Article
Creed
Easter
5 min read

Barbie’s rift in the universe is no doll play

How to heal it at Lent, with some help from AA too.

Julie connects Christian spirituality with ordinary life in Wenatchee, Washington State, where she teaches and writes.

Barbie stands on a balcony and waves while looking out over her city.
Barbie in Barbieland.
Warner Bros.

The Barbie movie opens with Stereotypical Barbie having a Perfect Day in Barbieland – until she has an intrusive thought about death. Everything screeches to a halt (even the music). This intrusive thought is about to ruin everything for Barbie, unless she can restore the rift in the universe (and the now resulting threat of cellulite) that it caused.  

Christians begin one of their most sacred seasons precisely here: facing thoughts of death. Refusing to name them as “intrusive” but instead acknowledging them, blessing them, and signing peoples’ foreheads with ashes as a reminder that they too will die. On Ash Wednesday, the worldwide church doesn’t rush forward to soothe this fear and move on to happier thoughts, but rather turns to face it and make the facing of it sacred. Annually, again and again. Barbie’s rift in the universe is no doll play. 

We create our own trances not only with alcohol, but with culturally acceptable addictions like obsessive thinking, performance hits, binge-watching, TikTok scrolling.

The earliest Christians began their anticipation of Easter by taking time to fast during the 40-hour lead-up to the day, knowing the psychology of short-term deprivation for long-term transformation. They wanted to anticipate the day of their spiritual liberation (Easter) from fear and death, with not only their minds but also their bodies. It was a fully integrated longing. (What is easier to feel – a hunger in one’s soul or body?) They knew the role of their body in their spirituality and discovered that often the body helped the transformation of their hearts. By the fourth century, these culturally specific fasts for Easter merged into a international consensus of forty days. Forty days which began with ... meditations on death. Lent begins by facing our intrusive thoughts of death – the rift not only in the universe, but in each of our souls as we pursue death in one thousand little ways daily. Things which, using the language of Alcoholics Anonymous and the Twelve Steps, we have become powerless to control. We create our own trances not only with alcohol, but with culturally acceptable addictions like obsessive thinking, performance hits, binge-watching, TikTok scrolling. None of us enjoy facing reality.  

And while freedom is at the top of our cultural priorities, for many of us it is not external things that limit our true freedom, but things internal to ourselves 

As Richard Rohr tells us, the old-fashioned language for addiction is “sin” – something we can’t seem to resist, change, and which perpetually has us in undertow. All of us, to an extent, are in the grip of some addiction, some thing we cannot change and that we continually choose to our own (and our deepest relationships’) destruction. Death and sin have always been held together in biblical poetry, because in many ways they are the same. We are all held in their grip. 

One of the most freeing things in AA is coming face to face with one’s powerlessness over addiction, to finally stop running from it. Step 1 says “We admitted that we were powerless over alcohol – that our lives had become unmanageable.” But of course, there are other things we do to numb our pain. AA’s Twenty Questions regarding alcohol are a wonderful tool for diagnosing that neurotic thing lurking in the back of your mind as you read this article, and don’t want to face. Just fill in the blank: 

Has ____ ever damaged your primary relationships? 

Has ____ ever interfered with your work life? 

Do you ever ____ alone? 

For an alcoholic, the answers are easy: alcohol/alcohol/drink. But what about more socially acceptable numbing techniques: what about over-analysis? (Has thinking ever damaged your primary relationships – or interfered with your sleeping?) What about workaholism or an addiction to success? (Has an obsession with success ever damaged your primary relationships? Do you overwork to escape from worries or to build up your self-confidence?) Is there is something you do obsessively to relieve your anxiety, and is not working for you or those in your intimate sphere? Lent is the church’s annual invitation to take this obsession seriously, to stop making excuses, and to put yourself in an enforced recovery group with a bunch of other addicts for 40 days. Lent is not about restriction for its own sake, but freedom.  

Of course, you can just fast for 40 days to see if you can do it. You can do a “dry March” instead of a “dry January.” You can limit your screen time. Everyone knows the wisdom in these. But Lent is a call to the deeper freedom that these restrictions are for. Every spiritual tradition knows that without restriction, there can be no true freedom. (Every athlete knows this as well. Every musician. Every artist). And while freedom is at the top of our cultural priorities, for many of us it is not external things that limit our true freedom, but things internal to ourselves. Our freedom is not jeopardized by politics to the left or the right, but by the person looking at us in the mirror.  

To have our deepest hungers met, we have to clear away space. It is not a white-knuckling stunt.

Think of a time when you were in touch with your sense of being alive. Think of the feeling you have when watching a sunset. Or receiving the pure affection of a child. Think of that sense of happy satisfaction when you have just completed an unhurried project. Or a leisurely meal with friends. Or getting lost in a piece of music. Remember how experiences like this make you feel, and the feeling of being grounded and close to your true center.  

Now think of a time when you were cut off from your center but felt powerful – when you were able to get in the last word in a fight. Earned the top score. Rationalized why you were right. Were admired. Successful. Think of how different the energy is behind the first feeling and the second. Many traditions would associate the latter with the false self. The addicted self. The sub-self.  

Lent is about discerning each. Lent must be guided by our memory of freedom, as well as an awareness of what is keeping us from it. It is choosing a temporary restriction for the sake of being connected to our center, where God our Source is waiting for us. In the words of a famous addict from the fourth century, Augustine, “I was searching for you outside of me, but you were within me!”  

Another word for restriction is surrender  – letting go, embracing limits. (And as the Twelve Steppers know, whatever you let go of has claw marks on it). To have our deepest hungers met, we have to clear away space. It is not a white-knuckling stunt. Nor is it baptizing our culture’s fetish with weight loss or iron-man self-control. Lent helps us remember what it felt like when we felt absolutely alive, and to take clear steps towards recovering this sense. We might just find God waiting for us at our center when we do.  

