Fall 2026 update

The beginning of a new semester is always a time of reflection about what lies ahead in light of what lies behind. I’ve been animated by many interests in my work as Curator of the History of Science Collections. Four stand out:

  1. History of science and religion
  2. History of science and education
  3. History of geology
  4. History of the book

With respect to the first, I think of my ongoing work with George MacDonald, Thomas F. Torrance, and the Inklings. Current research projects sampler.

With respect to the second, I hope in spring 2027 to revitalize my distribution of open educational resources through kerrymagruder.com. Lynx-open-ed.org and skytonight.org were large-scale Drupal projects that have crashed and burned. (Drupal is dead so far as I am concerned for the digital humanities.) Open Educational Resources sampler.

With respect to the last, I define “book” very broadly.

And for this coming fall semester, I hope to prioritize the third, having had two publications appear already this calendar year (IUGS, INHIGEO) and one more that is way behind schedule and needs to be finished.


vitae

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If only we could see… Lilias Trotter

Jennifer Trafton, If Only We Could SeeJennifer Trafton, If Only We Could See: Reimagining Creativity, Compassion, and Calling Through the Extraordinary Life of Lilias Trotter (Brentwood, Tennessee: B&H Publishing Group, 2026).

I believe 2026 will live in my memory as the year when three books were published: the two volumes of Merlin’s Isle by Malcolm Guite, and Jennifer Trafton’s brilliant reflections on the life and work of Lilias Trotter. These volumes are so different in form and genre, but to me they are of a piece — and in each of them George MacDonald is a living presence. Jennifer’s book “lifts the veil,” as Malcolm would say, teaching us all to see with an inward eye.


Publisher’s description:

In the late 19th century, Lilias Trotter stood at the threshold of artistic fame, her extraordinary talent praised by the renowned critic John Ruskin. Yet, at the height of her promise, she made a radical choice that would define the course of her life. Turning away from worldly recognition and social convention, she forged her own path—one that led her through the roughest streets of London and, ultimately, to the deserts of North Africa. There, her artistic and spiritual journeys intertwined as she expanded the many-colored canvas of her creativity to embrace not only the sweeping vistas of the Sahara, but also the lives of the Arab people she loved.

Blending biography, personal engagement, and theological reflection, Trafton takes readers on an intimate journey with Lily as her friends knew her – a visionary who saw the world with an artist’s eye and a missionary’s heart, and whose imaginative empathy and creative compassion transformed the lives of those she encountered. More than the story of one remarkable woman, this book is an invitation to experience the beauty of creation with fresh wonder, to look at our neighbors through new lenses, and to discover what “beautiful possible life” awaits each one of us as we follow the call of the Divine Artist.


In this beautiful book, Jennifer Trafton crafts each chapter as a brilliant meditation upon Trotter’s life. Far more than a biography, as the publisher’s description says, “Trafton takes readers on an intimate journey with Lily as her friends knew her…” It takes an artist (Trafton) to so intimately lead us into Trotter’s world. Oh, to have known her! To have learned from her how to see as she sees! But to know her now and begin to see through her eyes through these meditations is an inspiration.

This is not a book to be skimmed, but to be entered into lente, lente, slowly, slowly… Prepare to travel unfamiliar roads. Soak it in. Take time to visualize the color palette of landscapes and experiences. One chapter at a time is enough. Read not for information but for an understanding that passes analytical comprehension. From the story of Lily Trotter comes deep nurturing food for the soul.

By any measure, this book is also a milestone in MacDonald studies. There is no index, but MacDonald comes into view in practically every chapter. In the current issue of North Wind, John McNeill documents a letter from Lilias Trotter to George MacDonald recounting her reading of MacDonald’s The Seaboard Parish: “At Eveningtime It Shall Be Light: George MacDonald’s Influence on Lilias Trotter,” North Wind 43, no. 3 (2026): Article 3. Trafton observes how Trotter’s own story interweaves with the plot of MacDonald’s The Seaboard Parish. In this regard see especially the chapters entitled “Crimson,” “Blue,” and “Green.” Studies of MacDonald in literary, theological, and social contexts are only enhanced by a greater understanding of MacDonald’s influence upon others in various spheres of life. For decades hence, many will come to MacDonald through Trafton’s heartening account of Lilias Trotter.

Trafton illumines the leading characteristics of MacDonald’s sacramental approach to nature and art and how we learn to observe with an “inward eye.” Artists and scientists alike help us to see what we did not see before. In the chapter entitled ‘Green,’ Trafton shows how these understandings enabled both MacDonald and Trotter to respond to questions raised by 19th-century science. For anyone interested in the themes of my forthcoming book on MacDonald and the Scientific Imagination, I can do no better than to say that you will find insight and joy if you set aside some weeks to ponder If Only We Could See.

I hope none of my friends will go without reading this book. I will savor my dog-eared copy for years to come. I will read it whenever I am seeking hope on this journey toward the New Creation. It is a masterpiece of writing on nature, art, calling, and the imagination.


For a brief but compelling introduction to Lilias Trotter, watch the documentary “Many Beautiful Things,” available at youTube and on Amazon Prime. If you watch this, you will desire more. That more is what you will find in Jennifer’s book.

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Stellar 2026

Welcome STELLAR educators and the NASA Educator Resource Center!

“Why did not somebody teach me the constellations, and make me at home in the starry heavens, which are always overhead, and which I don’t half-know to this day?” — Thomas Carlyle

Old books offer us the opportunity to recover meaning in what we do. The night sky is filled with hundreds of stories which remind us that a knowledge of the heavens has always been part of what makes us human.

What memories do you have of watching the stars? What stories do you like to tell about the night sky?

