Interview
Change
Community
Faith
S&U interviews
6 min read

Cost of living crisis: faith and food banks combine to tackle destitution and its causes

The Trussell Trust wants food banks in its network to reduce the need for their services. Robert Wright finds out why the trust regrets they still distribute so much food.

Robert is a journalist at the Financial Times.

 

A man stands in front of a food bank's shelves of cereals and boxes labelled by foot type.
Howard Wardle at Eastbourne's food bank.

When Howard Wardle was making plans to set up a food bank in Eastbourne, in East Sussex, he received little support from his fellow church leaders. Speaking in the industrial estate warehouse that has been the food bank’s headquarters since 2017, Wardle recalls how at a meeting called to discuss the idea he largely encountered bafflement. At the time, Wardle was pastor of the town’s Community Church. 

“They said, ‘There isn’t a need in the town – you’re wasting your time doing it’,” Wardle says of the meeting in 2011. 

Wardle nevertheless received encouragement from Eastbourne’s Citizens’ Advice Bureau, from the major of the local Salvation Army congregation, the local authority’s social services – and the Trussell Trust, the UK’s largest organiser of food banks. The food bank, of which Wardle is now chief executive, last year handed out 280,000 meals. 

Yet for Wardle and the Emma Revie, the Trussell Trust’s national chief executive, it is a matter of regret that its members are distributing so much food – organisations affiliated with the Trussell Trust handed out 2.99mn parcels in the year to March 2023. The figure was a 37 per cent increase on the year before, a rise largely down to the cost of living crisis started by the spikes in energy and food prices following Russia's full-scale invasion of Ukraine in February 2022. 

“It’s incredibly worrying and upsetting that so many people – more people – are having to come to food banks,” Revie says. 

Workers at the Eastbourne Foodbank and others nationally are following a strategy of campaigning for policies that seek to ensure no one needs to seek emergency food support. They also employ staff who help clients to navigate the benefits system, prepare for work or take other steps to find a permanent solution to their problems. 

“We were absolutely resolute that enough is enough. We needed to do whatever we needed to do to reduce the number of people needing to come to food banks.” 

Emma Revie

The Trussell Trust centrally provides organisational support for affiliated food banks but deliberately does not undertake functions such as purchasing food. 

Revie says it adopted the strategy of trying to put itself out of business five years ago, after experiencing significant growth in demand for its services. The trust was founded in 1997 in Salisbury by Carol and Paddy Henderson, a Christian couple. Christian principles have been core to the trust’s operations ever since. 

“We reached a decision point where we either had to accept that this situation was likely to increase and would always be needed or we had to decide that that was not acceptable and change the way we thought about our work,” Revie says. 

The trust recognised how inadequate food parcels were to the fundamental needs that member food banks were seeing among clients, she adds. 

“The reason people are coming to food banks is they don’t have enough money to afford the essentials,” Revie says. “They know it’s not going to put credit on the gas meter. They know it’s not going to pay for school shoes.” 

The organisation had to decide whether it accepted as inevitable that so many people needed its services or would reorient itself towards working to end that need, she adds. 

“We were absolutely resolute that enough is enough,” Revie says. “We needed to do whatever we needed to do to reduce the number of people needing to come to food banks.” 

“We’re not just here to get people on benefits. If we think they can work, we try to encourage people to get into work.” 

Robert Crockford

In Eastbourne, the strategy of reducing dependence on food banks has been in place from the start, according to Wardle. 

“When we started, we felt it was one thing to have a food bank giving out food but another to have people not need to come to food banks,” he says. 

After receiving some grant funding, the food bank took on staff to help clients to resolve their financial problems and ensure they were receiving all the welfare benefits to which they were entitled. 

“We built a welfare benefits team, a debt team and a medical benefits team so that we could help clients,” Wardle says. 

Robert Crockford, the food bank’s senior advocacy officer, says he helps food bank clients to navigate issues such as the two-child limit and the overall benefits cap that restrict the amount benefits recipients can receive. 

The two-child limit stops parents from receiving child benefit for any more than two children if the additional children were born after 2017. The benefit cap - £283.71 for a single person living outside Greater London – was introduced in 2013. It limits the total amount a person or family can receive from the system. 

Crockford explains that he seeks to help clients to explore whether they count as disabled, a carer or have some other status that might enable them to receive higher benefits. 

The group also works with People Matter, a charity that helps to prepare people for work. 

“We’re not just here to get people on benefits,” Crockford says. “If we think they can work, we try to encourage people to get into work.” 

