Creative Pilgrimage

Libby Clarke

I’m exploring what it means to pray, create, and believe without pretending to have it all figured out. libbyclarke.substack.com

  1. ١١ مايو

    Walking Back Down the Mountain

    The last thing I wrote here was a poem about the Transfiguration. I have been living in the time after a transformative moment ever since. In February, I became a postulant in the Episcopal Diocese of Newark after two years of discernment. Three weeks later, I was accepted into Bexley Seabury Seminary. Two weeks later, I was given a scholarship by Bexley that means I have a lot of pressure taken off myself and my diocese. Three weeks after that, I launched Everloving Pride, a toolkit for churches that want to practice genuine, sustained welcome for LGBTQIA+ people. I’m tired. (laughs) The reading list I had so carefully constructed last April has become firmly moot. I started reading in response to a call because I had no map yet. The territory of discernment was unknown. I am so pleased to report that the pilgrimage of last year did not fail its plan. It has outgrown it in ways I never saw coming. The world before me is coming into focus, although this new vista is filled with mystery and a lot of things I have to learn. While I was reeling in my paralysis after Lent, I went into my conference with the Commission on Ministry so they might interview me, review my progress, and decide if they recommended me to the bishop for postulancy. I did not at all expect to experience such multidimensional support. I was challenged lovingly, given a chance to speak frankly, and held in real love at a time of truly treading air. It healed something in me I did not yet know how to name until after it had healed. The bishop’s support, when she made me a postulant formally, has made me feel genuinely part of the church in ways I did not know I was allowed to feel. I carry a little shame that it took so long. I was assured many, many times that this was always the case, whether I was made a postulant or not. But old trauma feels like truth until it’s truly flouted by experience. So what do I do? Live in regret? Repentance means turning, not groveling. You face a different direction, towards God hopefully, and you move your body. Trauma takes what it takes. The arrival is not diminished by whatever long road I took. I did the readings I could fit in the few slow times during all of this change. I finished Baldwin’s The Fire Next Time. His fire is disciplined and brilliant and fiercely hot. bell hooks is a patron saint of this whole endeavor, and her company is ongoing. I have ordered a few more of her books. Kandinsky, Moholy-Nagy, and Fujimura are waiting for the work they belong to as I create the map for this coming year. This map is already being overlaid by liturgy, classes, and seminarian concerns, so none of it is wasted. Year Two looks very different from Year One. I am writing each week in shorter, more immediate bursts. You’ll be hearing from me more, but not for such long stretches. I am pacing myself by what the early church actually did in each season — the embodied ancient logic of Advent, Lent, and Ordinary Time. I read in response to where I am being called, not to what I had scheduled. I carry no fixed list beyond books of the Bible, and I have my curation as my guide. I am still me, but I need to listen to the season, the work, and the community to which I am now accountable, and I have to practice showing up. My pilgrimage year began at Easter, a couple of weeks ago now, but I am letting myself flow instead of berating myself over a deadline I thought up. The church year is now my river. I am in Eastertide — the season of recognition, of gathering at table, and of being sent. I walked down the mountain of Lent not knowing any of this was coming. I am alight and pressing on. The Creative Pilgrimage continues. My destination is no longer self-authored, and that turns out to be the point. Thank you for accompanying me on this first year’s journey. God bless you and keep you. And I hope to see you as we leave the road and hit the river together. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit libbyclarke.substack.com

