Dandelion Doctrine -a poem by Kendra C. Duke

Dandelion Doctrine

such an intricate simplicity,
these rules,
these ideas

every book on the subject
sends one to next week,
head reeling,
high as a kite

the closest we’ll ever get
to our greatest potential:
we can taste it
it’s right there

and yet so far away

the chemical signature of caffeine
petals of a dandelion
meditation
Islamic art

the Absolute
starts to show up
everywhere

awe and fear
paralyzes me


Kendra C. Duke is a poet and independent scholar based in London, Ontario. Her work explores the intersection of ethics, spiritual inquiry, and social responsibility. She holds a Master’s in Philosophy from Queen’s University and writes across genres, including essays, poetry, and public philosophy. She is the author of “Subspace Log”, an interdisciplinary newsletter, and is currently preparing several long-form projects that bridge philosophical reflection with poetic insight.

Consider the Birds – a poem by Penny Freedwing

Consider the Birds

Can you not see the seagulls
rolling in the cool rumpled sheets of air
over the lake, pressing their case
for spiritual freedom?

Do the robins, plump and puffed as priests,
plundering the green grass,
not witness dutifully
to their unwavering faith in abundance?

Even the wise man of Bethlehem
recognized in this their mastery.

And if the shy wren,
plumed in brown in a brown bush,
lifts his bright voice—
lifts his radiant voice--
does it not seem as if the bush is singing?
As if the bush were on fire
with the crackling blaze of his gratitude?

Oh, take off your shoes, my Soul,
when the wren comes hallowing!

Is this not God?
The God of my ancestors?
The God of Israel, who speaks
by wind and flame,
whale and ass?

Penny Freedwing writes poetry and creative non-fiction along the shore of Lake Michigan north of Chicago. Her work has appeared or is forthcoming in Dunes Review and Deep Wild Journal.

Bright Circle – a poem by Johanna Caton, O.S.B.




Deposition from the Cross, (c. 1190-1200), Ivory, 18.3cm, England (probably York), Victoria and Albert Museum, London.


Bright Circle

After this, Joseph of Arimathea, who was a disciple of Jesus—though a secret one because he was afraid of the Jews—asked Pilate to let him remove the body of Jesus (Jn. 19:38).

I.
The nightmare sky is always blood-red. My desire:
to end his infamy, all foul and bloodied, try to take
him down from the cross and lay him in my tomb.
But it’s a nightmare and I cannot move.

Impossibly, he’s coming down, his feet swing: slow,
relentless. Distance bays and barks with wolves,
the sound surrounds me. I attempt to move my arms
and pull and strain and pant but nothing gives. I wake,

bleating, like a sheep.

II.
A shy child, I would pace the quickening marketplace,
listening for a voice I’d never heard, chasing a face
I’d never seen. A man now, wealthy enough for ease
and influence, I still paced, stealthy, searching. Enough

was not enough. One day, that Nazarene was there—
Jesus, healing Lazar, poor old blind man we all knew,
and Jesus closed his eyes at first as though in prayer,
absorbing Lazar and his blindness. Then he groaned

and with long hands enveloped Lazar’s face. He spoke
some words I could not hear but soon Lazar was smiling,
blinking, crying out, his face raised to a gentle rain
that bathed his eyes while Jesus quietly withdrew.

Jesus: his uncanny self-containment. Jesus: whose gaze
outreached the furthest star. Jesus: with those twelve
young men. Jesus: with that little group of women
who supported him. I knew his voice. I’d sought

this face.

III.
My skin is hot with rage—the nightmare’s back again—
I’m in the house of Caiaphas—the whole Sanhedrin’s
there—the liars! They collude in savage jealousy—
they mean to kill. A stinking little hill of raw meat

lies all sour on the floor and crawls with maggots.
Dogs are wary, snuff but turn and whine. And I?
I try to hide for I am naked—while they abuse
the living truth by tales they spin. I should stand


next to him, disempower them, expose their lies
but I’m exposed instead. The floor turns into mud,
sucking at my feet. There’s no escape, the dream
repeats, repeats my sin again, again. I wake.

Coward. Coward!

IV.
Oh, I was important—once I knew that he was dead!
Pilate I quite bullied. I had courage then! I asked
and got his leave to take ‘the dead man’ (as I said
to Pilate). But I kid no one: Pilate wanted to forget.

He dreaded the return of Jews who’d fled the scene.
He tasked the soldiers with the routine breaking
of the legs. They would have followed orders but
Jesus was dead already. So they broke, they broke

instead his broken body by a lance-thrust to his side
and as his blood and water flowed, they wrenched him
down with ill-bred jokes about ‘the stench of god,’
his head, his head falling in the darkening day.

