Article
Advent
Creed
Gaza
8 min read

The bleak midwinter: why tears could be the best thing for us this season

In a world of devastation, you can share honest feelings of hopelessness - yet not be overcome.
In front of a collapsed building, a rescuer carries a new born baby by the arms.
The rescue of Afraa Abu Hadiya, Syria, February 2023.

On February 6th 2023, a heavily pregnant Afraa Abu Hadiya, along with her husband and their four children, was awakened in the dark, early hours of the morning by a 7.8 magnitude earthquake violently shaking their apartment building in Syria. Afraa and her husband gathered their children and made for the building’s exit.  However, just as they were nearing the door, the building collapsed upon them, crushing the entire family.  Afraa, however, seems to have remained conscious for some hours because she did the unthinkable and delivered a baby girl while trapped beneath the rubble.  Then, tragically, she died and her baby was left alone buried beneath a building in the middle of winter. 

This year we have read too many such stories.  In places such as Syria, Turkey, Ukraine, and most recently, Israel and Gaza, thousands of women, men, and children have suffered and died and grieved as a result of natural disasters and armed conflict.     

For those of us who live in relative safety, it is difficult even to begin to comprehend such tragedies.  Yet despite our advantages, many of us are struggling in our own ways. According to the CDC, between 25 and 30 per cent of adults in the US are currently experiencing symptoms of anxiety and/or depression.  And it is no secret that mental distress levels have been steadily climbing for years in the UK as well, especially amongst youth

It can make the joyful, merry, jolly, happy, cheerful, peaceful Christmas spirit encouraged at this time of year strike a discordant note with the actual state of our minds and hearts. All is not well inside many of us, but we sense that Eeyore is an awkward personality to bring into a room, so we tend to conceal the parts of ourselves that are anxious and hurting.   I confess I’ve become pretty adept at keeping parts of myself out of sight. 

I didn’t say that sometimes I feel like everything beautiful and good is always, sooner or later cornered, caught, and hauled away by the destructive forces in the world.

I met up with a couple of friends recently.  We talked about our children and their school and our plans for Christmas.  I said we were going to keep Christmas simple this year.  What I didn’t say was that we’ve been keeping Christmas “simple” for several years now.  I didn’t say that, a few years after my brother died, my parents and my siblings and I agreed that we would no longer see each other at Christmas because the hole my brother left is too acutely obvious when the rest of us are together.  I didn’t say that we don’t keep our Christmas tree up for long because the crystal star we hang near the top is in memory of our son who never saw his first Christmas, and while I love to make him a part of the holiday in this way, I also can’t live with the visual reminder of that pain for long.  I didn’t say that although we make an effort to give our children a happy Christmas, my husband and I are just trying to make it through to the other side of the holidays because we’ve twice in recent years painfully and unexpectedly lost our household income right before Christmas and the season now triggers within us the fear and confusion and hurt of those Christmases.   I didn’t say that sometimes I feel like everything beautiful and good is always, sooner or later cornered, caught, and hauled away by the destructive forces in the world. I just told my friends that we were going to keep Christmas simple.  Maybe you have your own lines you trot out on such occasions. 

If you do, the season of Advent is a welcoming space for such as us.  Advent is observed during the four weeks leading up to Christmas and marks the beginning of the Christian church year.  Traditionally, it is a time when Christians remember how their spiritual ancestors, the ancient nation of Israel, spent roughly 600 years being conquered and enslaved successively by Assyria, Babylon, Persia, Greece, and then Rome.  The God of Israel had, however, promised that he would, one day, send them a deliverer, a “messiah”, to rescue them from their bondage.  And so, the Israelite people, in their suffering, waited and looked and prayed for the coming of their deliverer.    

Christians believe that Jesus, whose birth is celebrated at Christmas, was that messiah, and that (spoiler warning) he ended up delivering not only Israel, but the whole world in a very different way than anyone was expecting.  (But that’s the story of Easter, and we’re not there yet.) During Advent, Christians remember the centuries of Israel’s powerless waiting to be rescued, and how, true to his word, God sent them a messiah.

Choosing this hope sometimes feels naïve and even dangerous. I want to have hope, to hold it like a banner against the forces of destruction and pain whirling about in the air. 