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  2. ٤ مايو

    Many Dwelling Places

    In my Father’s house there are many dwelling places is one of the most radical statements of welcome in all of scripture. There is room for every single one of us, through Jesus, in God’s kingdom. It sounds too good to be true. And yet there it is, in Jesus’s own words, this profound statement of jubilant welcome. Before I moved to New Jersey, I spent years teaching art & design at a college in Brooklyn, and my first few years were rough. One class, Introduction to Drawing, comes to mind. The school where I taught served primarily first-generation, low-income students from across New York City. Many had come through underfunded public schools, and most were immigrants. They faced a lot of obstacles, and they came raw. I was going through a difficult stretch in my own life and needed to prove something. So I picked up the syllabus the school gave me and followed it with an iron grip. Students were expected to arrive with their materials. If they did not, they were marked absent, given a zero, and sent home. Three weeks in, one student came to class again without her supplies. She was waiting for her paycheck. I reprimanded her in front of everyone and told her she needed to leave. Then I turned my back and started writing on the board. I heard rustling behind me. When I turned around, every other student in that room had given something from their own kit so she could stay. They already understood something I had not yet figured out. I hadn’t taught them that. They brought it with them. That was my first lesson in welcome, and I still didn’t learn enough. Nearly 40% withdrew before the semester ended. The following semester I overcorrected, accepted incomplete work, let lessons dissolve into socializing, and it was a shambles. Again, my students left in droves–why would they stay? That summer I finally sat with the question I had been avoiding. I had grown up inside drawing, never knowing what it felt like to stand in front of a blank page and feel like a trespasser. I had no idea how my students felt. As it happened, I was trying to learn yoga, failing badly, and getting ready to quit. I understood, in my body, what it felt like to be a beginner in a room where everyone else seemed to belong. My teacher had led us through a meditation I couldn’t stop thinking about. I quit yoga and kept the meditation. The night before class started my second year, I realized what I had to do. On the first day, instead of drilling through the syllabus, I asked my students about themselves. We talked about their memories of art class, the teachers who told them they couldn’t draw, the friends who were better and said so without thinking. I noticed something else I had seen every semester. When I went through the supply list, I would hear them quietly working out who could share what. And yet when it came to their own materials, they held back, trying to complete entire semesters with one pencil worn to a nub. Using up supplies felt like a transgression. These were students who had not yet learned that they were allowed to take up room. My job was not to teach them something to draw. I had to help them find what was already there. Improvising, I dimmed the lights and led them through that borrowed meditation. I had them close their eyes and imagine a ball of light right at their hearts, pulsing steady with their own heartbeat. Then we sent that light down through their bodies, through the floor, all the way to the center of the earth. Then back up, through their hearts, through the tops of their heads, out past the ceiling, past the atmosphere, to the edge of the known universe, and then beyond that, to the edge of all creation. While they sat with that line, I asked them to look around in their minds and see the same lines of light coming out of every other person in the room, then outward, city by city, country by country, all those lines of light, every person connected from the center of the earth to the edge of everything. Then I brought them back down into themselves. That line, I told them, comes out of you in every direction. The way you speak. The people whose lives you have changed. The memories you have made. And now we are going to spend time with its most humble expression. We are going to pick up a pencil, and we are going to take our lines for a walk. I placed paper and pencils on each desk and opened the shades and told the students to open their eyes. Whatever line you make today is as valid and as connected as any other line in this room, on this planet, in all of creation. Learn to love your line, because if you trust this process, you will learn to use it to articulate the world around you in ways that help you understand it more fully. Then we began to draw, no longer a group of strangers assigned to the same room. We were a community of people who had just gone through something together. That was the most frightening thing I had done in a classroom, and it was the only thing that worked. I had to make room in myself before I could help make room for them. Jesus tells us that the Father’s house has many dwelling places. I used to hear that as a promise about what is waiting for us, rooms already built, already assigned, already ours. But I think it means something more active than that. When we genuinely welcome each other, when we enter the work of loving someone as they actually are, we discover more of the house. Welcome is not the management of existing space — it’s how the house grows. Jesus says this plainly. The one who believes will do the works that he does, and greater works than these. The house does not stay the same size. It grows through us. This means that the people beyond our doors are not waiting to be let in. They are already part of what God has made. Walking through an unfamiliar door takes courage. The question is whether we meet that courage with equal openness. And this is where I want to ask something honest of us. If welcome always feels comfortable, that is worth examining. Comfort, in this context, can be a sign that we are extending ourselves only toward people whose presence costs us nothing, people who confirm what we already know and ask nothing of us we aren’t already prepared to give. That is a warm feeling, but it is not entering any where new in the house with many dwelling places. Real welcome has give in it. It asks us to be moved, to be changed by the encounter, to make room in ourselves before we make room in our sanctuary. A few weeks ago I led a workshop about how we talk about St. John’s to people who have never come here. I asked the group what you would put on a T-shirt? And what you gave me was not a tagline or a campaign. What you gave me was testimony: A beacon of welcome. A dose of sanity every Sunday. Lapsed atheist. A place called home. Come for the community, stay for the faith. Experience acceptance. One person’s story stayed with me. While going through a serious illness, they found real solace in faith, learned to ask for help and actually let community hold them. But when they spoke of this faith with friends facing something similar, they were met with resistance. People carry a great deal of baggage when it comes to houses of faith, and those friends were carrying theirs. What moved me was how this person held both truths at once, their own solace and their friends’ resistance, without needing to resolve the tension or win the argument. That poise in the face of discomfort is not a small thing. Philip asks Jesus to show him the Father, and Jesus says: you have already seen him. You have been looking at him this whole time. That is what I want to say about that story, and about those phrases, and about a room full of students with very little who gave everything anyway. When someone stays poised in the face of discomfort, when someone holds another person’s pain without needing to fix it or win, when a community keeps discovering how much more room there is — that is not simply a nice thing that happened. That is the Father, made visible, in the works we do for one another. Those are the greater works Jesus is talking about. That is the house with many dwelling places, not a building that controls who enters, but a community that keeps finding, together, how much more room there is. The promise Jesus makes is already true. Meeting it with our whole selves, as a living, feeling body of Christ, is how we make it real for everyone who walks through that door. Amen. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit libbyclarke.substack.com