1. Constellations

  1. In the Grand Foyer: Cuneiform brick, Choga Zanbil (ca. 1300 BCE). (Foyer)
  2. Anonymous, Urania’s Mirror (London, 1824). Catalog. Constellation cards. Distinguish star patterns from constellation figures.
  3. Friedrich Braun, Himmels Atlas in Transparenten Karten (1860). Catalog. Constellation cards.
  4. More on constellations:
  5. Ptolemy, Almagest, in Opera (“Works”; Basel, 1541). Johann Honter drew constellation figures after the manner of Albrecht Dürer. At Sky Tonight.
  6. King James Bible (1611). Catalog. Sample KJV pages.
  7. Johann Bayer, Uranometria (“Measuring the Heavens”; Ulm, 1661), bound with Johann Bayer, Explicatio characterum (Ulm, 1697). 1st “Golden atlas.” Catalog.
  8. Johann Kepler, De stella nova in pede Serpentarii (Prague, 1606). Catalog.
  9. William Schickard, Astroscopium (1698). Catalog.
  10. Hevelius star atlas. 2nd “Golden Atlas.” Catalog. The OU copy includes three books that were published separately. Unusually, the original owner bound them together in this single binding: (1) Uranographia, or Firmamentum Sobiescianum sive Uranographia (“The Firmament of King Sobiesci, or Map of the Heavens”; Gdansk, 1690); bound with (2) Prodromus Astronomiae (“Preliminary Discourse for Astronomy”; Gdansk, 1690); bound with (3) Catalogus stellarum fixarum (“Catalog of the Fixed Stars”; Gdansk, 1687). Can you find the title pages and frontispieces for each of these three books?
  11. Vincenzo Coronelli, celestial globe gores (Paris, 1693; reprint ca. 1800). Catalog.
  12. Johann Bode, Uranographia (“Map of the Heavens”; Berlin, 1801). Catalog. 4th “Golden Atlas.”
  13. Planisphere: Maier, Drehbar Sternkarte (c. 1890).
  14. Catherine Whitwell, An Astronomical Catechism (London, 1818). Catalog.
  15. Nicholas Lane, pocket globe (London, 1809). With star map on concave surface of the case.
  16. Diurnal motion leaflet (background for telling time by the stars)
  17. Planisphere leaflet.
  18. Nocturnal Dial (star clock).

Storytelling

Coloring pages: Flammarion, Urania’s Mirror, Bode.

Six Constellations.

Constellation tubes:

  • Packing tape
  • *Scissors
  • Nails, wood base
  • *Hammers

Celestial Globes

Constellations intro and activities.

Go to the Ogilvie Room to view: astrolabes, orrery, pocket globe, sundials, cosmonaut doll.

Time of night: planispheres as star clocks

Stars mark the Seasons

Constellation resources

  1. Starstruck Tonight: In a public presentation, Starstruck Tonight, Candace and I describe most of the astronomical works on display in this section, along with poetry and literature about the night sky.
  2. The Sky Tonight:
      Images that fuse the beauty of modern deep space photos with historic star atlases may all be downloaded at my website skytonight.org. Information about each atlas is available under the “Sources” tab. Constellation images are found under the Constellations tab, etc.
  3. Index for Chet Raymo, 365 Starry Nights, to quickly find the pages for any constellation.

Hold a star party:

2. Music of the Spheres

  1. Camille Flammarion, L’Atmosphere (Paris, 1888). Flat-Earth woodcut.
  2. Peter Apian, Cosmographicum (1540).
  3. Persian astrolabe, and Astrolabe replica.
  4. Dante, Paradiso, illustrated by Gustave Doré. La Divina commedia (1883-1885), trans. Henry Cary.
  5. Regiomontanus, Calendarium (Venice, 1476). Catalog.
  6. Regiomontanus, Epitome of Ptolemy’s Almagest (Nuremberg, 1496). Catalog.
  7. Copernicus, De revolutionibus (1543). Catalog.
  8. Leonard Digges, addition by Thomas Digges. Leonard Digges, A prognostication euerlasting of right good effect…; Lately corrected and augmented by Thomas Digges his sonne (London, 1605). Catalog.
  9. Johann Kepler, Mysterium cosmographicum (Tübingen, 1596). Catalog.
  10. Vincenzo Galilei, Dialogo della mvsica antica, et della moderna (“Dialogue on Music, Ancient and Modern,” Florence, 1581).
  11. Johann Kepler, Harmonices mundi (“Harmony of the Universe,” Linz, Austria, 1619). Catalog.
  12. Athanasius Kircher, Musurgia universalis (Rome, 1650). Catalog.
  13. Andreas Cellarius, Harmonia macrocosmica seu atlas universalis (Amsterdam, 1708). First edition: Atlas Coelestis (Amsterdam, 1660/61). This 1708 edition includes the frontispiece and all of the plates of the first edition and supplement.Catalog.
  14. Delamarche orrery (Paris).
  15. “Einstein,” in Steve Jobs, Think Different (1998). Leaflet.
  16. Background: There is a brief “Music of the Spheres” overview in an Appendix of my book “George MacDonald and the Scientific Imagination.” (Blog post; forthcoming Winged Lion Press, September 2026.)

3. Astronomy, Art, and Engineering

  1. Galileo, Sidereus nuncius (Venice, 1610). Catalog. Also a Facsimile.
  2. Johann Hevelius, Selenographia (1647). Catalog.
  3. Leonardo da Vinci, in Luca Pacioli, De divina proportione (Venice, 1509). Catalog.
  4. Albrecht Dürer, Institutionum geometricarum (Paris, 1535).
  5. Lorenzo Sirgatti, La Pratica di Prospettiva (Venice, 1596). Catalog.
  6. Jean François Niceron, La Perspectiva Curieuse (Paris, 1663). Catalog.
  7. Art and astronomy video:
  8. Agostino Ramelli, Le diverse et artificiose machine (Paris, 1588). Catalog.
  9. Johann Schreck, “Marvelous Machines of the Far West.” First published in Beijing, 1630. Published as Ensei kiki zusetsu rokusai (Japan, 1830). Catalog.

4. From Airpumps to Airships

  1. Otto Von Guericke, Experimenta nova (1672). Catalog.
  2. Robert Boyle, Experiments touching the spring of the air (London, 1660). Catalog.
  3. Robert Hooke, Philosophical Collections (London, 1679); flying machine by Lana Terzi. Catalog.
  4. Isaac Newton, Opticks (London, 1704). Reflecting telescope, optics of the rainbow.
  5. Cosmonaut doll. Presumably Valentina Tereshkova, the first woman in space, 1963.

