A Thanksgiving Hymn to Christ the King by Debbie Harris

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Summary of “A Thanksgiving Hymn to Christ the King”

The poem is a single, sustained act of worship that moves from earthly Thanksgiving beauty to the eternal throne of Jesus Christ.

It begins with the familiar golden splendor of an American Thanksgiving (amber fields, scarlet maples, pumpkin, cider, laughter, and a laden table), yet swiftly lifts every detail into praise of Christ the King of Kings and Lord of Lords, the true source of all bounty.

Remembering how Jesus once multiplied loaves on Galilee’s shore, the poem thanks Him not only for food and harvest, but far more for His broken body and shed blood that multiply grace and forgive sins.

Earthly candles and hearthfires fade before the fiercer, saving light of the cross. All temporary joys (turkey, pies, breath itself) are offered back to the Lamb who was slain, that He might transform them into eternal crowns.

The poem closes with a vision that stretches beyond every future Thanksgiving on earth: one day the final harvest will gleam, time will end, and the redeemed will lay endless hallelujahs at the feet of Jesus Christ, the King supreme.

In short, it is a joyous, majestic declaration that every Thanksgiving feast is but a foretaste of the everlasting banquet, and every “thank you” on earth is rehearsal for the unending worship in heaven.

On this golden Thanksgiving day,
when amber light spills over fields laid bare,
we lift our eyes beyond the harvest’s fair array
to Him who crowns the year with mercy rare.

Jesus, Thou King of Kings, bright Morning Star,
whose scepter rules the storm and calms the sea,
before Thy throne we cast our crowns afar,
for every grain and grape are gifts from Thee.

The scarlet maple, burning in its praise,
the pumpkin’s quiet gold, the cider’s steam,
the laughter rising through the autumn haze—
all echo back the glory of Thy name.

Thou who once broke the bread on Galilee’s shore,
and fed the thousands with a child’s small store,
still multiplies our meager thanks once more
till hearts, like loaves, are broken and restored.

We thank Thee for the table richly spread,
for hands that planted, hands that reaped and baked;
yet more, O Lord of Lords, for wounds that bled,
for love that died and rose, and sins erased.

The pilgrim’s candle flickers in the night,
the hearthfire leaps to greet the wandering guest;
but brighter burns Thy cross’s saving light—
in that fierce flame we find our deepest rest.

So take our trembling praise, our feeble song,
our turkey carved, our pies, our fleeting breath;
receive it all, Thou Lamb who bore our wrong,
and weave it into crowns beyond our death.

Forever, Jesus Christ, the King supreme,
we laud Thy name through every coming year;
till earth’s last harvest yields its final gleam
and crown Thy throne with endless hallelujahs clear.

Amen.

Diamonds That Fall from Heaven: A Sonnet on Rain by Debbie Harris

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A 14-line Shakespearean sonnet that portrays rain as diamonds and bright coins poured freely from the Rain-God’s hand.

These priceless jewels flash briefly on skin and stone, impossible to grasp or hoard, yet in their falling they crown every person (rich or poor) with sudden, equal wealth.

The poem celebrates the fleeting, unearned generosity of rain: a momentary coronation that leaves the whole world richer and every beggar, for one shining instant, royal.

The Rain-God lifts one hand; the heavens part
And down they come, bright coins from unseen mints,
Cut diamonds torn from daylight’s hidden heart
That flash and vanish ere the eyelid winks.
They strike the cheek like sudden wealth bestowed,
Cold fire that melts the instant it is given;
No purse can hold them, yet the whole road
Is paved with fleeting gems no king has striven
To own. A moment only do they lie
In glittering ruin on the skin, the stone,
Then slip to earth and leave the thirsty sky
More generous than any earthly throne.
So falls the rain: unearned, uncounted, free—
And every beggar wears a crown from heaven’s sea.

When Pulpits Are Full of Wolves in Sheep’s Clothing by Debbie Harris

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The poem is a stark warning against false teachers and hypocritical leaders who hide predatory motives behind religious appearances.

It paints the image of wolves dressed as gentle pastors who use Scripture, soft words, and promises of blessing to manipulate, guilt-trip, and financially exploit vulnerable believers. Beneath polished sermons and smiling faces lie greed, control, and spiritual abuse.