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  3. ٢٠ مارس ·  إضافة

    The Light We Make

    Years ago, my child asked me, How big is God?I pointed to the rainbows on her wall,thrown by a crystal in the window. I told her we cannot see all of light—only this narrow band,only when things are just so. I told herLight is bigger than our eyes can see,and God is bigger than that. I did not tell her thenhow colors vanishand the wall goes blank again, how you can stand, emptied, in the same room,surrounded by what you do not perceive. I did not tell her thenhow we grow up wanting glory on demand—bargaining with life,trying to pin the sacred in place,a scrap of sun we can hold. Peter is no different.He climbs a mountain with Jesus. For a moment, Christ breaks through—an unbearable, searing glimpse. Moses, Elijah appear—The impossible, solid in the glare. And Peter, terrified, scrambles.He offers to build shelters,to nail the holy down. A cloud covers them. A voice calls:This is my beloved Son. Listen to him. And in a moment, it’s over.No prophets, no radiance,only Jesus again,ordinary as your own hands. They walk back downwith the same feet they climbed with,kicking up dust,the long work waiting below. They do not get to keep the lightor speak of what they saw.They get the world as it is—the world my daughter, now thirteen, is learning to see. She asks harder questions now:If there is a God, why do we suffer?How can you believe in something you cannot see? Cast rainbows don’t answer this.The mountain is far away.The blank wall, the crystal—none of it is enough. I tell her I cannot know, not fully.I cannot shrink Godinto something I can clutch.I believe only becauseI have known love. Love is no theory.It quickens our pulse without a touch,it tethers us to strangers,it carries us through pain, and cuts the din of life with a single note. So I go find love, here, in the work, in the dust,in the turning toward each otherwhen the wall is blank. I take the next step.I walk back down,not because I understand,but because I am lookingwithin this narrow band of color,for the light we make,until we find ourselves climbing the mountain again. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit libbyclarke.substack.com

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  4. ١٨ مارس

    Touch My Eyes Again: Mark 8:11–26

    An Anglican rosary is a loop of thirty-three beads, one for each of Christ's years of life. The four larger beads are called cruciform beads — they mark the compass points of the circle. Between each pair sits a "week" of seven smaller beads. One more large bead, the invitatory, leads back out to the attached cross. This type of rosary was developed in the 1980s by an Episcopal priest — newer than you'd expect, but the counting makes ancient sense. You can make one from cord and cheap beads, or just knots. The point is not beauty or perfection, but touch. The beads steady the hands while the heart learns to return to God. I’ve started making rosaries from rose petals, cooking and pressing, and rolling saved flowers into beads. The work is slow. Some crack, others hold—I’m learning as I go. Making a tool for prayer from something that was alive and then saved feels so right. I find such peace having a physical way to tie my words and prayers to the world around me. In Mark 8, people demand a sign, and Jesus refuses. The disciples panic over the lack of bread, forgetting the abundance they have already witnessed. Then a blind man is healed in stages: first blurry, then clear. This is Lent: releasing control, remembering what we keep forgetting, and asking for sight that comes slowly. The blind man doesn’t see clearly the first time. He needs Jesus to touch him again. I keep thinking about that: prayer, too, can be in stages—not instant, not clean. Just ask, return, ask again. In that spirit, this is how I am using Mark 8:11–26 to pray the rosary: The Cross Jesus Christ, deliver me from the hunger to be convinced. Teach me to trust. The Invitatory Bead Lord Jesus, touch my eyes again. The Circle (Repeat this cycle three times) The Cruciform Beads (Pray one line for each of the four large beads) * Free me from demanding signs; make me faithful. * Save me from the yeast of pride and power; make me humble. * Quiet my fear of scarcity; teach me to remember. * Soften what is hardened in me; open what is closed. The Weeks (Pray one line for each of the seven small beads between the Cruciform beads) * Lord Jesus, touch my eyes again. * Touch my fear. * Touch my hurry. * Touch my cynicism. * Touch my hunger to be right. * Touch my forgetfulness. * Touch my heart. Closing (After the third time around, exit the circle) The Invitatory Bead: Lord Jesus, touch my eyes again. The Cross:Christ, let me return to You, blinking in the light. Amen. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit libbyclarke.substack.com