More resources

  • Chet Raymo, 365 Starry Nights. (Index to quickly find the pages for any constellation.)
  • Stillman Drake, Galileo: A Very Short Introduction (Oxford).
  • Joyce McPherson, Universe of Wonder: The Story of Johannes Kepler (2026).
  • skytonight.org: my star atlas digital project.
  • Painters Prophets Poets blog post.
  • kerrysloft.com: my personal blog; search for any names or topics. See the “videos” tab.
  • lynx-open-ed.org: When you see references to “lynx-open-ed.org,” those resources will eventually reappear at kerrysloft.com or kerrymagruder.com. The Lynx Open Ed website crashed and no longer exists. I am slowly reconstructing it.
  • kerrymagruder.com/hsci: Some of the brief videos from my OU undergraduate survey class, “History of Science, Beginning to Newton,” may be relevant (partial list of brief course videos; course playlist at youTube).

None of my own educational resources above represent the University of Oklahoma. The views and interpretations expressed are all my own.

University web pages:

Become a researcher at the OU History of Science Collections:

You are welcome to come back as a researcher. You do not need to be an academic scholar. There is a registration process. After that, the books will be brought to you in the Reading Room. It’s good to request the books in advance so they can be pulled and waiting for you. All this is explained on the web page for the History of Science Collections. Go to the University of Oklahoma Libraries website (libraries.ou.edu) and navigate to the page for the History of Science Collections. There you can register online, request the books you want to see ahead of time, and ask any questions you have for Collections staff. And then come and sit with the books.


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Computer Revolutions

Computer Revolutions


It’s been a delight to select materials and write the labels for Computer Revolutions, an exhibit in Bizzell Memorial Library, University of Oklahoma. We expect to have installation completed before the first home football game in early September. It should remain available through February on both the Main Floor and in Special Research Collections on the 5th floor.

The main floor footprint will be extensive, featuring some of our books and instruments, but mainly items from our computer collection, whether hardware (including peripherals) or computer journals and other ephemera. Upstairs we’ll have rare books on display related to the story, including Galileo, Leonardo, and Ada Lovelace.

I’m working with Dr. James Burnes, Director of Exhibits for the library, who wears all the hats of graphic design, layout planning, production, installation, and coordination of communication. James is a pop culture aficionado in addition to a historian of science with a deep and comprehensive scope. James will be adding items from pop-culture and the university archives. He is a co-curator of this exhibit rather than merely working in a supporting role. (James created the logo below and the image above.)

Computer Revolutions logo


Here’s the overall introduction:

“50 years ago, Steve Wozniak designed the first Apple personal computer. Over the last half-century, computers have changed every aspect of our lives. In antiquity, computus referred to calculating dates on the calendar. In the 19th century, computers were skilled mathematicians, often women, who performed scientific calculations. In the middle of the 20th century, a computer occupied a room all to its own, operated by experts at elite institutions. By the end of the century, personal computers could be found in many homes and the emergence of the World Wide Web was transforming ordinary life. Today the most common computers fit in our pockets.

How did this happen? What is the story of the personal computer? What revolutions have computers wrought? What lies ahead?

In this exhibit, explore these questions with items from the personal computer collection of the History of Science Collections, University of Oklahoma Libraries. A particular strength of the collection is its holdings of Apple computers, although a mix of different PC makers are also represented here. Additional items, including rare materials related to the exhibit, are on display in the Special Research Collections, 5th floor.”


Here are the major sections of the exhibit, with brief intros:

1. From Calculators to Computers

“Calculators and other mathematical instruments provided a sophisticated and impressive foundation for the eventual development of computers. It becomes difficult to define a historical dividing line between calculators and computers. Imagine the excitement of Ada Lovelace as she created a computer program before any computer actually existed.

Typewriters provided a manual input device for varied settings in the office, the home, and even on the go. As form became melded with function, the aesthetics of their design mattered.

Even when a mainframe computer took over a building or a large room, from its early stages of development visionaries foresaw the future of the computer as a personal assistant. We wonder what Vannevar Bush would say today about his dream of a “memex” machine.”

Display areas in this section: early calculators, typewriters, mainframe artifacts.

The Computer History Museum in San Jose — just a stone’s throw from Apple and Google — used to open its exhibit area (the last time I visited) with a black and white photograph of Galileo’s first and rarest book, which is an ancestor to the slide rule. We will have Galileo’s own copy of this book on display, with Galileo’s handwritten annotations. Thousands of school kids across the country celebrate Ada Lovelace Day each fall in honor of the woman who wrote the first computer program before any computer existed. We will have her book on display, along with the Galileo and other rare works that are part of the story.

2. The Rise of the Personal Computer

“Early personal computers came with a great variety of chips, operating systems, programming languages, and killer software applications. They integrated innovations in technology, business, and design. Some were modular, offloading components or apps and inviting third parties to contribute to a shared platform. Others focused on incorporating proprietary code into logic boards and built-in memory. With some, the screen was custom-designed and built-in; others required an external monitor supporting a specific video format; and some could even output to a regular TV. Some computers came as kits for hobbyists to assemble; others came ready to use out of the box. Some focused on affordability, others on portability. Some entrepreneurs tried to go it alone, perhaps as a labor of love, while others sought market success through collaboration or corporate backing. Around them all hovered a hum of excited activity exuding a sense that almost anyone at any time might reveal the shape of the future.”

Display areas in this section: Cromemco, Intel chip, Osborne, Atari, Commodore, Amiga, Texas Instruments, Timex Sinclair, Radio Shack, Apple, DOS, Windows 95. The focus is on the Apple II. The entire exhibit is rather Apple heavy, as is our computer collection, reflecting Apple’s leadership in every decade.

3. Research and Creativity on the PC

“Transformations in the graphical user interface led to an explosion of PC-based productivity in research and creative activity outside of computer science per se. Personal computers became tools for everyday use in writing, music, art, science, and communication. The PC revolution created the phenomenon of desktop publishing and graphic design. Personal computer pioneers advocated for greater roles for women in every field and for a democratization of knowledge through open access. The personal computer transformed culture in every medium from Super Bowl advertising to industrial design, and radically altered the dynamics of audio and video production. The world we now take for granted arose in many steps and phases alongside the PC.”

Display areas in this section: Lisa manual, early Macintoshes, desktop publishing, Think Different, early iMacs, audio and video production. We focus on Osamu Fujimura and his path-breaking research into the languages of the world, displaying his Mac SE, an electronic retainer peripheral, and even his painting easel.

4. The Internet and the PC

“Personal computers reflect our constant longing for connectivity and security.