The true Shepherd (Christ) is contrasted with these impostors: He was the Lamb who was slain and still bears scars; the wolves only pretend to carry His marks while they devour the flock.

The urgent call is to the Church: wake up, test every spirit, and return to the authentic voice of the Good Shepherd. When pulpits are occupied by deceivers, genuine safety and guidance are found not in impressive buildings or charismatic leaders, but in personal intimacy with Jesus—alone with the Scriptures and the Holy Spirit, on your knees, listening for the One who knows and calls His sheep by name.

In short: Discern the wolves, reject the counterfeit, and cling only to the true Shepherd who keeps you close and speaks louder than the predators.

The sanctuary glows with stained-glass lies,
soft light on velvet pews,
while at the lectern stands the wolf
in starched collar, gentle voice,
quoting Scripture like a lullaby
to hush the trembling sheep.

He speaks of love with honeyed fangs,
promises heaven for a tithe,
teaches grace while counting coins
beneath the table with clawed feet.
His smile is Sunday-morning bright,
his eyes are midnight counting sheep
not for shepherding,
but for slaughter.

Beware the shepherd who smells of blood
yet wears the fleece of the flock he flees.
His gospel is a gilded trap,
his prayer a noose of pretty words.
He preys upon the widow’s mite,
devours the orphan’s cry,
and calls it ministry.

The true Lamb once was slain;
these wolves merely dress the part.
They howl in minor keys of guilt
and call the trembling “lost,”
then lead the flock to private pastures
where the grass is green with greed.

O Church, awake!
Your watchmen sleep with open mouths
and dreaming teeth.
Test every spirit, weigh each word
against the ancient plumb line
carved by nails into a tree.

When pulpits are full of wolves in sheep’s clothing,
the only safe place left
is on your knees,
not in their sanctuaries,
but in the wild,
where the Good Shepherd still calls
by name,
and knows His own
by scars.

The Demonic Sin of Cultural Marxism by Debbie Harris

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The poem portrays “cultural Marxism” as a malevolent, almost demonic spiritual force that disguises itself as compassion and progress. It systematically attacks and inverts every traditional pillar of Western civilization: family, sex roles, nationhood, religion, truth, beauty, and freedom of speech.

Rather than using open revolution, it works subtly through schools, media, and culture, teaching younger generations to despise their own inheritance, to see strength as oppression, loyalty as hate, and moral boundaries as tyranny. The poem presents this process as a deliberate, satanic unraveling of the natural and divine order, leaving people isolated, guilt-ridden, and enslaved under the guise of liberation. In the end, it is revealed not as a mere political ideology but as an ancient, serpentine evil masquerading as enlightenment.

In shadowed halls where old gods used to dwell,
A new creed slithered, born of envy’s breath,
It wore the mask of mercy, spoke of hell
As heaven’s foe, and promised life through death.

It cursed the father, scorned the mother’s womb,
Unsexed the child before it learned to stand,
Turned beauty into shame, and every room
Of learning into ash beneath its hand.

It preached that strength is violence, truth a chain,
That borders are but scars upon the earth,
That every oath of blood is stained with pain,
And nationhood a sin before its birth.

With velvet tongue it whispered, “All is power,”
Then seized the schools, the screens, the sacred scroll,
And hour by hour, in academic towers,
It fed the young on bitterness of soul.

It loosed the bonds that hold the world upright—
The covenant of man and wife, of kin,
Of altar, hearth, and law—and called it light
To walk unmoored, unjudged, unshackled sin.

And still it hungers. Every fallen spire,
Each silent church, each tongue that fears to speak,
Becomes its incense on a hidden pyre
Where freedom burns and only masters speak.

Yet deep beneath its sermon’s honeyed rot,
A colder voice, ancient, serpentine,
Rejoices in the soul it almost bought—
The demonic sin that calls itself divine.

Boasters, Blasphemers, and the Breaking of the Dragon’s Reign by Debbie Harris

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Title: Boasters, Blasphemers, and the Breaking of the Dragon’s Reign

This prophetic poem is a poetic meditation on 2 Timothy 3:1–5 (KJV), Paul’s warning to Timothy about the moral and spiritual collapse that will mark “the last days.” It expands the apostle’s list of sins, weaves in Revelation’s imagery of the ancient serpent (the dragon = Satan, Rev 12:9; 20:2), and closes with the triumphant hope that these very “perilous times” signal the imminent overthrow of evil and the return of the King.

