Latest

Rooms Without Doors – released

My new poetry collection is now available from Dancing Girl Press & Studio: https://dulcetshop.myshopify.com/products/taw
Rooms Without Doors Cover Art

Here’s a quick peek at the artwork I’ve chosen for the cover of my chapbook, Rooms Without Doors (forthcoming Dancing Girl Press & Studio). Nushabad, the tunnels under the city by Franco Pecchio. Used under a Creative Commons Attribution 2.0 Generic (CC BY 2.0) licence. The original photograph is available on Flickr. Licence details available from Creative Commons.
The Digital Kōan

Contributed to the special issue on Divine Algorithms: Religion and Faith in the Era of Artificial Intelligence in Religions with an article on using AI chat to question the nature of the constructed self: Kempton, H. (2026). The Digital Kōan: Artificial Intelligence, Non-Self, and Contemplative Practice. Special Issue of Religions – Divine Algorithms: Religion and Faith in the Era of Artificial Intelligence (Q1 Religious Studies), 17(9), 1074; https://doi.org/10.3390/rel17091074.
Kintsugi and Acceptance and Commitment Therapy

I’ve been working with Mickey Espino, artist and psychologist (in training), on a Kintsugi and ACT (Acceptance and Commitment Therapy) project following the completion of his Masters. This has led to the publication of our article: Espino, M. & Kempton, H. (2026). The art of mending together: Integrating Kintsugu and Acceptance and Commitment Therapy for preventative health. Arts in Psychotherapy, https://doi.org/10.1016/j.aip.2026.102539. Also check out Mickey’s art work: mickeyespinoart.com Note it is his artwork on the cover of my book Mindfulness Through Science and Verse: Finger Pointing at the Moon.

Poetry has always been my natural creative language. For years, most of my artistic energy went into crafting poems, shaping words on the page and exploring the themes that continue to inspire me: mythology, folklore, spirituality, mystery, and the landscapes of the imagination.

When my son was very young, however, poetry became more difficult. Not because the inspiration disappeared, but because the practical realities of parenting left less space for sustained concentration. There was little time to sit quietly and refine a poem, and even less certainty that I would remember a promising line long enough to write it down.

What I discovered during those years was a simple solution. If a few lines came to me, I would sing them.

The melody helped me remember the words, and gradually a number of songs emerged. Looking back, it makes sense that this happened. Many of the themes I was exploring, particularly Celtic mythology, the tales of the Mabinogion, and more mystical subjects, seemed naturally at home in song.

Yet a dilemma remained. While I had written the lyrics and created the melodies, I do not play any instruments. I could hear these songs in my head, complete with arrangements and different voices, but I had no practical way of bringing them fully into the world.

Recent developments in AI have changed that. Like many artists, I have reservations about the way AI can be used, particularly when it displaces or devalues the work of human creators. At the same time, I have found it can serve as a useful tool when employed thoughtfully and transparently.

For The Rowan Tree, I used AI to create arrangements for songs whose lyrics and melodies are my own. Rather than replacing the creative process, it enabled a part of the process that had previously been inaccessible to me. I was able to shape the arrangements, experiment with styles, and choose voices that matched how I had always imagined the songs being sung.

The result is a collection of songs that began many years ago as fragments of poetry carried in memory through melody. Now, at last, they have found a fuller form.

The Rowan Tree is a symbol of protection, enchantment, and connection to old stories. It seemed a fitting title for this collection.

I am delighted to finally share The Rowan Tree with you, and I hope you enjoy listening on Soundcloud.

Rooms Without Doors

I’m delighted to announce that my special project chapbook, Rooms Without Doors, has been accepted for publication by Dancing Girl Press & Studio. I’ll share more details in the coming weeks, including a glimpse of the cover artwork. Compared with Saturn Yields to Jupiter, this collection is less lyrical and relational, and more concerned with space, symbolism, and the poem as art object.