Users of personal computers expanded their connections over local networks, then over larger regional networks, and ultimately over networks of networks, creating exciting new possibilities.
• The creative functionality of hyperlinks made it possible for users to create digital works connecting with others in dynamic, non-linear ways.
• The system of networks comprising the early Internet greatly increased possibilities of collaboration.

• With the graphical user interface of the World Wide Web, possibilities for co-creation of knowledge and meaning seemed unlimited.

Others worked to preserve the security without which surveillance and disinformation might usher in a brave new world. For with increasing connectivity comes increasing vulnerability. Upholding privacy protections and intellectual property rights alongside the ideals of sharing and collaboration is a delicate balance at best, one made far more precarious in view of aggressive agents we may collectively call Big Brother.

From our vantage point, the hyperlink and the Internet are woven into the seamless fabric of a post-literate culture in which potential distractions are unlimited and attention spans diminished.
As you explore this section, ponder all that Computer Revolutions have
wrought.

Display areas in this section: We focus on the interplay of Security vs. Connectivity with the advent of Hyperlinks, Internet, and the World Wide Web.

5. On the Go

“Throughout history, technologists have sought portability at a premium. Smaller is better, even at a higher price. Handheld sundials, pocket globes, mobile astrolabes, and miniature books show that humans have always been on the go.

The PC is a “bicycle for the mind” in part because our tools give us a boost. Yet we are altered in unforeseen ways by the tools we use.

The early laptops displayed in this section illustrate how obstacles to true portability, from power to design to durability, were gradually overcome. When it comes to objects on the go, design is first not how it looks but how it works, although eventually the two go hand-in-hand.”

Display areas in this section: Analog, Early PC laptops, Early Apple laptops. The computer is a “bicycle for the mind,” as Steve Jobs said.

6. The PC as a Digital Hub

“From our perspective today, the convergence of telephones and personal computers seems inevitable, but it was not necessarily so. A series of handheld devices from cell phones to music players to cameras and video camcorders first carried out their functions without needing to connect to personal computers. The PC became a digital hub when it began to add essential value to each of these devices, integrating them into a digital lifestyle.

Our story ends with the digital hub, before the coming of the cloud. When handheld phones and tablets and other devices achieved parity with the PC, no longer did they need to connect by cables and wires. With the coming of the cloud, the era of the centrality of the personal computer closes. Its loss of identity as the “digital hub” does not imply the end of the PC, only a new beginning.

As the revolutions computers have wrought continue to ripple far out into the future, have we learned any lessons that might guide us?”

Display areas in this section: Cell phones, Mobile computing, Music players, Digital Hub.



Featured items:

We recommend these for reading groups:

  • Cliff Stoll, The Cuckoo’s Egg: Tracking a Spy Through the Maze of Computer Espionage (New York: Doubleday, 1989).
  • Vannevar Bush, “As We May Think,” The Atlantic Monthly, July, 176 (1945): 101-108.

Other recommended books:

  • Vannevar Bush, Science, the Endless Frontier: A Report to the President (Office of Scientific Research and Development, 1945). Reprinted with introduction by Rush Holt (Princeton: Princeton University Press, 2021). 75th anniversary edition reissued by the National Science Foundation, https://nsf-gov-resources.nsf.gov/2023-04/EndlessFrontier75th_w.pdf.
  • Kent C. Redmond and Thomas M. Smith, From Whirlwind to MITRE: The R&D Story of the SAGE Air Defense Computer (Boston: MIT Press, 2000).
  • Paul Freiberger and Michael Swaine, Fire in the Valley: The Making of the Personal Computer, Collector’s Edition (New York: McGraw-Hill, 2000).
  • David Weinberger, Small Pieces Loosely Joined: A Unified Theory Of The Web (Basic Books, 2003).
  • Doug Menuez, Fearless Genius: The Digital Revolution in Silicon Valley 1985-2000 (Atria Books, 2014).
  • Laine Nooney, The Apple II Age: How the Computer Became Personal (Chicago: University of Chicago Press, 2023).
  • David Pogue, Apple: The First 50 Years (New York: Simon & Schuster, 2026).
  • Nicholas Carr, The Shallows: What the Internet is Doing to Our Brains, Updated with a New Afterword (New York: W. W. Norton & Company, 2020).
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George MacDonald and the Scientific Imagination


“George MacDonald & the Scientific Imagination”

  • Kerry V. Magruder, George MacDonald & the Scientific Imagination (Hamden, CT: Winged Lion Press, forthcoming September 2026).
  • Yale version: Slides PDF. December, 2024. Abbreviated version. 20 mins.
  • Inkling Folk Fellowship version: Slides PDF. May 2, 2025. 50 mins. To watch a video recording, email info@inklingfolk.org.

The essay’s first page:

Do science and the imagination have anything in common? Do scientists appreciate music, admire landscapes, and enjoy poetry? Do the arts matter for their science? Do we need to cultivate a scientific imagination? What did George MacDonald (1824-1905) mean by “poetry includes science”? Come with me on a journey to explore these questions.

Reflection upon the imagination leads us straight to the heart of two perennial questions for science:
1) Where do creative ideas come from?
2) With each new discovery, how does wonder deepen?

These two questions lead to a third:
3) Through the imagination, do we make contact with reality?

While some adopt the idea that science and the creative arts are two separate cultures, associating science with facts and imagination with fantasy, historical perspectives show that science and the imagination are interrelated. It is not just that connections between the arts and sciences have been deep and profound. More than that, the imagination lies at the heart of the natural sciences themselves. Within science, creative leaps of the imagination underlie unexpected discoveries. The imagination peers into the as-yet unknown and unseen to discern where the next discovery might be waiting. The imagination discloses the blind spots that hinder discovery. And an imagination that transforms the tedium and monotony of repetitive practices keeps wonder alive. This imaginative realism, as we shall call it, means that, rather than indulging an inward retreat from objective reality, a generative imagination makes contact with reality holistically, in multiple dimensions. These manifestations of the imagination — making discoveries in new dimensions and sustaining wonder — characterize creative activity not only in literature and the fine arts but also in the natural sciences.