Core Scripture (KJV)

2 Timothy 3:1–5
1 This know also, that in the last days perilous times shall come.
2 For men shall be lovers of their own selves, covetous, boasters, proud, blasphemers, disobedient to parents, unthankful, unholy,
3 Without natural affection, trucebreakers, false accusers, incontinent, fierce, despisers of those that are good,
4 Traitors, heady, highminded, lovers of pleasures more than lovers of God;
5 Having a form of godliness, but denying the power thereof: from such turn away.

Supporting End-Times References Echoed in the Poem

  • Revelation 12:9 – “that old serpent, called the Devil, and Satan” (the dragon imagery)
  • Revelation 20:2 – “he laid hold on the dragon, that old serpent… and bound him”
  • Matthew 24:12 – “because iniquity shall abound, the love of many shall wax cold”
  • Luke 21:28 – “when these things begin to come to pass, then look up… your redemption draweth nigh”
  • Revelation 19:11–16 – The King returns “through the smoke and the flames” to judge and reign

The poem therefore moves from warning (2 Timothy 3) to hope (Revelation’s ultimate victory), declaring that the very darkness Paul foresaw is the death-throe of the dragon and the herald of Christ’s return.

In the last days, perilous times shall come
when the heart forgets its ancient drum.
Men will crown themselves with mirrors and gold,
lovers of self, and lovers of cold.

They boast in the streets where the shadows play,
proud as towers that lean and sway;
blasphemers of heaven, mockers of grace,
children who curse the father’s face.

Unthankful tongues and unholy hands,
no mercy in eyes, no truce in lands;
love grows thin as winter’s breath,
natural bonds lie bruised in death.

False accusers hiss like serpents awake,
fierce as wolves when the weak hearts break;
they slander the good and betray the trust,
rash and swollen with the poison of lust.

Pleasure they worship, a glittering throne,
higher than God, more dear than His own;
they wear the mask of the pious and pure
yet deny the power that makes men endure.

From such, turn away, the apostle cried,
when the age grows sick and the salt has died.
Yet even in ruin, a whisper remains:
the King still comes through the smoke and the flames.

Hold fast, little flock, though the night is long;
the dragon is raging—his kingdom is done.

When Demonic Anti-Semitism Rises, All of Heaven Weeps in Unsilenced Grief by Debbie Harris

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“When Demonic Anti-Semitism Rises, All of Heaven Weeps in Unsilenced Grief”

The poem is a prophetic lament from the perspective of Heaven itself. As demonic anti-Semitism surges again on earth, the entire celestial realm is plunged into profound, audible grief. Seraphim hide their faces, the ceaseless “Holy, holy, holy” becomes a sob, and the throne-room floor is flooded with crystal tears that shatter like broken menorahs. Michael’s sword drips not with the blood of enemies but with divine sorrow, for even archangels cannot cauterize this ancient lie. The Torah scrolls themselves weep ink, the Ancient of Days covers His face in anguish, and the sea of glass before the throne turns red, reflecting stars that now resemble burning yellow badges.

Heaven’s weeping is not weakness but outraged recognition: the same satanic hatred that once nailed the Jewish Messiah to a cross has returned to torment the people from whom He came. The poem ends with a solemn vow—the tears of Heaven will not cease until the earth itself learns shame and repents of this resurrected evil. It is both elegy and indictment, a cry that the spiritual realm is neither silent nor indifferent when God’s covenant people are targeted by demonic hatred.

When demonic anti-Semitism rises,
all of Heaven weeps.

The seraphim fold their six wings like broken umbrellas
over eyes that have watched Abraham count stars
and still cannot unsee the smoke.

Crystal tears fall from the throne-room floor,
each drop a shattered menorah,
ringing against jasper and carnelian
like alarm bells no one is allowed to silence.

Angels who once sang “Holy, holy, holy”
now choke on the third repetition,
their voices raw from shouting down the pit
where old slanders put on new flesh.

Michael’s sword drips not with blood
but with the salt of divine grief,
each tear hissing where it strikes the blade
because even archangels cannot burn away
the lie that says God’s firstborn are forsaken.