But in the nightmare no one’s there, not John,
not Nicodemus, not the woman Mary Magdalene,
not even his exquisite mother (all of whom seemed,
on the day, to pity me). I am alone beneath the cross.

The sky is always blood-red.

V.
Last night, the dream, the dream was changed. The sky
is softly green, like olive oil. And lo: I stand beneath
the cross. His feet come down again, but now one foot’s
a child’s foot and sweet. I kiss the wound’s bright circle.

In this new dream, his body’s clean; a fragrance fresh
as bread arises from the flesh as he is given, slowly,
into my arms. And now I reach—I move as easily
as when, a boy, I’d reach up to my father and he’d

lift me high. Now Jesus is as light, and I, I close
my eyes, afraid to look at him at first, but then I open
wide to see not crucifixion’s ravages but on his face
a smile curves his lips—just barely, but enough.

His arms curve round my head, my shoulders. He
becomes so small and somehow changes into bread
and in my hands I cradle him and slowly eat the tender
loaf that tastes of honey. It is enough. Look:

the sky’s become a bright circle.


Johanna Caton, O.S.B, is a Benedictine nun of Minster Abbey, in Kent, England. Her poems have appeared in The Christian Century, St Austin Review, Ekphrastic Review, Amethyst Review, One Art, Today’s American Catholic, Fathom, Fare Forward, Windhover, The Catholic Poetry Room, and other publications. She is a Pushcart Prize nominee.

Amethyst Review Online Workshops – start Tuesday 21st October

Editor Sarah invites anyone interested in writing and sacred to join her in a generative online writing workshop which she will be facilitating on Tuesdays at 6-7PM UK Time. Very low cost (£5 per session) and you can simply book per workshop, which will run up to and including Tuesday December 16th with further workshops in 2026. I have been thinking of offering a workshop of this nature for some time (I have 25 years experience teaching creative writing in Higher and Further Education) so I do hope we can have some inspiring and enjoyable discussions.

Each session will have a theme with a connection to writing and the sacred. We will look at poems, extracts from fiction and creative nonfiction (usually 2 examples per session), and there will be time for writing in response to prompts given by Sarah. The first session on October 21st will consider LIGHT.

Subsequent sessions will consider SILENCE, EMBODIMENT, TIME, NATURE, CRAFT, LOVE, THRESHOLDS, DARK, and RENEWAL.

There will be the opportunity to read from your own writing, if wished. We will be a supportive rather than critique-oriented group.

Simply book online via Eventbrite and bring a notebook and pen or the electronic equivalent! I have been thinking of offering a workshop of this nature for some time (I have 25 years experience teaching creative writing in Higher and other Education) so I do hope we can have some inspiring discussions.

The Arc of the Moral Universe and the Arc of History – an essay by James Hannon

The Arc of the Moral Universe and the Arc of History 

Unitarian minister Theodore Parker was a leader of the abolitionist movement in Boston. In an 1854 address, titled “The Magnet and the Iron,” he made the following assertion:

“I do not pretend to understand the moral universe; the arc is a long one, my eye reaches but little ways; I cannot calculate the curve and complete the figure by the experience of sight; I can divine it by conscience. And from what I see I am sure it bends toward justice.”

On March 31, 1968, just four days before his death, Martin Luther King Jr. incorporated Parker’s language in a hopeful sermon at Washington’s National Cathedral: “The arc of the moral universe is long, but it bends towards justice.”

As a high school senior, I heard King’s statement as an article of a faith that I shared. I believed we were moving toward a more perfect union in the U.S. and a more equitable and peaceful world. We just had to keep the faith and work hard to achieve those goals. 

I’m now in my 70s and I think of that statement more critically. I wonder about King’s intent. Did he state it as a matter of faith, in ultimate deliverance from injustice? Is it an expression of an optimistic personality? A view of history? Or counter-factual pastoral counseling? And how long is the arc? As economist John Maynard Keynes said about long-range forecasts, “in the long run we are all dead.” 

Political developments in the 1850’s did little to convince abolitionists that redemption was near. The 1856 election of slavery accommodationist James Buchanan as president was a crushing blow. Three years later Parker joined four other Bostonians to fund John Brown’s attack on the U.S. arsenal at Harper’s Ferry.

A decade earlier than Parker’s magnet and iron, another Boston abolitionist, James Russell Lowell, published his epic poem, “The Present Crisis.”1 It contains the often quoted stanza —

Careless seems the great Avenger; history’s pages but record          

One death-grapple in the darkness ‘twixt old systems and the Word;          

Truth forever on the scaffold, Wrong forever on the throne, —        

Yet that scaffold sways the future, and behind the dim unknown,  

Standeth God within the shadow, keeping watch above his own.     