In the 20th century the Inklings and their friends — C. S. Lewis, J. R. R. Tolkien, Owen Barfield, Dorothy L. Sayers, and their kindred forebear G. K. Chesterton, among others — expressed a profound imaginative realism that resoundingly affirmed the truth-bearing character of the imagination. More recently, the writings of Malcolm Guite in literature, Jeremy Begbie in music, and Makoto Fujimura in art, illumine how the imagination apprehends reality. In the same spirit this essay explores, with the help of MacDonald, how in the natural sciences we make contact with reality through the imagination.


Abstract: George MacDonald’s embrace of the imagination as an instrument for apprehending reality heals a deep-seated cultural split between science and wonder. That split is characterized by two opposing kinds of realism: on one hand, a positivist realism which reduces reality to nothing but what is evident to sensory perception, and, on the other hand, an imaginative realism which apprehends the as-yet unseen, unknown, and unfinished in-depth realities which lie beyond and beneath the surface appearances of things. With special attention to MacDonald’s novel Thomas Wingfold, Curate and 19th-century geology, this interpretative essay explores how MacDonald’s holistic integration of reality, given the perceptive and creative role of the imagination, applies to the natural sciences as well as to literature and the fine arts. The imagination is then given legitimate scope to play as the source not only of wonder but also of creative discovery within the very fabric of natural science. Without imagination, the sciences perish.


Table of Contents

GEORGE MACDONALD & THE SCIENTIFIC IMAGINATION

  • Author’s Invitation
  1. Intellectual Context
    1. Aristotle vs. Reductionism: The Wonder of Birds
    2. Charles Darwin: Functional Reductionism
    3. George MacDonald: Imaginative Realism
  2. Setting the scene: Thomas Wingfold, Curate
    1. The Unknown
    2. The Unseen and Unfinished
  3. The Imagination in 19th-century Geology
    1. The Unknown: Mary Anning
    2. The Unseen: James Hutton
    3. The Unfinished: Hugh Miller
  4. The Imagination in Science and Faith
    1. The Imagination in Science
    2. The Imagination in Faith

SUPPLEMENTARY ESSAYS

  1. Isaac Newton: Tensions became Dualisms
  2. “Poetry includes science”
  3. “Storytelling includes science”
  4. “Music includes science”

APPENDIX

  • Reading MacDonald

END MATTER

  • Discussion Questions
  • Acknowledgments
  • About the Author
  • Bibliography
  • Name Index
  • Notes

This magisterial survey not only places MacDonald in the context of the developing science of the nineteenth century, but also shows him as a person in and through whom the necessary conversation between Science, the Arts, and Christianity was taking place. In a world in which the three great forces of Science, Art, and Religion seem fearful of one another, even hostile, we need to hear that conversation now even more than the Victorians needed it then. This is not just an historical survey, it’s a vital contribution to a current debate. Magruder draws fresh insights from MacDonald, insights about the role of the Imagination in all three spheres, the kind of imagination that does not lead us away from reality but rather takes us deeper into the heart of things. I strongly commend this book to anyone who longs for integration and hope in a world of disintegration and despair.

Malcolm Guite, Life Fellow, Girton College, Cambridge; poet and author of Lifting the Veil, Mariner, Galahad and the Grail.


“As a son of a scientist and as an artist, a work that connects science and imagination is a portal of creative refreshment for me. Kerry’s George MacDonald and the Scientific Imagination proved to be a treasure-filled map. This is a monumental work of integration, a deep well of resources for scientists and artists, historians and teachers alike. Kerry beautifully lays out MacDonald’s vast and soaring realms of imaginative realism to open our eyes and hearts toward the vista of wonderment.”

Makoto Fujimura, artist and author of Art Is: A Journey into the Light.


“Like awakening in the night to the scent of life-giving rain on a dry and weary land, the major theme of this book — poetry includes science — strikes the reader with unexpected hope. For far too long, we have lived as though scientific inquiry must be stripped of art, poetry, music, and story, as if imagination were an intruder rather than a companion to truth.

Dr. Kerry Magruder reminds us that this was neither always so — nor need it remain so. Drawing on a remarkably wide historical vision, he brings into conversation figures as diverse as George MacDonald, C. S. Lewis, and J. R. R. Tolkien alongside Copernicus, Kepler, Darwin, and Einstein. The result is not a forced synthesis, but a lively exchange across disciplines often presumed incompatible: poetry and physics, theology and philosophy, geology and narrative.

From Plato and Aristotle to Augustine and Newton, among many others, this book traces a long tradition in which imagination and reason were convivial fellow discoverers. What has science to do with imagination? In this engaging and accessible work, Dr. Magruder — under the guidance of that great master of imagination, George MacDonald — offers a compelling answer: everything.”

Glenn Horn, philosopher, author L’histoire des idées à Paris.


“This book invites us to consider afresh the role of wonder in the pursuit of knowledge and the extent to which we already use imagination to move beyond what we see or otherwise sense — what we call facts — in our attempt to attain deeper levels of understanding. A timely and thought-provoking exploration of how we come to know the world, it encourages us to approach that task with curiosity, humility, and both scientific and theological reflection.”

Marc Foggin, author “Thinking Like a Mountain: Exploring the Potential of Relational Approaches for Transformative Nature Conservation”; Honorary Research Associate, School of Geography and the Environment, Oxford University; International Director, Plateau Perspectives.


“Written with infectious joy, this book was like water for a part of me I didn’t even know was thirsty. My work is chiefly in finance, yet MacDonald’s vision of a world richer than the reductionism into which many of us have been baptized helped me see that imagination is not an escape from reality but a deeper way of apprehending it. By the final page, I found myself extending MacDonald’s insight: poetry includes finance, too. This is a book I will be sharing with friends for years to come.”

Travis Lowe, financial services executive; ordained minister; cofounder of HopeWords.


“With this collection of thought-provoking essays, Kerry Magruder invites us into the world of 19th century intellect and author George MacDonald — a world where science and art, faith and curiosity, and acumen and awe can coexist in harmony. A consummate storyteller himself, Magruder weaves seemingly disparate subjects into a cohesive whole, proving himself a worthy guide and adept translator of MacDonald’s legacy for today. So that in the end, George MacDonald and the Scientific Imagination is not simply another book that tells readers what to think but one that offers a profound and beautiful example of how to think.”

Hannah S. Anderson, author of All That’s Good: Recovering the Lost Art of Discernment; host of Painters, Prophets, Poets; www.sometimesalight.com.