In the silence between sobs
you can hear the scrolls weeping ink,
Torah parchment curling like skin in fire
every time another Jewish child
is taught to fear the sound of his own name.

Above the firmament,
the Ancient of Days covers His face
with hands that once wrote on stone
and now cannot write fast enough
to outrun the graffiti of swastikas
scrawled across the walls of the world.

And still the tears fall,
heavy as guilt,
heavy as history,
until the sea of glass before the throne
turns red with sorrow
and every reflected star
looks like a yellow badge burning.

Heaven weeps,
not in weakness
but in recognition:
the same hatred that drove nails
now sharpens its tongue against the people
from whom salvation first came.

When demonic anti-Semitism rises,
all of Heaven weeps,
and the tears do not stop
until the earth itself
learns to be ashamed.

Machetes at Midnight: Surviving Religious Cleansing in Nigeria by Debbie Harris

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In the red dust of Nigeria rise
acacias shaped like broken crosses;
before the dawn, in secret, they meet,
mothers and fathers guarding their losses.

Mothers with babies bound to their backs,
Bibles held close as their only shield;
smoke of burnt villages stains the air,
yet low their singing is never stilled.

Masked riders thunder out of the night,
blades catching starlight, cold and cruel;
they drag the daughters who will not bow,
they silence sons who speak the truth.

Schoolyards lie empty, desks overturned,
sanctuaries shattered, windows bleed light;
yam fields drink blood of the ones who believed,
moon hangs above like a wound in the night.

Under the ashes a Bible lies open,
pages unburned though the building fell;
a child lifts verses still warm from her hand,
words that outlived the fire of hell.

In the camps a thousand voices arise,
one song in many tongues, one stubborn Yes;
no weapons answer the roar of the guns,
only the promise that God will bless.

Deborah stoned for speaking the truth,
Pastor Lawan slain at the pulpit’s rim,
Grace Taku’s throat cut while praising His name—
their blood cries louder than lies about them.

Nigeria, vast and wounded land,
when will you hear your children cry?
When will the silence be broken at last
and justice roll down like rain from the sky?

Yet the church does not curse the dark—
she kindles it, small flame by flame:
funeral songs and wedding praise,
bread and cup shared without shame.

Seeds are planted in bullet holes,
Scripture scratched on prison stone;
the wounded Bride still kisses the sword
and whispers, “Father, bring them home.”

One day the smoke will lift and clear,
green shoots will break through concrete and bone;
travellers will ask who gardened here—
the answer: those who sang alone.

Until that morning, pray for the saints
who carry the cross we wear as gold;
their wounds are doors—do not look away,
step through, and the story will be told.

The persecuted church in Nigeria stands—
a lamp on a hill that cannot be hidden,
a city set high though the night presses hard,
salt of the earth, light of the world unforbidden.
Though they kill the body, the soul they cannot slay;
these are the seed that falls and dies, yet rises to stay;
these are the overcomers by the blood of the Lamb
and the word of their witness—forever they stand.

Yea, and All That Will Live Godly in Christ Jesus Shall Suffer Persecution by Debbie Harris

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“Yea, and All That Will Live Godly in Christ Jesus Shall Suffer Persecution” is a seven-stanza hymn-portrait of the underground, biblical church in places where following Christ is illegal and dangerous.

It begins with quiet, dawn gatherings of ordinary believers who share simple bread and water, meeting in secret because their faith has marked them for arrest. They draw strength from the same Scriptures that sustained Peter, Paul, and Daniel in prison and fire.

The poem traces their losses (homes, jobs, freedom, even life) and their strange gains: deeper joy, unbreakable unity, and a gospel that spreads faster the harder it is crushed. Like wheat that multiplies when ground, like seed that sprouts when buried, the persecuted church becomes more truly itself under pressure.

We see prisoners preaching to their guards, widows giving their last coins with laughter, teenagers smuggling pages of the Bible, and entire families refusing to bow to the state’s idols. Their love for enemies, their refusal to hate, and their calm certainty of resurrection confound their persecutors.

The closing stanzas lift the eyes forward: every empire that hates Christ will one day collapse like Babel. The same Jesus who had no place to lay His head will return with nail-scarred hands to gather His hidden, hunted flock. Until then, the church endures by Scripture alone, saved by Christ alone, kept by grace alone, clinging to the promise that faithfulness unto death receives the crown of life.

