May Our Lives Be a Song of Praise and Thanksgiving to Thee, O Lord of Majestic, Hope-Filled Victory by Debbie Harris

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The poem is a single, sustained prayer that our entire lives might become a living act of worship: rising like sweet incense (Psalm 141:2) to the majestic God who has triumphed over sin, sorrow, and death through the cross and resurrection of Jesus.

It celebrates the transformative power of the gospel:

  • Darkness is outrun by mercy.
  • Brokenness and scars are turned into songs of glory.
  • Ordinary days, tears, work, and weakness are all redeemed and filled with resurrection light.
  • Every moment (from Monday labor to the return of spring) pulses with hallelujah because the war is already won.

The poem offers back to God the small, honest gifts of real human lives (the worker’s hands, the child’s trust, the widow’s mite, the prodigal’s return) and asks that He receive them as fragrant worship. It ends with a triumphant amen: because we serve the Slain and Risen Lamb, even our little lives are swept up into one endless, hope-filled song of praise and thanksgiving.

In short:
Because of who Christ is and what He has done, every breath we take can be worship, every day can be victory, and every heart can keep singing forever.

May our lives rise like incense, sweet and slow,
a steady hymn through night’s unyielding deep,
each breath a note, each heartbeat set aglow
by mercy that outruns the dark and keeps
its promise in the breaking of the bread,
its victory in the place where sorrow bled.

Oh Lord, majestic, clothed in living light,
Thy name a banner over every fear;
the grave is hollow now, the stone is bright
with morning no shadow can draw near.
We carry resurrection in our veins,
and every scar sings glory through its pains.

Let laughter spill like wine at harvest feast,
let weeping turn to dancing in Thy sight;
our fragile days, once borrowed from the beast
of death, now blaze with heaven’s borrowed might.
Because of who we serve—the Slain, the Risen—
our little lives become a wide horizon.

So take these trembling offerings, small and true:
the work-worn hand, the child’s unbroken trust,
the widow’s mite, the prodigal’s “I’m through
with running”—all laid bare before the Just
and Gentle One who calls the broken blest
and sets a table in the wilderness.

May every ordinary moment ring
with hallelujahs only grace can start;
may Monday’s labor and December’s spring
both thrum beneath Thy mercy like a heart
that knows its ransom paid, its war already won—
and sings, forever sings, because of Thee, the Son.

Amen. And amen again.
Our lives: one endless song of praise and thanksgiving.

Theologia Naturalis Redempta: The Gospel of Redemption Traced through the Groaning Creation by Debbie Harris

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Summary of
Theologia Naturalis Redempta
(The Gospel of Redemption Traced through the Groaning Creation)

The poem presents the entire gospel story as it is silently preached by the created world itself, from Genesis to Revelation.

It begins before creation, with the eternal Word and Love already present, then shows how every element of nature was designed from the beginning to be a living parable of Christ and His redemptive work.

  • Stars, leaves, and light bear the signature of the Lamb who was “slain from the foundation of the world.”
  • Innocent lambs, barren fig trees, toil-free lilies, and fed ravens act as living sermons on sin, judgment, providence, and grace.
  • The central agricultural images (sower and soils, wheat and tares, the single grain that dies to bear much fruit, the bleeding Vine and its pruning) retell the parable of the cross and resurrection: Christ’s death is the only way to abundant spiritual harvest.
  • Storm and wave bowing to Jesus reveal His sovereign lordship even in the chaos introduced by the fall.
  • Creation itself is then shown “groaning” under the curse, waiting with eager longing for the revelation of the sons of God and the final liberation of nature at Christ’s return.
  • The poem closes in the new creation: the curse reversed, the Tree of Life healing the nations, the river flowing from the throne, and God Himself as the light—no temple, no night, only the unveiled glory of the Lamb.

Thus nature is never a neutral backdrop; it is a book written by the same finger that wrote Scripture. From the first dawn to the final morning, every meadow, storm, seed, and star has been proclaiming one message: the dying and rising of the Word made flesh, the redemption accomplished and the creation made new through the blood of the eternal Lamb.

In short, the poem argues that if we have ears to hear and eyes to see, the whole groaning, glorious world is one long, unbroken sermon on the everlasting gospel of Jesus Christ.

Before the worlds were framed, the Word was there,
And Love, unmade, breathed life through empty air.
The Spirit brooded o’er the formless deep
Till light, obedient, from the darkness leaped.
Each star a seal, each leaf a living line,
Proclaims the Lamb whose blood would write divine.

The lamb that frisks at dawn upon the lea
Already knows the Shepherd soon to be;
The fig-tree, cursed for barrenness, confesses
That fruitlessness invites the storm of curses.
Yet lilies, clothed in glory without toil,
Outshine the pomp of Solomon’s proud spoil.

Behold the ravens: neither barn nor field
Yet find their table by the Father filled;
The sower casts his seed on varied ground—
Some choked by thorns, some trampled, some profound;
But where the plow of grace has broken sod,
One grain, in dying, multiplies to God.

The wheat and tares in mingled beauty spring
Till angels reap with sickles of the King;
The grain of wheat must fall and lose its name
Lest it abide alone in barren shame.
From that small death the bread of heaven springs—
Five thousand fed, and twelve full baskets’ gleanings.

The Vine is bleeding on the terraced hill;
The branches that abide are pruned until
More excellent the clusters grow, and press
The wine of joy for heaven’s marriage-feast.
The waves that roared in fury cease to rave
And lay their heads, like children, at His feet to lave.

Creation groans beneath the ancient curse,
In travail waits the universe’s nurse;
The rocks stand ready, should our praise grow dumb,
To shout the triumph of the Age to come.
Yet soon the curse shall vanish like a scroll,
And morning break upon the ransomed whole.

Beneath the Tree whose leaves shall heal mankind
The river flows, no serpent now to bind;
No night shall fall, no temple need the sun,
For God Himself shall be their Light, the Lamb the throne.
All nature, once a parable of grace,
Shall see her Lord unveiled and face to face.

Thus from the first creation to the new
The Gospel shines the wounded landscape through:
Not writ in ink, nor graven upon stone,
But living in the flesh that veils the throne;
Beholds His glory, full of truth and grace—
The Word made flesh, who took our mortal place.

Amen.

A Sonnet on Ephesians 5:20 by Debbie Harris

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The sonnet is a poetic meditation on Ephesians 5:20’s command to “give thanks always for all things.”

It urges the reader to offer gratitude not only in moments of joy, plenty, and health, but especially in hardship, pain, hunger, sorrow, and suffering. The poem reframes difficulties as disguised mercies: wounds that sing, crosses that become crowns, scars that shine like jewels, and bruises that lead to healing joy.

In every circumstance (sunlit or stormy), the speaker calls us to lift continual thanks to God the Father through Jesus Christ, insisting that this habit of thankful praise, even in the darkest times, is what ultimately strengthens weak and weary hearts.

Give thanks, O heart, in every breath you draw,
Not only when the sun gilds morning skies,
But when the midnight rain and tempests roar,
And sorrow’s iron enters through your eyes.
Give thanks when bread is plentiful and sweet,
Yet more when hunger gnaws the hollow night;
Give thanks in health that dances down the street,
And deeper still when pain restrains your flight.
For every wound, a hidden mercy sings;
Each cross a covert crown, each scar a gem.
The Father’s hand that bruises also brings
The oil of joy from Gilead’s stem.
So, in the name of Jesus, lift your song—
Give thanks always, for this makes weak hearts strong.

(Ephesians 5:20: “Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ.”)

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.