“In our disenchanted age, it can be hard to imagine an age when a generative spirit of inquiry opened endless possibilities to the aspiring scientist. Yet the spark of magic that we associate with imaginative literature shares the same intellectual lineage as the history of science. Dr. Magruder has thrown back the curtains, and reopened the windows for a new age of scientific inquiry and wonder.”

Father Nathan Carr, Headmaster, Academy of Classical Christian Studies, Oklahoma City; Vicar, St. John’s Episcopal Church, Oklahoma City; author Festive School: Restoring Joy, Liturgy, and Celebration in Christian Education.


“At its heart, science is a desire to know reality as it truly is, and this requires a creative imagination. Through George MacDonald and the Scientific Imagination we taste what science was like, and might become again, when robustly integrated with the same imagination that we see everywhere expressed in poetry, music, and the creative arts. Science educators will benefit immensely.”

Jason K. Brogden, Dean of Science Instruction and Director of Lynx Science Academy, Founders Classical Academies


“As a long-time reader of MacDonald, I still found Dr. Magruder introducing me to new aspects of MacDonald’s works and sometimes to works hitherto unknown to me! As a molecular biologist I was pleased to find how approachable Magruder made the tales of discoveries in other scientific fields, like geology, astronomy, and paleontology. Whether you have only dabbled in MacDonald or science or are an expert in both, you will find many rich things to explore. Magruder helpfully has extracted and distilled the scientific concepts that pulse throughout MacDonald’s writings and provided them with ample context to help us not only understand, but actually see how throughout history the imagination and scientific inquiry have been inextricably related. Though the primary essay itself is full of rich historical asides and wonderful quotes, the reader is invited to delve deep with the aid of supplementary essays and copious endnotes. The spectacular illustrations reflect Magruder’s long experience as Curator of the History of Science Collections of the University of Oklahoma Libraries.”

Baronger Bieger, Assistant Professor of Biology, John Brown University


“Through George MacDonald’s integrative lens, Magruder recovers an understanding of science in which the imagination gives vision, direction, and meaning to scientific inquiry. His argument is buttressed by carefully curated period artwork, and extensive endnotes provide a trove of resources for further study. Magruder’s expertise and passion for the history of science make this essay a compelling read for scholars and general readers alike.”

Michael Wayne Wilhelm, George MacDonald scholar and Chaplain, Cal Farley Boys Ranch, Texas.


“Dr. Kerry Magruder shares his deep knowledge of the history of
science to illuminate the beauty and necessity of the imaginative faculty. Here is a type of acute wonder that most of us remember from our childhood — a time when everything was marvelous. This book takes us back to that sense of awe through compelling examples of the scientific imagination. He walks us through the journey of integrating imagination, science, history, and faith as a doorway to deeper wisdom. George MacDonald and the Scientific Imagination is a treasure of thoughtful essays with over 60 inspiring photos from the History of Science Collections at the University of Oklahoma Libraries. As a homeschool educator and college professor, I highly recommend this book for those who want to approach the complexity of Creation in light of imaginative realism.”

Joyce McPherson, Covenant College; author of Universe of Wonder: The Story of Johannes Kepler and Spiritual Sight: The Story of George MacDonald.


Flyer for my friends who read Thomas F. Torrance and his brothers.

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Three songs of faith and science

So write your code and preach your creed.
You’re closer than you might concede.
No need to keep the camps in separation.
The Word made flesh. The cancer healed.
Both hint at something now revealed —
a larger truth than all imagination.


Francis Collins, N. T. Wright, Bethan Willis, and Jim Stump at the Oxford University Museum of Natural History, May 2026.

I am always inspired when Francis Collins and N. T. Wright get together. Last week at the Oxford Natural History Museum, in an event sponsored by BioLogos, Premier Unbelievable, and the Oxford Pastorate, they spoke about science and faith and their own personal journeys. The event was hosted by Bethan Willis, Oxford Pastorate Chaplain. Watch on YouTube or listen on the Premier Unbelievable podcast. At YouTube there is a general description and links to the different segments of the event.

In the finale — with Jim Stump on string bass — Francis and Tom sing three beloved folk songs updated with new lyrics:

  • “Genesis,” to the tune of “Yesterday” by the Beatles (01:09:54)
  • “Where is Wisdom found?” to the tune of “Leaving on a Jet Plane” by Peter, Paul, and Mary (01:13:32)
  • “Hallelujah,” to the tune of “Hallelujah” by Leonard Cohen (01:18:49)

Lyrics below. Download audio (songs only).


Genesis

Genesis,
Earth and heaven in a cosmic kiss.
Evolution must have been like this.
Oh, I believe in Genesis

DNA
shaping creatures from the dust and clay.
Double helix in the Milky Way.
Oh, Genesis meant DNA.

How he made it all
14 billion years ago
Wisdom, grace, and love,

For he spoke and it was so.

Genesis,
Eve and Adam in a world of bliss
in the paradise we all now miss.
Oh, I believe in Genesis

In a trice, didn’t listen to divine advice.
Einstein wondered whether God plays dice
We’re trapped within a world of vice

Why they had to fall,
I don’t know, It doesn’t say.
they did something wrong.
And we long for God’s New Day.

Genesis,
Royal priesthood in a holy bliss.
New Jerusalem will be like this.
Oh, I believe in Genesis.


Where is Wisdom found?

Now the lab is closed. Experiments done.
Discovered the gene. Had lots of fun.
But now we face the questions that remain.
Can we see the light behind the Sun?
Tell why the world was first begun?
Forever grasp the truth and make it plain?

So tell me, where is wisdom found?
Up in the sky or down in the ground?
Tell me ’cause I really want to know.
Is it in my head or in my heart?
I need you, Lord, to make a start.
Help me, Lord. I really want to know.

Now, the teaching’s done. We’ve read the text.
The students are wondering what’s coming next.
But there’s just one big question still in place.
Did it really happen like the old book said?
Did he walk here among us? Did he rise from the dead?
Did wisdom really wear a human face?

So tell me, where is wisdom found?
Is it up in the sky or down in the ground?
Tell me ’cause I really want to know.
Is it in my head or in my heart?
I need you, Lord, to make a start.
Help me, Lord. I really want to know.