Lowell seems to offer a recognition that there is no end of history, no omega point where we achieve a lasting peaceful kingdom or holy commonwealth. Then, the promise of a future shaped by sacrifice and suffering in a process we can’t understand or forecast. And God keeping watch above his own – means what? It does not suggest divine intervention in history. Is this about divine approval for right action, regardless of the outcome?

Non-attachment

Many spiritual teachers, famous or within the shadow, advise us not to expect perfectibility of the world. Buddha preached life is suffering, and the cause of our suffering is attachment. Jesus said his kingdom is not of this world. Mystics of every tradition seem to agree that there is a reality that transcends Lowell’s “death grapple in the darkness.”

I once viewed with great skepticism the idea of non-attachment. It sounded to me like quietism, a focus on one’s internal state and a supposed divine connection while retreating from unsettling action in the world. I would envision navel gazing at an expensive retreat at Big Sur or an ashram where people chant a lot and don’t bother themselves with the news. In Confessions of a Guilty Bystander Trappist monk Thomas Merton expressed such skepticism about his own monastic life of prayer within a world that is burning.

But I have learned non-attachment doesn’t mean passive acceptance of injustice, no necessary retreat from the world.

Here is an apparent paradox. I believe we act most effectively for justice when we thoughtfully develop the strategies and tactics we consider most likely to produce positive results – and yet remain unattached to the outcomes. 

It helps to recognize that our formula for achieving justice is always incomplete – there are too many factors beyond our awareness or control to ensure the success of any efforts.

One reason that elections are so stressful, and results can be so painful is that there is a definitive measure of winning and losing. But sometimes “there’s no success like failure; and failure’s no success at all.”  Our candidates may win and subsequently fail us. Defeat at the polls may mobilize us to think more broadly about ways to pursue justice beyond the ballot box. We can never be completely sure what is good news and what is bad news.

Being non-attached while purposeful can preserve us from despair when our best efforts don’t lead to measurable success. We can take comfort in the possibility that we are planting seeds that will bear some fruit that we won’t be around to recognize. 

As to the arc of the moral universe, Parker and King seemed to suggest that the arc bending toward justice means an eventual outcome of justice. I don’t think historical evidence supports that suggestion. I think, instead, we must distinguish between the arc of the moral universe and the arc of history.

The Moral Universe

What comprises the moral universe? People or opinions? The application of natural law? The opinions of society, or of members of a community? Or the opinions of moral members of the community? Is it the living communion of saints? And what bends? 

In Parker’s case, would the arc of the moral universe bend towards justice only when slavery ended, or as more people came to believe slavery is wrong and must be ended?

What good is the arc of the moral universe if it doesn’t produce justice? Does it matter if individuals, communities, or religious congregations arrive at a more enlightened moral understanding and yet fail to act effectively to produce justice? Is movement in the moral universe important only because it seems to be a necessary condition for achieving justice in the world?

We may as well ask, what is the point of individual virtue, or sanctity. Is the spiritual development of the person or the community a desirable end in itself?

We seek justice to make a full life available to everyone. A full life includes compassionate action and attempts to change oppressive policies, practices, and institutions. Joyful activists are not just a means to an end; they embody the desired outcome. 

I think it is of great importance to know and demonstrate the joy that comes from right action. We cannot control the outcomes, but we can generate loving kindness in our resistance to injustice and we can delight in the bonds we build with those who accompany us in our efforts. 

1  This poem inspired the title for The Crisis, founded in 1910 as the official publication of the National Association for the Advancement of Colored People (NAACP).

James Hannon is a psychotherapist in Massachusetts where he accompanies adolescents and adults recovering from addictions and mood disorders and seeking meaningful and joyful lives. His work has appeared in Blue Lake Review, Cold Mountain Review, Pensive, Psaltery and Lyre, and other journals and in Gathered: Contemporary Quaker Poets. His second poetry collection, To My Children at Christmas, was published in 2023 by Kelsay Books.

When I soar – a poem by Jack Kane

When I soar

When I speak
Let it be plainly
As the the sunrise in the east

And should I cry
I'll leave behind
A trail of tears to know me by

When I take
Let it be picture
Perfect moments on a crystal lake

And if I die
I'd like to feel
The chariots of fire fly

Should I sleep
May I be rocked
As Moses in his bed of reeds

And when I climb
The rock of ages,
Hide me in the cleft of time

So when I know
That grace is mine
I'll feel that somewhere deep below

But when I soar
I'll sing God's love
In heavenly esprit de corps.

Jack Kane is a poet and teacher. In his spare time he can be found doing research on obscure historical figures and composing worship tunes inspired by Rich Mullins. His work has been featured in Voice & Virtue, Words of the Lamb, and Agape Review.

