Article
Awe and wonder
Change
Community
Time
7 min read

The bells that awaken awe in the new year

We need new rhythms if we are to navigate the world as it is today.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

Restored church bells lined up in a cathedral, as crowds mill around them.
Notre Dame bells.
Notre Dame de Paris.

The jackdaws flap and caw as they come in to roost. The sun sets behind the bare trees; its fiery farewell doing nothing to warm the cold air. The village church bell rings out 4pm. My young daughter stops what she is doing, says “ding dong”, then carries on. That’s what we all used to do: stop what we were doing and be called to something else, the bell’s rhythmic tolls cutting through our individuality and unifying us for a time. Perhaps we would go to church, or stop to pray, or remember the dead for whom the bell tolled. I have been thinking about that often-quoted poem by John Donne:  

No man is an island, 

Entire of itself. 

Each is a piece of the continent, 

A part of the main. 

If a clod be washed away by the sea, 

Europe is the less. 

As well as if a promontory were. 

As well as if a manor of thine own 

Or of thine friend's were. 

Each man's death diminishes me, 

For I am involved in mankind. 

Therefore, send not to know 

For whom the bell tolls, 

It tolls for thee. 

Now, church bells ring out the hours of the clock, and occasionally still ring out mourning and celebration too. They seem also to ring out a quaintness, a nostalgia, a past that is slipping away. I have been sitting by the old stone church listening to them, wondering what else they might be tolling for, what else might be slipping away. In Donne’s poem, he says the bell tolls not for them, but for us, because we are all connected. Each person’s death diminishes the whole from which they were a part, and so diminishes me. The bells used to remind us of that whole.  

The bell could be melancholy but I notice how it tilts me toward hope, even in this deep winter stillness; an audible distillation of light ringing through the dimness. I think it is the hope of mankind which Donne tells me I am involved in. These old bells seem to ring defiantly despite the many other chimes that ring just for me: digital pings, messages, notifications, news, an algorithm that tried to force me down my own lone path. But echoes of communal life persist. Now, I hear the bell say:  

Ding: listen 

Dong: lift your head 

Ding: look  

Dong: life is a whole  

Ding: face each other  

Dong: this is the only way we will meet the future 

A few days later, my daughter and I step into the village hall. We surface together from evening darkness into the light of song: it is the carol concert, we are late, and the music is about to start. The singers are decked in lights and earthy greens and rusty reds. They are a group from Exmoor who conserve and share traditional and local songs, as well as singing the songs we all recognise. My daughter’s cheeks are pink, her eyes blaze with delight. In a few days, the solstice will be here, and the earth will pause in its movement before turning back to face the light. Here in this old hall, the songs seem to reach towards that coming light: we are here, we are together, and we choose to lift our individual voices as one chorus of community.  

I think about the people in this hall gathering to mark other things — memories, celebrations, vision, care — and I wonder about the more figurative bells that draw them together to do so. What are the bells that keep us together now, when so much encourages us into isolation and individualism? — The bells that remind us we can never be the islands that we are so often encouraged to be: independent, tough, believing consumption will heal us, packaged into a personal brand; everything encouraging us to be seen, not known.  

I try to listen for these bells, to hear how to inhabit time reverently and with reciprocity, not with urgency and isolation. In many places the actual church bells are silent, but I think we still need the bells of communality: bells that call us into share rhythms, reminding us to pause in our individual movement, reminding us to gather, to mourn, to remember things and find the light and the hope in each other, just as the tilting of the earth pauses at the solstice before it turns to face the light.  

Nature’s cycle is one way of doing this: tuning in to the turn of the year that makes new life possible. The solstice and equinox; wassailing in January to bless the apple trees; noticing when migrating birds appear or leave; sharing planting and harvesting days. Liturgical calendars are a way that Christian communities kept and still keep time: advent, Christmas, lent, Easter. These rhythms become familiar, reminding us that time isn’t linear, much as the myth of infinite progress would have us believe otherwise. Time is cyclical, expanding and contracting; old events revisited regularly in new ways.  

Knowing that it is not just me looking at these stars, but people across the world and through time, brings me into a peace, a reverence that can be hard to come by.

And there are other things that can bring us together too: causes, hobbies, interests, protests. These can take on the role of bells perhaps, drawing us together around shared purpose – but shared purpose and shared existence, shared being, are not always the same thing.  

Perhaps we need new rhythms if we are to meet the world as it is today. Imagine if a bell tolled — literally or figuratively — not just for human funerals, but whenever a species went extinct, or a tree cut down. Imagine if neighbourhoods gathered to light candles and share stories and soul and care each week, offering a space that church used to provide to lots of people through the ages. And what if we resurrected old traditions for a new age: ‘beating the bounds’ as a way to mark not just the boundaries of land but the places that need restoring and regenerating now; harvest festivals not just as something for school children and rural churches, but as a way we can better connect with food and farming. What if we looked at old wisdom; the way the church calendar aligned with the farming calendar, asking us to remember that food and the soil it comes from are sacred things.  