So, how can the truth be both low and wild?
Can the how and the why be reconciled?
This question now should haunt us all our days.
With a pipette here and a Bible there,
We’ll find all truth is ours to share,
and all our quests resolve in songs of praise.

Oh, tell me, where is wisdom found?
Is it up in the sky or down in the ground?
Tell me ’cause I really want to know.
Is it in my head or in my heart?
I need you, Lord, to make a start.
Help me, Lord. I really want to know.


Hallelujah

I heard there was a secret chord.
The cosmos sang. It pleased the Lord.
But you prefer a clean equation, do ya?
You map the stars. You read the genes
defining truth and what that means.
But still you hum a gentle Hallelujah.

Hallelujah…

Now Thomas wanted peer review. He said,
“I’ll need some proof from you.
The kind that leaves a mark you can be sure of.”
He got the proof, but not the kind
that fits inside a tidy mind.
Well, look, the idols we must all be cured of.

Hallelujah…

You chase the Higgs, the cures are nigh.
You ask the how, ignore the why,
but both keep showing up to haunt your data.
and maybe truth’s a marriage vow
where “I don’t know” is still allowed
and faith not less it’s just a little braver

Hallelujah…

So write your code and preach your creed.
You’re closer than you might concede.
No need to keep the camps in separation.
The Word made flesh. The cancer healed.
Both hint at something now revealed —
a larger truth than all imagination.

Hallelujah…

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Of Code and Chord: Sonifying Genomes

“They must be pictured in the mind and in memory. They must be known with affection by heart, so that in seeing or remembering them, the heart may be said to sing, to make music peculiar to its recognition of each particular place or creature that it knows well. To know imaginatively is to know intimately, particularly, precisely, gratefully, reverently, and with affection.” — Wendell Berry, “Life is a miracle”

Narrated by Jason Brogden.


“Since the genome of any organism is far too long to fully appreciate in a sequential approach and DNA is a new source of meta data, this project is … unifying this data into an experience of genetics that is non-linear and educational. Does life echo throughout the Earth? Can students learn to hear it?”


Coming August 2026!

More about the project:

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Guite and Galahad

Malcolm Guite, Galahad and the GrailThe first volume of Malcolm Guite’s Merlin’s Isle: An Arthuriad, has now appeared: Galahad and the Grail, illustrated Stephen Crotts (Nashville, Tennessee: Rabbit Room Press, 2026).

Do you have Galahad and the Grail or are you thinking about reading it?

Here are a few pointers I would share that might help you get more out of it.

First, get a physical copy from Rabbit Room Press. You’ll be glad you did. This is an heirloom work, a masterpiece of the imagination which you’ll turn to again and again in decades to come. You’ll want the visual page memory as you recall favorite lines, the space for many layers of your own marks and notes, and the convenient random access of the printed codex. It’s not the kind of book one reads quickly through on screen (and it’s not even available in a digital edition, at least not yet). The illustrations of Stephen Crotts and the material feel of the paper and embossed cover (if you choose the slipcase version) call out for the full tactile experience of the physical format.

Next, get the audio version, read by Malcolm himself. Ballads are made for reading aloud. We are listening to Malcolm read it to us while following along in our own printed copies. (We purchased it via Apple Books but it’s available from Oasis Audio wherever you get audio books.)

Plunge in. Don’t wait.


Then… after you get started…

Malcolm has granted many interviews about Galahad and the Grail. They are not the same; there are so many facets to this work that all are worthwhile and bring out different perspectives on the project. In particular, I recommend listening to his conversations with Russell Moore on The Russell Moore podcast (April 15, 2026), with Jonathan Rogers on The Habit podcast (Dec 1, 2025), with Rachel Mann on the Church Times podcast (March 27, 2026), Malcolm’s Spell in the Library episode with Martin Shaw (Feb 3, 2025), Malcolm’s presentation at a Trinity Forum event, October 13, 2025, in Nashville, An Epic for Our Times (with Q&A); and The Literary Life (#327, May 5, 2026). Pick one. Update: Malcolm appeared on The Habit Podcast again, May 18, 2026; and on Lee C. Camp’s No Small Endeavor podcast, July 27, 2026.

Any reader will wonder whether the appendices contain spoilers. Should I wait to read them until I have finished the volume? There are bound to be differences of opinion on this, but I would say, “read all three appendices.” Whatever spoilers they may contain are no more than someone would already have from prior exposure to other versions of the Arthurian stories. The appendices, to me, offer helpful orientation for the reader who wishes to proceed deliberately and intentionally through the ballad.

I wholeheartedly believe that this magisterial epic, Merlin’s Isle: An Arthuriad, will be seen decades hence as the great literary work of the century. It will be read in centuries to come. It is also the literary work we need now.

Think of Galahad and the Grail as a “way in” to reading the works of Malcolm, the Inklings, and their forebears. In the 20th century the Inklings and their friends — C. S. Lewis, J. R. R. Tolkien, Owen Barfield, Dorothy L. Sayers, and their kindred forebears G. K. Chesterton and George MacDonald, among others — resoundingly affirmed and profoundly explored the truth-bearing character of the imagination. No one has carried this central theme of these writers further than Malcolm Guite in his previous works Lifting the Veil: Imagination and the Kingdom of God (2021); Faith, Hope and Poetry: Theology and the Poetic Imagination (2010); and Mariner: A Theological Voyage with Samuel Taylor Coleridge (2018).

Galahad and the Grail embodies the central concern through all of these, that through the imagination we make contact with reality in a deep and holistic mode. On pp. 349-350, Guite points especially to Book III, Stave VII, “The Wasteland,” which powerfully exemplifies the ballad’s way of “healing this split in our ways of knowing and restoring a more mutual and participative knowledge of nature….”

For background on Arthur, consider having on hand Sørina Higgins, ed., The Inklings and King Arthur: J. R. R. Tolkien, Charles Williams, C. S. Lewis, & Owen Barfield on the Matter of Britain (Apocryphile Press, 2017).


Finally, dwell on the “Prelude.” It is ideal preparation for the pages that follow. (And will reappear at the beginning of each of the four volumes.)

Malcolm Guite, Prelude, p. 1

Malcolm Guite, Prelude, p. 3

“And so the tale came down the years
in every land and tongue.
And old folk told it through their tears
and gave it to the young.