Revie bemoans the overall inadequacy of the benefits system, pointing out that many recipients of Universal Credit – the main income-support benefit for most people who are unemployed or on low incomes in the UK – cannot afford food. 

“When almost half the people on that benefit are unable to afford food, something systematically is failing,” she says. “So do you tackle the symptoms or do you tackle the actual problem?” 

That emphasis on tackling problems is clear at another food bank affiliated with the trust – in Kingston, on the south-western edge of London. 

Ian Jacobs, director of Kingston Foodbank, says his organisation works closely with Citizens’ Advice to try to develop permanent solutions for people seeking help. 

“We do deep-dive investigations into people’s circumstances to try to see if we can get more money into people’s pockets,” he says. 

Kingston Foodbank currently operates six foodbank centres and one pantry, where referred clients can select and buy reduced-price food. Jacobs says he would like one day to reverse the proportion, so that it operates six pantries and one food bank. 

Jacobs, a member of the Doxa Deo Community Church, an independent evangelical church, also makes it clear that many volunteers are working at the food bank out of Christian conviction. 

“We’re always open to pray with clients,” he says. 

Revie says the trust is “deeply rooted” in the local churches. 

“Many of our volunteers and staff are motivated in the work that they do by their Christian faith,” she says. “Our values of community, compassion, dignity and justice are deeply rooted in the Christian faith.” 

Revie points out that the trust was founded by Christians and that its network grew through approaches by individual churches to the trust. 
"We as an organisation work with people of all faiths and none and we certainly support people of all faiths and none," she says. "But we are deeply rooted in the local churches and many of our volunteers and staff are motivated in the work that they do by their Christian faith,” she says. 
Faith has a "very special role to play" in the trust's work, Revie adds. 
 “Our values of community, compassion, dignity and justice are deeply rooted in the Christian faith," she says. 

“We don’t believe there should be food banks in today’s society,” Jacobs says. “That’s why we do all the extra work to make sure people aren’t dependent on the food bank.” 

Review
Culture
Film & TV
Identity
Music
6 min read

Life is complicated, and Alan Bennett knows it

Beneath The Choral’s cosy nostalgia lie some discordant truths

Roger is a theologian and author with a particular interest in the relationship between faith and culture.

An Edwardian choirmaster conducts.
Ralph Fiennes conducts.
Sony Pictures.

There is something wonderfully disconcerting about the movie, The Choral. On the face of it, it’s a feel-good tale in the light-hearted British comedy-drama tradition. Set in the fictional Yorkshire town of Ramsden during the First World War, the local choral society put on their annual production. Confronted by a succession of challenges and setbacks they persevere and accomplish their goal. 

With Ramsden beautifully conceived and filmed in the model village of Saltaire, it is evocative of its time and place. Scripted by national treasure Alan Bennett, now aged 91, it is shot through with his well-observed wit, penchant for understatement and gentle melancholy. This is a heady mix.  

That the film is directed by BAFTA, Olivier and Tony Award winner Nicholas Hytner, a longtime collaborator with Bennett (The Madness of King George, The History Boys and The Lady in the Van) and includes Ralph Fiennes, Roger Allum and Alun Armstrong among its cast only underlines the dramatic quality of the ensemble. 

So, all things considered, you’d expect this to be a heart-warming foray into the cosy nostalgia of the familiar. The fact that it is also the first original screenplay from Bennett in 40 years, with Elgar’s The Dream of Gerontius as its musical heart, would also seem to guarantee universal critical acclaim. Wrong on both counts. 

From the outset, something doesn’t seem to be quite right. It’s a little off. The progression of a young postboy and his mate around the town on their bikes, delivering telegrams to young, widowed women is heartbreakingly poignant. But Ellis, the postboy Lofty’s mate, disturbs the pathos of the moment by cheerily embracing the possibility of romance, “Grief, it’s an opportunity!”  

Of course, the backdrop of the film is the war. The war has robbed the Choral Society of its choirmaster and its male members. Then, having recruited young men in their place, the prospect of conscription on their eighteenth birthdays is inescapable and inexorably drawing closer. We know what’s coming and a shroud is cast over their endeavours. 

The war also throws up issues of patriotism and the demonisation of everything German. Even Battenberg cake is frowned upon.  

The newly recruited choirmaster, Dr Guthrie played by Fiennes, is also held in suspicion as he had previously lived in Germany by choice. For him it was a nation of high culture, philosophy and civilised society. 