Our friends were near the beach in Costa Rica. They noticed that at the end of the day, everyone stopped what they were doing — fishing, fixing, working — and watched the sunset. This moment of beauty seemed to bring people together into synchronicity. In his book Awe: The Transformative Power of Everyday Wonder, scientist Dacher Keltner shows us how experiencing awe can, amongst other things, help us to experience humanity, see patterns in life, and better collaborate with each other. He says: “The last pillar of the default self—striving for competitive advantage, registered in a stinginess toward giving away possessions and time—crumbles during awe. Awe awakens the better angels of our nature.” Perhaps putting ourselves in the way of awe might help us hear the bells — old and new — that ring in this current age, and that might bring us together and love each other well. If love only exists in relationship, and love is what helps us to see and to care, then protecting and restoring relationship seems to be vital work for our time.   

Now, the winter sky is dark and the stars shine brightly above. They shine with a clarity that matches the peal of the bells in the village. They call me beyond myself into something unified, something older, something necessary. They call me into wonder and awe. Knowing that it is not just me looking at these stars, but people across the world and through time, brings me into a peace, a reverence that can be hard to come by. I step back into the house but my mind faces outwards into the world.  

Church bells used to call people together to worship, bringing a sense of shared time and purpose. They still ring, but they can be hard to hear against the noise of individual time. I think they are calling us together again now. And if we can’t hear them, perhaps we need to set new bells ringing. May the bells that ring this New Year’s Day inspire us to do so. 

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Column
Awe and wonder
Creed
Film & TV
Re-enchanting
4 min read

The great pie mystery

Some unusual graffiti give insight into reality’s mysteries.
A green bridge spans a motorway, on its side is graffiti that reads 'PIES'
The view on the M6.
drgillybean, Creative Commons.

Do you have a favourite piece of graffiti? I used to.  

If you're travelling on the M6 around Cheshire, at some point you’ll come to one of those green motorway bridges. And on the side of it, overlooking the tarmac, you'll see in massive writing the word “PIES”.  

When I was a kid, I used to be fascinated by this. It raises so many questions. Who wrote the graffiti? How did they do it? Was this person in favour of pies or against them? Was it about all pies or just some pies? What had happened in this person's life to make them have such strong opinions about pastry?  

And it was just me. For nearly 30 years, people were left nonplussed about the graffiti as more and more instances of it began to crop up across the North-West of England. 

And then, in 2016, the mystery was solved. Apparently, it wasn't really to do with pies at all. It was all the result of a Liverpool band called The Pies trying to promote their music. After getting stuck on the motorway one day, they decided to write the name of their band on the side of the motorway bridge because, well, what else are you going to do when you’re broken down?  

It's fair to say, I was a little bit gutted to learn about the origins of the graffiti. 

What was once an intriguing mystery that kept me up at night and haunted my every thought (okay, perhaps a slight exaggeration) was revealed to be something so … boring. With hindsight, I wish I'd never learnt the truth about what happened. I thought wanted to know the origins of the pastry-based vandalism but, as they say, ignorance sometimes is bliss.  

You see, we sometimes need a little bit of mystery in life.  

Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness. 

This is evident in lots of different ways, but perhaps most apparent when it comes to entertainment and art. TV series Lost, for example, was a huge hit when it first came out. Why did the plane crash? What is the island? What is the smoke monster? Viewers were hooked and demanded answers.  

But then answers came and everyone was upset. As Lost went through series after series, and explained more and more about what was happening, the audience slowly became more and more disenchanted with the program. The finale – where the programme’s biggest mysteries were finally revealed – was almost universally panned. 

The same to be said of the recent HBO hit Westworld. Its first series was by far and away its best. But season two and three trailed off significantly as there was simply no mystery left in the programme after its spectacular first series. I wonder if this is precisely why the works of the late David Lynch were as compelling as they were? The still-incredible Twin Peaks holds up so well precisely because it categorically refuses to explain itself. 

Elsewhere there is a growing tendency in video games, for example, for the narrative of the story to be hidden away, shrouded in mystery and atmosphere. Think of From Software games like Dark Souls and Elden Ring, massively successful in part because they are so mysterious. In both instances, it’s entirely possible to complete the game and have no clue whatsoever that there was even a story in the game, let alone to understand it. The player becomes captured by the mysteries of the worlds they find themselves in, and it’s these mysteries, rather than any answers, than compel them forwards. 

The reason why programmes like Lost and Westworld begin to lose their allure as they explain more and more about their world is that this jars with the reality of the world around us. Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness.  

Peel back the world around us, however, and reality goes all the way down. And this is precisely what we would expect from a world created by a God, who is infinitely Infinite. Reality is not paper thin; goes all the way down. It is mysterious, unfathomable, and resists easy answers. 

And so, when we get disappointing explanations about a plane crash in a TV programme, or the origins of our favourite graffiti, it rightly leaves us feeling unsatisfied. Because we are made to be at home in a world that is deeply real. We are made to be at home in a world where the reality has unfathomable, unimaginable depth to it. A world that cannot simply be explained away. 

And this is why mystery is so important in our life. In the post-Enlightenment culture in which we find ourselves, a culture that demands every question be answered and every Scooby-Doo villain be unmasked, the notion of boundless mystery might seem somewhat disquieting. 

But we are made for mystery. And this is why the best works of art trade more on the mysteries they introduce, rather than the answers that might be behind them. And this is why mystery can be found all around us. Even in a pie.

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Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief