry, but many of his sermons have a poetic quality to them, so contemporary poet Mark S. Burrows and writer Jon M. Sweeney, working from an English translation of the Middle High German by Frank Tobin, reworked select excerpts into verse. Adapted from a sermon Meister Eckhart preached on Isaiah 60:1, this poem meditates on the downward movement of love that raises up.

Source: Jon M. Sweeney and Mark S. Burrows, Meister Eckhart’s Book of the Heart: Meditations for the Restless Soul (Hampton Roads, 2017)

13. “Word Become Flesh” by Seth Wieck: Pregnancy, childbirth, and nursing take a toll on the body. Voiced by Mary, this poem highlights the bodily realities of Jesus’s first coming—Mary swollen, bruised, cracked, and bleeding. She was wounded for our transgressions, in the sense that she endured kicks to the ribs, postpartum hemorrhoids, etc., in order to bring forth our Savior, and by these wounds, because they gave life to Jesus, our healing was made possible. The last sentence is a zinger. Mary gives (physical) birth to Jesus, and he gives (spiritual) birth to her.

Source: Fathom, December 21, 2017 | https://www.sethwieck.com/

14. “Prince of Peace” by Brian Volck: The poet provides his own introduction to this poem on his website: “Octavian Augustus, first emperor of Rome, was known by many titles, including Divi Filius (Son of God) and Princeps Pacis (Prince of Peace). An inscription in Asia Minor states that Augustus’s birth ‘has been for the whole world the beginning of the gospel (εύαγγέλιον) concerning him.’ How strange, then, to use the same names for a contemporaneous but obscure Palestinian Jew, whose understanding of peace, politics, and power was so radically different. How strange to have so long diluted the scandal of the gospel (good news) with accommodations to an Augustan vision of a peace built on the use or threat of lethal violence. Here’s a Christmas poem calling attention to that contrast in a conscious act against forgetting.”

Source: Flesh Becomes Word (Dos Madres, 2013) | https://brianvolck.com/

15. “The Burning Babe” by Robert Southwell: Consisting of sixteen lines in iambic heptameter, this poem by the Jesuit martyr-saint Robert Southwell [previously] relates a mystical vision of the Christ child, who appears to the narrator on a cold winter’s night, enflamed and hovering in midair. The poem develops the metaphor of the love of Christ as a fiery furnace that both warms and purifies.

Source: St Peter’s Complaint, and Other Poems (London, 1595). Public Domain.

McNichols, William Hart_Robert Southwell and the Burning Babe — William Hart McNichols (American, 1949–), *Holy Poet-Martyr St. Robert Southwell and the Burning Babe*, 2015. Acrylic on wood. [purchase reproduction]

16. “Advent 1966” by Denise Levertov: This poem is shocking in its horror. Written in 1966, it picks up Southwell’s image of the Burning Babe and transposes it to the napalmed villages of Vietnam, where children were being physically (not symbolically or ethereally, as in Southwell’s poem) set on fire by chemical weapons deployed by the US military. Denise Levertov [previously], who was an antiwar activist as well as a poet, uses repetition to strong effect, conveying a sense of the seemingly relentless carnage (the war produced an estimated two million civilian casualties, more than half the total number). Though addressing a specific historical event, this elegy for the innocent provokes us to consider where similar atrocities are happening today.

Source: To Stay Alive (New Directions, 1971); compiled in Making Peace, ed. Peggy Rosenthal (New Directions, 2006)

17. “Christmas Eve” by Christina Rossetti: The Victorian poet Christina Rossetti [previously] opens this lyric with two paradoxes that characterize Christmas—bright darkness and chilly warmth—referencing the general mood of cheer and comfort that coexists with the bleak English midwinter. Why this mirth? Because “Christmas bringeth Jesus, / Brought for us so low.” Jesus was brought down from heaven in the Incarnation, but he would be brought lower still: his spirits sunken in Gethsemane, his body buried in a grave. The second stanza evokes a wedding: dressed in a bridal gown of gauzy snow, earth receives her heavenly Bridegroom.

Source: Time Flies: A Reading Diary (London, 1885); compiled in The Complete Poems (Penguin, 2001). Public Domain.

18. “Hill Christmas” by R. S. Thomas: In a poor rural Welsh village, parishioners make their way across snowy fields, weather-beaten, on Christmas to feed their bodies and souls with a snow-white bread loaf and crimson wine. In the celebration of the Eucharist, they hear love cry “in their heart’s manger.” Then they return to the day’s chores. I think the last line refers to a wayside crucifix.

Source: Laboratories of the Spirit (Macmillan, 1975); compiled in Collected Poems, 1945–1990 (Dent, 1993)

19. “back in the day” by Carl Winderl: In a practice known as “setting lambs on,” when a baby lamb dies in birth, sheep farmers will often take a live lamb (an orphan, or a twin or triplet from another ewe) and cover it in the skin of the deceased one so that, when the grieving mother smells the familiar scent of her deceased offspring, she accepts the lamb as her own. In Carl Winderl’s poem, Mother Mary reflects on that practice and has a premonition of a dead lamb.

Source: Christian Century, December 27, 2023

20. “Hymn 4 on the Nativity of Christ” by Ephrem the Syrian: St. Ephrem, a church father from the fourth century, wrote his theology in verse and is one of the most significant Early Christian hymnists. His Nativity hymns are my favorite; I’m particularly struck in Hymn IV by his meditation on how the Christ who suckles at Mary’s breast also gives suck to the whole world. “He is the Living Breast of living breath,” as Kathleen E. McVey translates the Syriac.

Source: Ephrem the Syrian: Hymns, trans. Kathleen E. McVey (Classics of Western Spirituality) (Paulist Press, 1989)

Maria lactans (Ethiopian) — Maria lactans, late 18th century. Fresco, Church of Narga Selassie, Dek Island, Lake Tana, Ethiopia. Photo: Alan Davey.

21. “Nativity” by Scott Cairns: This is the first in a pair of ekphrastic poems called “Two Icons,” in which the poet, who is Greek Orthodox, describes an icon from his home prayer corner. The first three stanzas engage in constructive wordplay: Jesus is wrapped in swaddling bands by his mother, and she is rapt—enraptured, wholly absorbed—by him. She holds him in her gaze and in her hands, and is beholden to him. Icons are about just that: beholding Christ and the sacred mysteries and deepening our affection for the One who holds us in affection. In Nativity icons our gaze is directed to “the core / where all the journeys meet, appalling crux and hallowed cave and womb,” where we are beckoned, like the magi, to bow before the incarnate God.

Source: Compass of Affection: Poems New and Selected (Paraclete, 2006)

22. “Star of the Nativity” by Joseph Brodsky: The Nobel Prize–winning Russian poet Joseph Brodsky was born into a Jewish family, but he was captivated by the story of Jesus’s birth and wrote many poems about it. The final stanza of this one gives us the unique perspective of the Star of Bethlehem, looking down—the Father’s beaming pride.

Source: Nativity Poems (Farrar, Straus and Giroux, 2001)

23. “Wise Women Also Came” by Jan Richardson: The Gospel of Matthew tells us that when Jesus was born, wise men came from the east to worship him. But wise women came too, Jan Richardson surmises. They came during Mary’s labor—midwives assisting with the birth. They came with lamps, fresh water, and blankets.

Source: Night Visions (Wanton Gospeller, 2010)

Richardson, Jan_Wise Women Also Came — Jan Richardson (American, 1967–), *Wise Women Also Came*, 1995. Collage. [purchase reproduction]

24. “Green River Christmas” by John Shea: Theologian and storyteller John Shea reflects on how, after experiencing something scary or unpleasant (like getting a shot or a teeth cleaning), mothers often give their child a treat. Christmas is a kind of supreme treat after the penitential season of Advent, during which we confronted the state of our spiritual health and remedied any shortfalls. Think, too, of the liturgy of (somber) confession and (sweet) pardon every Sunday at church, a prelude to the feast of bread and wine. At the Lord’s Table, we are fed—the gifts of God for the people of God. The Eucharist is the subtext of the final stanza, where Shea describes the presentation of Jesus in the temple forty days after his birth. There he is received by “the long-starved arms / of Simeon and Anna.” They had hungered for salvation, endured a long period of waiting; now they are filled.

Source: Seeing Haloes: Christmas Poems to Open the Heart (Liturgical Press, 2017)

25. “Taking Down the Tree” by Jane Kenyon: “Tick, tick, the desiccated needles drop.” This poem is about the passing of time—the death of another year—and the glumness that often sets in after the holidays are over, but it’s also about the storage of memories. In many households, Christmas ornaments are a multigenerational collection of memories. As with hanging them on the tree, taking them off and packing them away is a ritual that may prompt us to revisit certain past experiences or periods in our life. After we unplug the stringed lights and wrap up the baubles for safekeeping, then what? How will we inhabit the twelve months until next Christmas?

Source: Collected Poems (Graywolf, 2005)