At one point he recites  

“A man should hear a little music every day of his life so worldly cares may not obliterate the beautiful in the human soul.”  

Revealing he is quoting “Johann Wolfgang von Goethe” he is abruptly rebuked, “For God’s sake man, lower your voice.” So it is that the Society abandons its customary performance of Bach’s St Matthew Passion for the Elgar, with Bach “being a Hun!” 

Guthrie is also suspect in the minds of some because “he is not a family man”. Behind the euphemism lay a relationship in Germany, cut short by the beginning of the war and the German joining the Imperial Navy. 

When the choir learn from a newspaper report of “829 Germans killed at sea” they break out into a spontaneous and raucous singing of “God save the King”. Knowing the ship, Guthrie is left in private, unshared grief. For the audience, the nationalistic enthusiasm rings empty, hollow and jarring. 

People’s lives are complicated, what drives and motivates them remains largely unknown and the consequences frequently unanticipated. Bennett pulls back the curtains a little bit to give us a peak. Things are not straightforward. Issues are not as black and white as we tell ourselves. Our impressions and the stereotypes that inform them do not stand scrutiny. 

There’s the mill owner, Alderman Duxbury (Roger Allam), who funds “the Choral”, chairs the committee and expects a leading role is the epitome of privilege. Yet he has lost a son to the war and is deeply grieving himself, unsupported by his wife who is paralysed by her grief and emotionally frozen. 

Then, as the film progresses, Clyde returns from the front after being ‘missing in action’ and having lost his arm. However, he discovers that his fiancé, Bella, had ultimately been unable to wait for him and has taken up with Ellis.  

Processing his trauma and negotiating the loss of Bella, to his shame he manipulates her for a sexual favour. Hero and villain, pain and pleasure, light and dark all laid bare within the beauty of the Yorkshire landscape and Elgar’s transcendent music. A gifted tenor, Guthrie casts Clyde in the leading role while Bella and Ellis take their places in the chorus. 

Complicated! 

Other characters are interlaced into the tale with their own backstory. Salvation Army singer, Mary, has an angelic voice and takes the female lead. A committed Christian she resists romantic advances, while Horner, the Societies’ accompanist wrestles with the whole idea of war and the love that dare not speak its name. When the sensitive musician is robustly led away to prison by the military another discordant note is played in the audience’s mind. 

Then there are cameos by a pompous and self-important Elgar, the thoughtful and compassionate Mrs Bridge, a woman of ill-repute, and the local vicar, who is more concerned about the Roman Catholic theology contained in John Henry Newman’s religious poem, The Dream of Gerontius upon which Elgar based his oratorio.  

“Purgatory …” says Clyde, “… I could take you there tomorrow!” 

The closing thought is Newman’s, not as the Society performs, but as the lads, now 18 and in uniform, wave to their friends as their train leaves the station. The oratorio scores the scene with the Angel’s farewell: 

 “Softly and gently, dearly ransomed soul, In my most loving arms I now enfold thee.” 

While the film has been received warmly by some, not everyone is convinced. Rachel LaBonte is clear that the narrative is: 

“… suffocated by the sheer number of characters at play, and the odd disconnect between their individual arcs.” 

And Guy Lodge in Variety observes: 

“Bennett’s script flits inconsistently between generations, foregrounding certain perspectives before they suddenly recede …” 

But actually, this is the genius of Bennett’s script. This is what life is like. Every day we bump into loads of people, each one living their own life, with their own issues and their own back story. And you can be sure there is an ‘odd disconnect’ between our lives no matter how much we have in common. 

And life does ‘flit inconsistently’ between triviality and seriousness, between the interests of the young or the old, between what matters, what’s a priority and what’s a diversion. 

While the substance of the town of Ramsden, the elevating art of the Choral Society and horror of the war frame the story, what it’s about is the people. A diverse, complex set of individuals who inhabit a particular place and a particular time. They share the space, but each have their own lives to navigate and each of their lives is complicated. And the number of characters and the flitting about is precisely how Bennett makes his point. 

It was a first world war British Chaplain who advised the men at an army camp in Zeitoun, Egypt to be careful about judging those around them: 

“There is always one fact more in every man’s case about which we know nothing.” 

If we only knew what baggage people are carrying, what they’re wrestling with and what they’re keeping to themselves we would see them in a different light. We might even, perhaps, treat them more kindly. 

Life is complicated. We are complicated. In these febrile times it would be good to remember that and cut each other some slack. 

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