Article

Advent

Creed

Gaza

3 December 2023

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.

J. S. Averill

J.S. Averill is an American writer and children's educator. She has recently started Substacking.

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

Creed

Egypt

Film & TV

Freedom of Belief

7 February 2025

6 min read

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.

Belle Tindall

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An graphic image shows 21 men in orange suits kneeling in front of executioners in black.

MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.

We knew a story, now we’re hearing their story.

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.

40 days, that’s how long the twenty-one were held for.

960 hours.

57,600 minutes.

3,456,000 seconds.

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes.

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.

‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’

This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.

Find out more about The 21

Watch the trailer

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