As I did so, regardless of the time of day or weather, couples, family and friendship groups, as well as individuals, would pose for selfies or photographs. The aim was to capture the river, Tower Bridge to the east and, most importantly, a memento of their being in this part of London.
Many travellers were going to or coming from the Tower of London, a must-see on the tourism checklist. As a result the church of All Hallows, which is nearby, benefits from a substantial footfall. Inevitably, it also involves much taking of photos. But something deeper seemed to be at work. A visit to a church can spark off all sorts of encounters.
A Poet in Residence is always something of an experiment and much of my contact with the public was tangential: ‘Do you have a restroom?’; ‘Is this a Catholic church?’; ‘Do services still take place here’; ‘The church doesn’t look like that old’.
But I was surprised to find myself sometimes the friendly face of faith. The most detailed questions about belief and church practice came from fellow poets who had come for a poetic introduction to the church. I became a touchstone for queries about God, Jesus and liturgy.
There were also myriad enquires about people, places and connections. (William Penn, the founder of Pennsylvania was baptised here; President John Quincy Adams married Louisa Catherine Johnson, being the only non-US born First Lady until Melania Trump; vicar for forty years, ‘Tubby Clayton’ and his worldwide reach through the philanthropic organisation Toc H; associations with the river and the sea).
A key part of my presence in the church was spending time in meditation and prayer in the St Francis chapel in the crypt, where the Blessed Sacrament is reserved. This was almost exclusively a solo practice.
Visitors, if they wanted to pray, would be mostly unaware of this hidden treasure downstairs, and would kneel or sit in a pew in the body of the church as others would take in aspects of the building with varying degrees of interest. But the consistent element is that prayer does happen, one part removed from the bustle, but happens all the same.
Despite having been in and out of All Hallows church for nearly 25 years, the residency reminded me of the two-way exploration of such ventures—of me by the place and people, and by me of them. There are a number of prayer resources—a prayer trail, Stations of the Cross and signage explaining aspects of faith which have been built up over the years by the Education and History Officer, Adey Grummet.
The impetus for my residency came from a desire of the Vicar, The Revd Nicol Kinrade, and Parochial Church Council to find a broad range of celebrations and activities to to mark 1350 years of All Hallows since its foundation by Ethelburga, the Abbess of Barking, in 675. (For many years, it was known All Hallows Berkingchurche, a practice abandoned as late as the 1960s.)
‘There is a long and joyous tradition of poets engaging with the sacred, and as All Hallows by the Tower approached its 1350 anniversary, I was excited by the prospect of a Poet-in-Residence,’ The Revd Kinrade said.
‘I was thrilled to see how Kevin engaged with visitors, the history and how each adds to the other. The fruit of the project is showing itself in spiritual works and deep conversations.
‘It was a real blessing, as Kevin’s works point us to fundamental truths and hidden treasures, the things it is all too easy to dash past in our busy lives,’ she said.
A Poet in Residence is a fairly low impact project—allow the poet to engage with various aspects of the daily round of prayer, services, activities and events, as well as staff, volunteers and visitors, and give them space to explore and respond to the church in their writing.
It was also a stimulus to others, with clergy, an ordinand on placement and visiting poets and students of poetry writing pieces that respond to this place and its long history.
All writers have different approaches to their work and I find, as I did when I was Poet in Residence for a year on the Cuckmere Pilgrim Path in Sussex, that the interplay of place, history, myth, spirituality and church practice, can provide the impetus which results in the first stages of poetry.
After that it is prayer, craft, revision and feedback from friendly critics which are woven into the process of creating work which I, at last, am satisfied to be read by others. When they reach that stage, they can be offered as a poetic snapshot of one aspect of a residency.
The first poem I wrote sought to echo the entirety of the building, with its crypt museum and three chapels, taking account of the seafaring connection captured in a number of model ships and memorials to those lost at sea and drowned in the River Thames.
Others poems have a particular focus. Like many churches, there are many historic memorials. Some have survived the Fire of London and the bombing in Second World War.
One particular memorial is to the fallen of the First World War, which was moved from the north to the south aisle when the church was rebuilt. It is a likeness of a particular soldier by the sculptor, Cecil Thomas, who met Alfred Forster in hospital before the latter returned to the front, where he was killed. Thomas also sculpted a memorial to the legendary Tubby Clayton, who commissioned of the memorial.
There are copies of this memorial in three English churches– All Hallows, St John the Baptist, Catford, and St Katharine, Exbury, and in Newcastle Cathedral in Australia. Henry Forster, father of the killed serviceman, was Governor-General of Australia from 1920 to 1925. Two of the memorials have Alfred and his brother John’s names on them; on the other two, they are unnamed and represent all who lost their lives in action.
The church was bombed twice by the Luftwaffe in 1940. The lead roof melted in the intense heat of the ensuing fires, and part of this remains in the chapel of St Clare in the crypt of the church. It is an arresting curio, unexplained until one of the volunteer City Guides provides the background. I watched a fellow poet transfixed when he encountered this. All of that went into another work.
There are also two poems that react to the work of fabric artists, Jacquie Binns, who is responsible for the the altar frontals and vestments used throughout the year, and had a retrospective exhibition in the church in the last week of September. I also had the privilege of meeting Lucie Bea Dutton, whose work will feature as part of a Wolf Hall Weekend in All Hallows in June 2026.
The poems I wrote are snapshots of my limited time in the church. They come from being available to others, and from spending time in prayer, meditation and reflection in the church. In many ways, the poems are similar to the selfies and photos taken by tourists on London Bridge. They capture a background, with the experience of being there in the foreground. They also reflect the diverse nature of capturing a look, an angle, and a memory to be looked back on, as well as perhaps joining the gaps between the private and public experience of prayer.
It is hoped a pamphlet will be published as a result of this residency—stay tuned for developments.


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