The poem is both lament and defiant celebration: persecution is normal, promised, and ultimately powerless against the church that belongs to the risen Lamb.

Beneath the radar of the watching state,
they meet at dawn before the soldiers wake,
a handful sharing bread upon a plate,
a cup of water for the Master’s sake.
No steeple marks the place, no bell is rung—
only the Word, alive on every tongue.

They read where Peter wrote from prison chains,
where Paul counted it joy to bear the scar;
they hear the Lord who stills the wind and reigns
though doors are locked and iron bars stand far.
Like Daniel in the den, like saints of old,
they trust the God who turns the fire cold.

Foxes have holes, the birds have nests, He said—
but not the Son of Man, and not His own;
so now they wander, refuge-less, instead
of bowing to the image on the throne.
They lose their homes, their jobs, their right to speak,
yet find the kingdom buried in the meek.

They are the remnant promised long ago,
the little flock the Father calls by name;
the bruised reed unbroken, the faint glow
that will not quench until the Day of flame.
The more the dragon rages, coils, and strikes,
the more the church becomes what Jesus likes.

See how they love the ones who drag them off,
how prisoners preach to guards inside the cell,
how widows give their last two coins and laugh
because the gospel cannot be withheld.
Their blood is seed; their silence shouts abroad—
the gates of hell shall never hold this squad.

O church of Scripture only, Christ alone,
by grace through faith, to God be glory still;
you walk the narrow road the world disowns,
yet every step fulfills the Father’s will.
The scroll is open, and the Lamb stands sure—
His wounded hands have made the triumph pure.

And when the kingdoms of this age collapse
like towers of Babel crumbling into sand,
the King will ride with lightning in His steps
and call His hidden ones with nail-scarred hand.
Then every secret prayer, each whispered verse,
will roar like thunder through the universe.

Until that morning, faithful, suffering bride,
keep holding fast the Word of life you read;
the world may scorn, imprison, and deride—
but Jesus lives, and He is coming with speed.
Your names are graven where no sword can reach,
sealed by the Spirit, kept beyond all breach.
Amen. Come, Lord Jesus. Even so—come.

Every Prayer A Sacred Poem To The Divine Ear by Debbie Harris

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Every prayer is a sacred poem to God,
Though penned in haste on trembling air,
In fragments torn from flesh and blood,
Yet flawless in the sight of prayer.

The miser’s coin that clinks too late,
The harlot’s tear upon the floor,
The thief’s last breath beneath the weight
Of nail and spear and open door.

The scholar’s doubt that kneels at length,
The leper’s groan outside the gate,
The proud man’s silence, stripped of strength,
All enter heaven’s mercy-seat.

No line is lost, no sigh too small;
The stammered word, the wordless dread,
The broken meter of our fall
Becomes the psalm that angels read.

For He who spoke the worlds in rhyme
Delights in every ragged scroll;
He gathers every trembling line
And binds them in His heart made whole.

Therefore let fall the heart’s crude art,
Unpolished, bleeding, unafraid:
Whether the answer granted be “Yes” or a tender “No,”
Every prayer ascends as a sacred poem to the Throne of God,
For all is done in love, and the best is only given
To the child of God—no matter if the answer is yes or no.

Every Prayer Ascends as a Sacred Poem to the Throne of God by Debbie Harris

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Every prayer is a sacred poem to God,
Though penned in haste on trembling air,
In fragments torn from flesh and blood,
Yet flawless in the sight of prayer.

The miser’s coin that clinks too late,
The harlot’s tear upon the floor,
The thief’s last breath beneath the weight
Of nail and spear and open door.

The scholar’s doubt that kneels at length,
The leper’s groan outside the gate,
The proud man’s silence, stripped of strength,
All enter heaven’s mercy-seat.

No line is lost, no sigh too small;
The stammered word, the wordless dread,
The broken meter of our fall
Becomes the psalm that angels read.

For He who spoke the worlds in rhyme
Delights in every ragged scroll;
He gathers every trembling line
And binds them in His heart made whole.

Therefore let fall the heart’s crude art—
Unpolished, bleeding, unafraid—
Every prayer is a sacred poem to God,
And every Christ- centered poem is a prayer.