Poem for St Gall – by Jeff Skinner

Poem for St Gall 

Scribbles, day’s preface
engraved in air
when it’s just beginning to get light

first thing, gossiping over
the garden wall –
talking to us in voices

we pay attention to
can’t help ourselves
never fully understand

Jeff Skinner’s poems have been published in anthologies and in many journals, most recently or forthcoming in Allegro, Ink, Sweat and Tears, Paperboats . He was commended in the last Sonnet or Not competition. He volunteers at his local food bank and in an Oxfam bookshop, listens to music, watches football, reads, writes.

Glass Door Handles – a poem by Wally Swist

Glass Door Handles


You have been wheeled to a table
and you speak a complete sentence when
you see me, “Our relationship is deep.”
I nod and say, “Yes.” This is a fine start
to any day but I notice you’re not wearing
your glasses, so after wheeling you to
a place where we can hear ourselves talk
I return to your room to find them
but can’t. Also, I’ve noticed that no one
has brushed your teeth again this morning.
I walk out to administration and leave
a message for the director. Every day
it’s glasses or you’re dressed in someone
else’s clothes or that you need to be
changed and you’ve only gotten up.
But I calm down and I try to get you
to sip a cappuccino I brought.
You dribble as you drink and I need
to dab your long-sleeved red t-shirt.
Breakfast is late but we make do
by my telling you about the handyman
that’s coming to fix the front door
glass door handle later this morning.
You are intrigued since you have
always loved the way light plays with
the facets of those cut glass handles.
When the doors are opened
to the dining area, I wheel you
to our table by the window, point out
new blossoms that opened, new leaves
unfurling on branches of trees.


Wally Swist’s new books include Aperture (Kelsay Books), poems regarding caregiving his spouse through Alzheimer’s, and If You’re the Dreamer, I’m the Dream: Selected Translations from Rilke’s Book of Hours (Finishing Line Press). Poems, essays, and translations have appeared in Chicago Quarterly Review, Commonweal, Healing Muse, North American Review, Other Journal, Rattle, and Your Impossible Voice. Huang Po and the Dimensions of Love (Southern Illinois University Press, 2012) was co-winner of the 2011 Crab Orchard Open Poetry Competition. He was also the winner of the Ex Ophidia Press Poetry Prize in 2018 for ‘A Bird Who Seems to Know Me’.

Starvation Offerings – a poem by Molly (Siyu) Chen

Starvation Offerings

I offer it up. Yes,
I offer the fibrous red meat,
the flakes of species older
than the humankind,
the milk of what’s holy
and unholy, to this
altar. I gouge out a part
of my soul and hold it
up to you. A glistening
nimbus of spirit in a
decanter glazed with
blood. It rots.
The darkness of existence
overflows and drips on
my bare foot. It crawls. It grows.
It grows. It rises. It floods this
temple like a tsunami and it
washes over me. The door is
sealed shut. No one gets out.
Not even me.

I say my prayers with black
tides up to my chest. I have
not drowned, not yet.
Sunlight escapes into this
cold chamber through gilded
foliage. It blinds me, although
my eyes are closed. I recite
psalms written by no one
to placate the grumbles in
my cleaved soul. I wade
the waters for that golden
apple, that staff atop the altar.
Psalms become bubbles,
breaths become suffocation,
but my hands are firm. So close,
so unreachable. Is it water,
or is it a holy relic? In
a stupor, I hear oratorios,
storms, chewing, birds,
bell tolls. I wake up
in orange blossoms.

Molly (Siyu) Chen is a student at Wellesley College and an alumna of Interlochen Arts Academy and the Kenyon Young Writers Workshop. Her work has previously been published in The Wellesley Review and by TABLOID Press. She has been recognized by the Alliance for Young Artists & Writers and Write the World.

In the Presence – a poem by Ann Grogan

In the Presence

Play always as if
in the presence of a master or mistress.
So said Schumann.
Reflecting on this, said Isserlis,
we would not then drift off and dream as we played
or check email and other things.

So my advice? Forget the concern that you express.
Do your best to compose or paint or dance,
ink your thoughts or touch the keys,
start with the song within your mind
or upon the score,
don’t stop to spend one second more
on war and famine
and death in store
for all of us.

Play now as if in the presence
of your god or goddess, maestro or maestra,
no more, but certainly, no less!

_______
*Inspired by Steven Isserlis in Robert Schumann’s
Advice to Young Musicians Revisited by Steven Isserlis.
Isserlis is a renowned concert cellist and author.


Ann Grogan is a late-life pianophile, newbie poet, and retired attorney. Her work promotes the unequivocal permission to pursue one’s passions at any age, including her beloved music. With humor and thoughtfulness she often reflects on her struggles to relearn to play the piano, and support for the suppressed voices and experiences of women. When not practicing her piano or writing poetry and her blog, she volunteers at Planned Parenthood or engages in community activism. She is the author of two volumes of poetry, Poetical Musings on Pianos, Music & Life, and resides in San Francisco, California.