However, Advent is not just for looking back.  It is also a space for acknowledging all the myriad ways in which darkness still rules over us today.  How we still suffer and hurt and die.  How we inflict these things on each other.  How it seems like, no matter how we try to make the world better, it’s still always in a tragic mess.  And then, while we’re acknowledging all of that and feeling its great weight, Advent asks us to do something that feels preposterous at times: to believe the promise Jesus made that he will, one day, banish darkness from the earth and make it completely and irreversibly whole and new.  In short, we’re asked to continue to wait hopefully for light to break while we live in the darkness.   

Choosing this hope sometimes feels naïve and even dangerous. I want to have hope, to hold it like a banner against the forces of destruction and pain whirling about in the air.  But, in the face of the anguish of Israel and Gaza, and the wounds I’ve experienced in my own life, do I dare live as if everything will come right in the end?  I would like to, but when hope ends in disappointment it wounds deeply.  I’m not always sure I can afford to risk hope.

If you still weep and mourn for what is wrong in the world, however powerless and wounded you may feel, you are not yet overcome. 

Advent urges me never to stop calling for help, but if calling for help isn’t exactly the same thing as summoning hope, it’s perilously close.  Is it possible to call for help if I don’t believe, if I am afraid to let myself believe any help will arrive?   

Well, apparently it is.  I learned this from Afraa’s tiny daughter buried in rubble.   

After the earthquake, relatives and friends rushed to the ruins of the collapsed apartment building in order to try to rescue those who had been inside.  As they dug through the debris, one of them reported hearing “a voice” from beneath the rubble.  The rescuers followed the sound and eventually uncovered the baby, still attached to her mother by the umbilical cord.  She was pulled from the wreckage of her house and family, and sped to hospital where she miraculously made a recovery and was adopted by her aunt and uncle who gave her her mother’s name.    

She was rescued because someone heard her voice.  The journalist does not specify what kind of noise she was making, but given that she was injured, suffering from hypothermia, and barely breathing it seems it must have been weak crying or whimpering.  And considering that she was surrounded by her dead mother, father, and four siblings, and that the entirety of her short life outside her mother’s body had consisted of the noise, terror, chaos and pain of the building falling upon her, it seems impossible that she was hopefully and consciously calling for help. How could she imagine what help might be?  Her mother had not even had the chance to hold her in her arms. What could she know of a tender face, gentle hands, warm blankets, nourishment in her belly, soft fabric against her skin, the healing of wounds?  She was not waiting or hoping for any of these.  She did not even know they existed.  She was simply weeping for the terror and pain and loneliness of her little life.  But the weeping was enough to save her.    

As I consider tears, it seems to me that they can, in themselves, be reason for hope.  The person who weeps has accepted neither that things are the way they should be (as do those who cooperate with or advance the destructive forces in the world), nor that things are the way they must be (as do those who, however understandably, give up and surrender themselves to being destroyed).  If you still weep and mourn for what is wrong in the world, however powerless and wounded you may feel, you are not yet overcome.  In fact, unless we grasp how grievous our wounds are, how can we begin to seek out the right physician?  How will we choose to make the changes within our power to make?  A world that is lamenting its own brokenness, as Advent encourages it to do, seems to me to be a world for which there is yet hope.    

I have never experienced the trauma of a building collapsing upon me, but I’ve spent plenty of time trapped beneath the twin wreckages of a life I once had and the one I was hoping to build.  Maybe you’re buried in rubble too.  Maybe you’ve survived an earthquake and its aftershocks, but you’re not sure you’re glad you have because you’re bleeding and crushed and in the dark and you can’t imagine how you will rebuild and survive in such a world even if you do eventually emerge.  Maybe you’re not even sure you want to be rescued because it’s all, all broken now – your home, your family, your bones.   

This Advent I am trying to gather the strength to call for help for myself and for the world although my heart and my faith are bruised.  Maybe you will call too.  But if we are too afraid and confused and wounded to do even that, then let us weep, friend, together in this darkness.  For although this is a world in which much breaks and dies, it is also one in which rescue has been known to arrive unlooked and unhoped for.  And if the memory and the promise of Advent hold any truth, sometimes the hand outstretched unexpectedly to deliver turns out to be, beyond all imagining, the hand of God. 

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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