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About the Book
"I LOVE YOU BUT MY PARENTS SAY NO" by Kingsley O is a heartfelt and relatable story about a young couple, Tinsel and Chucks, who must navigate cultural expectations and parental disapproval in their quest to be together. Despite the challenges they face, their bond remains strong as they strive to overcome obstacles and prove their love to both their families and each other. The novel explores themes of love, tradition, and the resilience of the human spirit.
Hannah More
Beyond any doubt, Hannah More was the most influential female member of the Society for Effecting the Abolition of the African Slave Trade. She was educated at Bristol, an important slave-trading town, and began to publish her writing in the 1760s, while she was still a teenager. Her first play, The Inflexible Captive, was staged at Bath in 1775. Later in the 1770s, and for much of the 1780s, she spent time in London and made the acquaintance of many important political and society figures, including Samuel Johnson, Edmund Burke, and Elizabeth Montagu. Her play Percy was produced by David Garrick in 1777, and Fatal Falsehood was staged in 1779, but she came to regard the theatre as morally wrong, especially after the death of her mentors; Garrick and Johnson. She turned to religious writing, beginning with her Sacred Dramas in 1782. In 1784-5, she 'discovered' Ann Yearsley, the so-called 'poetical milkmaid of Bristol', whose poems More helped to publish, although the two later fell out.
In the 1780s, More widened her circle to include religious and philanthropic figures, including John Newton, Beilby Porteus and William Wilberforce. In the summer of 1786, she spent time with Sir Charles and Lady Margaret Middleton at the their home in Teston in Kent. Among their guests were the local vicar James Ramsay and a young Thomas Clarkson, both of whom were central to the early abolition campaign. More and Clarkson met again in Bristol in 1787, while he was on his fact-finding mission to the city, but they did not become close. However, in the same year More met Wilberforce, and their friendship was to become a deep and lasting one. More contributed much to the running of the newly-founded Abolition Society including, in February 1788, her publication of Slavery, a Poem which has been recognised as one of the more important slavery poems of the abolition period. Her relationship with members of the society, especially Wilberforce, was close. For example, she spent the summer of 1789 holidaying with Wilberforce in the Peak District - planning for the abolition campaign, at that time at its height, formed a great deal of their conversation.
By the mid-1790s, More had become closely involved with the 'Clapham Sect' of evangelical Christians, many of whom were involved in the abolition campaign. The group centred on Henry Thornton's home in Clapham and included Wilberforce, James Stephen, and Zachary Macaulay, among others. Throughout the 1790s, she wrote a number of religious tracts, known as the Cheap Repository Tracts, that eventually led to the formation of the Religious Tracts Society. Several of the Tracts oppose slavery and the slave trade, in particular, the poem The Sorrows of Yamba; or, The Negro Woman's Lamentation, which appeared in November 1795 and which was co-authored with Eaglesfield Smith. However, the tracts have also been noted for their encouragement of social quietism in an age of revolution. She continued to oppose slavery throughout her life, but at the time of the Abolition Bill of 1807, her health did not permit her to take as active a role in the movement as she had done in the late 1780s, although she maintained a correspondence with Wilberforce and others. In her later life, she dedicated much time to religious writing. Nevertheless, her most popular work was a novel, Coelebs in Search of a Wife, which appeared in two volumes in 1809 (and which ran to nine editions in 1809 alone). In the 1820s she grew gradually less well, and decreased - but did not entirely halt - the amount of writing she produced. On her death in 1833, she left more than Ă‚ÂŁ30,000 to charities and religious societies (equivalent to about Ă‚ÂŁ2,000,000 or $3,000,000 in 2004).
© Brycchan Carey 2004
god filled your bible with poems
I define poetry as an effort to share a moving experience by using language that is chosen and structured differently from ordinary prose . Sometimes it rhymes. Sometimes it doesn’t. Sometimes it has a regular cadence. Sometimes it doesn’t. But almost always the poet has experienced  something — something horrible or wonderful or ordinary — and he feels that he must share it. Using words differently from ordinary prose is the poet’s way of trying to awaken something of his experience (and perhaps even more) in the reader. God Speaks in Poems It has always boggled my mind that so much of the Bible is poetry. God inspired this, and he did not have to do it this way. How much of God’s inspired word is poetry? Leland Ryken answers, One-third of the Bible is not too high an estimate. Whole books of the Bible are poetic: Job, Psalms, Proverbs, Song of Solomon. A majority of Old Testament prophecy is poetic in form. Jesus is one of the most famous poets of the world. Beyond these predominantly poetic parts of the Bible, figurative language appears throughout the Bible, and whenever it does, it requires the same type of analysis given to poetry. That is a lot of poetry — language that is chosen and structured differently from ordinary prose . God can raise the dead by any means he pleases. He can waken dull hearts to the reality of his beauty any way he desires. And one of the ways he pleases to do it is by inspiring his spokesmen to write poetry. Resist the Inexpressible Paradoxically, poetry is an expression of the fact that there are great things that are inexpressible. There is no one-to-one correspondence between the depths of human experience and the capacities of language to capture that experience. There are experiences that go beyond the ability of language to express them. For the poet, this limitation of language does not produce silence; it produces poetry. Poetry is a kind of verbal resistance to the impenetrability of human experience. The poet will at least try. Say It with a Poem For example, can we even begin to imagine what it felt like for the fathers and mothers of the children in Bethlehem to lose their little ones when Herod’s murder squad arrived and slaughtered all of them under two years old? Perhaps not. But there was one year (inspired by the loss of a son in our church) when I said: I will try. And I will try with a poem. It has come to be called The Innkeeper . I imagine a father who not only lost two sons that horrible night, but also his wife and his arm. He made room for Joseph and Mary. But he had no idea what it would cost him to embrace the Son of God. Jesus comes back to visit him just before going to the cross. The poem describes the meeting. Slow Communication Is Not Popular We do not live in a day when poetry is in vogue. Perhaps it has never been in vogue. Shaped by smartphones and soundbites, we are impatient with communication that forces us to slow down. Poetry, by definition, is a kind of communication that cannot be fully appreciated on the first reading. Suppose a poem has a structure of cadence and rhyme and form. Two or three attempts are needed to make the path familiar enough to allow the eyes to be lifted. Then, when the reader is comfortably in the flow, he begins to see so much more than when he was too distracted by the form. So poetry books will seldom be best-sellers. And God has mercifully put all kinds of writing in the Bible besides poetry. He knows better than I do that some people prefer stories (like our Gospels) and others prefer arguments (like the epistle to the Romans). So I will understand if you are not a poetry-lover. But don’t limit yourself too quickly. People change. Times change. This may be the season for you to slow down and reconsider.