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  5. The Lights Are On, and They are Blinding

    ٩ مارس

    The Lights Are On, and They are Blinding

    Quick Note: This essay is late, but I’m catching up and will be following up with February’s essay very soon, and then finally March’s essay. Thank you for hanging in there with me. This Epiphany, the lights are not gentle. They are the overhead fluorescents snapping on in a private prison where there are people crowded in cages on the floor. The church calendar says this is the season of revelation. Fine. Let us have some revelation. Amos is not subtle. He addresses a nation of devout, prosperous, festival-attending people who believe God is pleased with them. The music is excellent. The offerings are on time. The courts are corrupt, the poor are being ground into dust, and God, who is apparently not as manageable as previously assumed, rejects the whole operation, the entire shebang. Take your songs away from me, God says. I will not listen to the melody of your harps. Let justice roll down like waters. Not trickle. Roll. Reading Amos in January 2026 is not theoretical. It is a mirror held up to a country where immigration enforcement has become a killing operation. Say their names like what they are: a list that should not exist, a list that actually has thousands of entries of non-violent, law-abiding people being ground to dust. Renée Nicole Good. Alex Pretti. Keith Porter Jr. Ruben Ray Martinez. Luis Gustavo Nunez Caceres. Geraldo Lunas Campos. Luis Beltran Yanez-Cruz. Parady La. Victor Manuel Diaz. Heber Sánchez Domínguez. Nurul Amin Shah Alam. Aliya Rahman. Kaden Rummler. Britain Rodriguez. D’Iris Jackson, six months old. Liam Conejo Ramos, five years old. (Apologies for any mispronunciations.) This list is in no way comprehensive and does not count all of the people taken, killed, injured, or terrorized by forces working outside of due process. The latest data indicates almost 70,000 people are in custody, 73% of whom have no criminal convictions. The government has language for all of this. Enforcement operations. Presumed suicide. Courtesy ride. Targeted stops. Less-lethal methods. Amos has different language. In chapter five alone: I hate, I despise your festivals. Your solemn assemblies are a stench to me. That is not a measured man. That is barely contained fury, disciplined into prophecy, aimed with precision at the people doing the harm and the people calling themselves faithful while it happens. I have been sitting with fury for months. I have also been making signs for twenty-five years — ink and brushes, cardboard, bedsheets when someone needs a banner. You work with what you have, as the flawed person you are right now. The rage and the work are not separate things. James Cone refuses distance as well. In The Cross and the Lynching Tree, he forces Christian readers to confront what crucifixion was: state execution, public and humiliating, meant to terrorize. He places the cross alongside the lynching tree and refuses the comfort of metaphor. If we, as Christians, follow someone executed by the state as a threat to order, then we cannot feign shock when the state defines new threats and acts accordingly. Neutrality becomes a choice. Wendell Berry writes from the soil rather than the scaffold, but the logic is similar. In Sex, Economy, Freedom & Community, he traces how extraction becomes a governing ethic: land reduced to yield, labor reduced to cost, community reduced to inefficiency. Once efficiency outranks relationship, harm becomes administrative. The damage is filed, processed, absorbed. Violence rarely begins as spectacle. It begins as paperwork. Taken together, Amos and Cone and Berry leave very little room for moral insulation. And yet insulation is exactly what I practiced in January. This is the part I would rather omit. The lights were on and I could see clearly, and I did not move. I went to work. I came home. I read the news, which arrives filtered more and more through the concerns of billionaires who have already made their arrangements. I scrolled platforms engineered for outrage and drift. I felt a rage so large it had no shape, and it did not translate into action. It translated into paralysis. That is where Lent found me. Coming Next FEBRUARY | Lent: Repentance & Repair * Book of Mark * The Fire Next Timeby James Baldwin * Art on My Mind: Visual Politicsby bell hooks Notes on the names above, absolutely incomplete: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit libbyclarke.substack.com

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  6. ٢٧ فبراير

    Instruments in the Waiting

    A Quick Note: This was meant to be the December essay, published in January. It is now mid-February. I have a few other essays coming out over the next week to catch up. Over the past year, I’ve been discovering that what I have long called prayer is less about speaking upward and more about allowing myself to be worked on. I used to understand it primarily as language — naming what hurts, asking for help, directing attention towards God. Lately, it feels more like a practice that slowly rearranges my interior life, often without my noticing until I’m already different. This shift has become more visible to me as I continue discerning priesthood. I have found myself asking, sometimes with discomfort, what this practice actually does. The phrase thoughts and prayers has grown thin in our culture, and I understand why. It can sound like retreat or avoidance, like a polite murmur offered in place of engagement. Yet the thinness may say more about how casually we treat the discipline than about the discipline itself. If it has any integrity, prayer seems to work gradually. It does not resolve the crisis in front of me. It does not guarantee the outcomes. Prayer, instead, shapes the person who must live through whatever unfolds. Advent has sharpened this awareness. Waiting has a way of revealing where I’m impatient, where I want visible reassurance, where I confuse movement with faithfulness. In the book of Exodus, God hears the cry of a suffering people and moves toward them, but the story does not accelerate after that. Liberation is promised, and then the long middle begins. There is wandering, complaint, fatigue, doubt. The danger is not only the power of the oppressor — it is the erosion that happens when hope stretches thin. I recognize that erosion in myself more easily than I would like to admit. The Exodus story does not romanticize endurance. It shows how easily people lose orientation when time passes and nothing looks resolved. Yet again and again, there is a return to trust, obedience, and to the presence that does not withdraw even when confidence does. Julian of Norwich steadied me early in this pilgrimage with her insistence that all shall be well, even when the evidence is not visible. Howard Thurman deepens that steadiness in a different register. In Jesus and the Disinherited, he writes for those living with their backs against the wall and names fear, deception, and hatred as forces that quietly deform the soul under sustained pressure. I do not read him as offering inspiration in the thin sense. I read him as taking Jesus at his word, as if those teachings were meant to be lived right here under pressure. What strikes me is how concrete that reading feels. The work is interior, but it is not abstract. It has to do with what happens when fear begins to dictate behavior, when bitterness feels energizing, when compromise seems practical. It asks whether the inward life can remain intact long enough for love to remain credible. Robin Wall Kimmerer, in Braiding Sweetgrass, speaks about tending land over seasons — about attention practiced daily, about gratitude that is enacted rather than felt. Healing, in her telling, unfolds through consistent care rather than urgency. That language of tending has begun to shape how I understand devotion. It’s not confined to spoken words. It can be carried in the body, in repetition, in the making of something offered to others. Earlier this month, I began making an Anglican rosary from rose petals saved across the year. It was for a friend whose child is currently ill. I cannot secure the outcome anyone would want. I cannot shorten the waiting or absorb the fear. What I can do is sit at my table and work, allowing my hands to gather what time has given. There is a quiet joy in that — not because the circumstances are light, but because the act itself resists helplessness. The rosary gathers days that held both dread and small mercies. It gathers breath and repetition. It becomes a way of staying present rather than drifting into abstraction. I find that I am less interested in persuading God to intervene and more concerned with becoming someone who can remain attentive and steady for the long haul. The work of shaping beads from petals mirrors the shaping happening within me. It’s slow and imperfect. It’s sometimes tedious and unexpectedly sustaining. Advent insists that God does not remain distant from suffering, but enters it and remains. That claim carries more weight for me this year than any explanation could. I’m trying, in smaller ways, to practice remaining as well. Hope, as I am coming to know it, is less a feeling than a posture. It shows itself in the decision to continue showing up, to listen longer than is comfortable, to keep tending what has been entrusted to me. There is joy in discovering that love can be practiced in tangible ways, that attention can be trained, and even in uncertainty, there is meaningful work to be done. Nothing triumphant or dramatic, but steady. And more often than I expected, it’s quietly alive. Next EssayJANUARY | Epiphany: Liberation & Migration Next week, I’ll be releasing the January essay on epiphany, liberation, and migration. I read texts that move from waiting into confrontation, beginning with the Book of Amos, which I had never read before and found astonishing. I’ll also be writing about The Cross and the Lynching Tree by James H. Cone, and Sex, Economy, Freedom, and Community by one of my very favorite authors, Wendell Berry. If Advent has been teaching me how to remain present over time, Epiphany may press further — asking what that presence demands when injustice is named without euphemism. Thank you so much for journeying with me as I continue my creative pilgrimage. Your support and engagement have meant more than I can say. God bless you and keep you. Be well. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit libbyclarke.substack.com

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  7. ٢٤ فبراير

    Minimum Viable Practice of Peace

    In product development, a minimum viable product is the simplest version of something that still functions. I’ve been thinking about what a minimum viable practice of peace actually looks like right now — the smallest set of actions that still holds together when everything in life is pulling at you. When I open my eyes, I thank God for the previous sober day. When my feet hit the floor, I ask Jesus to love me through the day to come, keeping me sober and connected. It’s worked all this time, so I do it every morning. Since the first AA meeting I ever attended, I rock back and forth gently as I say the first four phrases of the Lord’s Prayer. The first time I did it, it was because I was hungover and not steady. And now I do it to thank God for my sobriety 17 years in. I don’t revisit that moment to admire it, but to remember where I began and who brought me here. My body understands something my mind often overcomplicates. As I rock back and forth and then settle just as we say “…your will be done,” my peace surrounds me. When I walk my dog, I find myself helplessly falling into happiness just matching her pace. I follow that pup all over my neighborhood, grinning like a fool and spotting squirrels. We’ve carved several routes over the years, each one tuned to alleviate different levels of angst. I keep returning to the line from Micah: to do justice, to love mercy, and to walk humbly with your God. It strikes me that this might be the minimum viable practice of Christianity. It doesn’t require explanation or expansion. It asks for something that can be lived even in a difficult and interrupted day. Life doesn’t cooperate with our best intentions. It interrupts, it crowds, it exhausts. Because of that, peace is not something I arrive at. It’s something I tend. This understanding came slowly, through years of being sober. I think of my sobriety as an elliptical orbit — literally the length of my arm, and at the end of it, the next possible drink. If I live with love, that drink stays far away. If I live in fear, it moves closer. Addiction is a practice of isolation — from community, from family, from self, from God. What sobriety asks of me is the opposite: to stay in relationship with all of Creation, to keep the orbit wide, to notice every day what I am letting draw near. To do justice, to love mercy, to walk humbly with God — this is what keeping the orbit wide looks like in practice. To do justice, to love mercy, and to walk humbly with God is not a large or abstract instruction. It’s small enough to attempt in a real and lived day. Now that we’re living through such constant tumult, I find that when I tend my own peace, I’m better able to see where and when justice asks something of me. That brings me incredible comfort. This is what I’m considering a minimum viable practice of peace for me right now. And it is easy enough and enough of enough to begin again tomorrow. What are some ways that help you find that instant reset and grounding throughout your day? Let me know in the comments. Thank you so much for listening, and God bless you and keep you. Be well. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit libbyclarke.substack.com

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  8. ٢٢‏/١٢‏/٢٠٢٥

    The Thinnest Season

    Here in the potato bed, the soil is colder than the air and damp as held breath. I dig, and the ground remembers: worm twisting, a weathered button, my daughter’s lost toy... the past rising in clumps of soil. Roots outlast what’s left above. Cut-back things keep reaching. I turn the soil; winter presses in. There’s work to finish before the earth locks itself in frost. Hope begins like this — the hidden dark where a seed breaks open. The first Isaiah knew a shoot from the stump, a green insistence rising through ruin. He spoke to people aching for deliverance; I kneel in my garden, hands burning in the chill, listening for that promise in this stubborn earth. On the deck, the tomato vines still tangle, pale fruit summoned by a warm spell too close to frost. They look like hope, but the fading light says otherwise. Still, beneath the surface, the earth draws in, gathering strength for the next beginning. I clear around the horseradish, stern, unmoved, its white fingers driving through clay. A root like this knows endurance. What is planted deep outlasts the winter. I pull down tired growth, lay leaves back into soil, edges curling like paper. I set hard tomatoes on the sill, the last light warming their shoulders. In this thinnest season I trust the slow work of God — hope rooting itself quietly, the first small promise clinging to the cold. For now, the garden lies still, each low thing resting easy beside the next. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit libbyclarke.substack.com

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حول

I’m exploring what it means to pray, create, and believe without pretending to have it all figured out. libbyclarke.substack.com