  

Article
Art
Creed
Space
5 min read

How black holes illuminate love’s greatest story

The universe’s darkest mysteries hold strange parallels with Christ’s Passion

Jake is a former BBC journalist turned writer and speaker about art and faith.

A spital galaxy coloured red, white and black.
A composite image of Andromeda galaxy.
NASA/JPL, Public domain, via Wikimedia Commons.

Thanks to the BBC radio show In Our Time, I’ve found a new pleasure in life. It is this: to learn about the enormity of outer space, and the absurdity of what goes on there, and to share what I find with anyone who’s interested. By ‘anyone’, I mean my wife. But now that Seen & Unseen have published this, I mean you too. 

Or that mysterious cosmic rays from deep space regularly sail straight through the bodies of each of us, and scientists are baffled as to what might have created them? Did you know that a tiny, pale area of the night sky once named the ‘little smudge’, is now known to be the biggest thing anyone will ever see with the naked eye: the Andromeda galaxy? And did you know that the strength of gravity on Venus would crush you instantly? I could go on indefinitely. 

The centrepiece of all this galactic trivia, however, is reserved for black holes. Almost everything about them fascinates, baffles and scares me.  

Black holes are the remnants of dead stars that have collapsed in on themselves, creating a gravitational field so powerful that nothing – not even light – can escape. If you were to pass over its threshold, you’d be obliterated as you get pulled towards the black hole’s infinitely dense centre.  

They get even stranger though. Inside them, astrophysicists say, the laws of physics break down completely. Time and space somehow swap places, they say. And even though anything pulled in by a black hole's gravity is crushed by unimaginable force, in some sense it may be preserved and – in theory – might end up elsewhere, in a new form. It is a death that might not in fact be the end of us. 

There are many black holes – there’s one at the centre of our galaxy. But even though we can study them and develop scientific theories about them, we have not come close to grasping them in all their terrifying and monumental glory. What goes on inside them is, and perhaps always will be, an unfathomable mystery. 

This is why I’d love to see them refracted through the eyes and hearts of poets and artists, philosophers and theologians. What might their strangeness tell us about their creation, their creator? What might they tell us about how to live our lives? And if gravity at its most intense can upturn the laws of science, bamboozle great minds, and maybe even turn death into new life, then might other forces of attraction that do not adhere to known laws of physics, like love, do the same?  

Scenes from the Passion of Christ by Hans Memling.

A painting of a medieval cityscape.
Hans Memling, Public domain, via Wikimedia Commons

In dwelling on questions like these, I have found this painting to be strangely helpful. It tells a love story that – in terms of its sheer intensity, its pull upon us, its utter strangeness, its death-defying endpoint – is not a bad match for a black hole. It’s called Scenes From The Passion Of Christ, it’s by the northern European painter Hans Memling, and when I first saw it I thought it looked silly.  

Why cram onto one small canvas over twenty scenes from the final eight days of Jesus’s life on Earth? It’s like a cartoon strip without the white lines to divide up each scene. We see Jesus welcomed by a crowd, betrayed by Judas, denied by Peter, sentenced by Pilate, stripped by henchmen, humiliated by another crowd, crucified by soldiers, and buried by loved ones. We see him upending a table, praying for an escape route, sharing bread and wine, carrying a cross, emerging from the grave, and appearing to his followers.  

It reduces the crucifixion to a few square millimetres at the top. It sidelines the heart of Jesus’ story – the resurrection – to the far right edge. It shrinks Jerusalem to a tiny labyrinth resembling an MC Escher painting. It is daytime and nighttime. It is disorientating. And it is claustrophobic. But I think it is also brilliant, and it’s made me look in a new way at the strangest of weeks in the story of the world.  

By showing us so much convening at this moment in space and time, we sense how impossible it would have been for Jesus’s followers to compute anything that went on during that week. As each event unfolded, they would have had to rethink what might come next, whilst dealing with some pretty overwhelming emotions. They would have had no time or space to process any of it. It seems perfect, therefore, that in this painting, we don’t either.  

But as I look at it now, I wonder: have we actually processed these events, two thousand years later? Do Christianity’s attempts to explain everything that went on here really do justice to a story in which divine love does some of the unfathomably strange things that a black hole does? Or do these explanations tell us more about our own way of thinking than they do God’s?  

I think there is a tendency – which I see in myself and in most churches I have attended – to resist the weird, mysterious and inexplicable nature of this story. We draw heavily on logic and evidence to try and explain a story that defies both. But just as it is within the boundaries of a black hole, so it is within the frame of this painting: the old rules no longer apply. Divine love manifests itself in ways we cannot yet fathom. Pretending otherwise saps power from the story.   

At the top right corner of the painting, there is a tiny dot on the seashore. It’s the last image of Jesus in this painting. And next to it, a church. Here, the baton is being handed over from Jesus to those who follow him. The church is now the ‘body of Christ’, tasked with embodying infinite love in a world that badly needs it.  

What a daunting task. Frankly, it can be easier to believe in a bizarre series of events from two millennia ago, than in a church here and now, comprised of people as flawed as I am, that is meant to be capable of embodying a world-changing love.  

And that is why I am so drawn to black holes, and to this painting. In them, I see that impossible things can and do happen; that unfathomable mysteries are littered throughout reality; that these mysteries are not so much problems to solve as they are wonders to revel in; that the narrow, rational mindset in which I too often dwell is small and limiting; and that an overwhelming force of attraction can and will overpower anything in its way. 

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