And even I, in these dark days,
have heard and found it true.
So I have taken up the tale
and passed it on to you.” (p. 314)


Update 6/6/26: Malcolm’s latest “Spell in the Library” discusses Galahad and the Grail in light of his little book, Lifting the Veil, which is a pure distillation of his theme that the imagination apprehends reality:

The response of my friend, Travis Lowe, is my own as well, and shared by many who read Galahad and the Grail:

“I want my life to so sing that it helps to awaken something in this wasteland.”

Posted in Art-Music-Lit | Tagged | 1 Comment

Roaring brooks, cherry trees


Thank you, Ken Mick, for this recording. Rehearsal at Lipscomb University, arranged by Dr. Gary Wilson for a choral performance.

I just love The Arcadian Wild. Here’s a reel of “Man in Room 39,” a song from their first album. “Man in Room 39” is a quietly rousing and subversively liberating song in the best folk tradition. I feel emboldened on behalf of every young person I know, not to mention myself, every time I hear it.


The Arcadian Wild CD cover art, 2015


Windowless room, number 39
Holds an honest man with a thirsty mind
But there are no rivers inside these walls
And so he sings

Roaring brooks and cherry trees
This is the place my heart longs to be
The blossoms in the water are calling me

His glossy shoes only hold him down
They were never meant to cover ground
So he slips them off and frees his soul
Then he goes to

Roaring brooks and cherry trees
This is the place my heart longs to be
The blossoms in the water are calling me

Remember a mountaintop has no roof
And a home in the wild needs no window
Leave your cage, break your chains
Roar your name
And sing

Roaring brooks and cherry trees
This is the place my heart longs to be
The blossoms in the water are calling me

Roaring brooks and cherry trees (yeah)
This is the place my heart longs to be
The blossoms in the water are calling me

Written by: Everett Davis, Lincoln Mick, Sarah Jane Wood.

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Friends in old places

Just found this… love those horses! And my Aristotle and Boethius….


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Teaching Science in Elementary Schools

Welcome, elementary educators!

Note: Bring hammers and scissors


“Why did not somebody teach me the constellations, and make me at home in the starry heavens, which are always overhead, and which I don’t half-know to this day?” — Thomas Carlyle

Old books offer us the opportunity to recover meaning in what we do. The night sky is filled with hundreds of stories which remind us that a knowledge of the heavens has always been part of what makes us human.

What memories do you have of watching the stars? What stories do you like to tell about the night sky?

The stars are a great example of using rare books in teaching. They enchant us with wonder, and fit in with an interdisciplinary, unit studies approach.

We will be in two spaces: Murphy and Gaylord. We will examine rare books in Gaylord and do activities in Murphy.


PART I — 1:30-2:30

Foyer: Cuneiform brick, Choga Zanbil (ca. 1300 BCE).

Gaylord

  1. Peter Apian, Cosmographicum (1540).
  2. Camille Flammarion, L’Atmosphere (Paris, 1888). Flat-Earth woodcut.
  3. Anonymous, Urania’s Mirror (London, 1824). Constellation cards. Distinguish star patterns from constellation figures.
  4. Friedrich Braun, Himmels Atlas in Transparenten Karten (1860). Constellation cards.
  5. Ptolemy, Almagest, in Opera (“Works”; Basel, 1541). Johann Honter drew constellation figures after the manner of Albrecht Dürer. At Sky Tonight.
  6. Johann Bayer, Uranometria (“Measuring the Heavens”; Ulm, 1661), bound with Johann Bayer, Explicatio characterum (Ulm, 1697). 1st “Golden atlas.”
  7. Johann Kepler, De stella nova in pede Serpentarii (Prague, 1606)
  8. William Schickard, Astroscopium (1698).
  9. Hevelius star atlas. 2nd “Golden Atlas.” Includes three books, usually published separately: (1) Uranographia, or Firmamentum Sobiescianum sive Uranographia (“The Firmament of King Sobiesci, or Map of the Heavens”; Gdansk, 1690); bound with (2) Prodromus Astronomiae (“Preliminary Discourse for Astronomy”; Gdansk, 1690); bound with (3) Catalogus stellarum fixarum (“Catalog of the Fixed Stars”; Gdansk, 1687). Can you find the title pages and frontispieces for each of these three books?
  10. Vincenzo Coronelli, celestial globe gores (Paris, 1693; reprint ca. 1800).
  11. Johann Bode, Uranographia (“Map of the Heavens”; Berlin, 1801). 4th “Golden Atlas.”
  12. Planisphere: Maier, Drehbar Sternkarte (c. 1890).
  13. Catherine Whitwell, An Astronomical Catechism (London, 1818).

PART II — 2:45-4:10

Murphy

Storytelling

Coloring pages: Flammarion, Urania’s Mirror, Bode.

Six Constellations.

Constellation tubes:

  • Packing tape
  • *Scissors
  • Nails, wood base
  • *Hammers

Celestial Globes

Constellations intro and activities.

Go to Ogilvie: astrolabes, orrery, pocket globe, sundials, cosmonaut doll.

Time of night: planispheres as star clocks

Seasons

Music

Art

Hold a star party


Supplemental resources:


University web pages:

Become a researcher at the OU History of Science Collections:

You are welcome to come back as a researcher. You do not need to be an academic scholar. There is a registration process. After that, the books will be brought to you in the Reading Room. It’s good to request the books in advance so they can be pulled and waiting for you. All this is explained on the web page for the History of Science Collections. Go to the University of Oklahoma Libraries website (libraries.ou.edu) and navigate to the page for the History of Science Collections. There you can register online, request the books you want to see ahead of time, and ask any questions you have for Collections staff. And then come and sit with the books.


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Easter Sunday 2026

He meets her there
In the garden
Where death had reigned unhindered
Where tears beyond count have fallen
The ache of loss unassuaged by the toil of hands
Longing to recreate the garden lost

He meets her there
Where all harms have begun to unravel
Where tender flesh exhales with fresh breath
And the once broken heart beats strong and sure
A long descent has become ascent
Bringing all up with him

He meets her there
Speaks her name
She is seen and heard
     Known
And she knows beyond hope
That he has come back
     For her
She has not been left behind

He meets us there
Speaks our names with a tenderness
That says
     Look up
I know you
Your story is mine
And now my story is yours

Come with me
Together we will grow
A new garden

by Candace Magruder

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