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Loneliness
6 min read

The curse of loneliness and the hope of kindness

The tend-and-befriend response is present in many species, but it reaches a particular level of genius in ours, explains Roger Bretherton.
A person stands in a road under misty street lights.
Atharva Tulsi on Unsplash

Loneliness kills. I’ve known that for a while. It dawned on me when, as an undergraduate, I first read the anthropological studies of the so-called ‘voodoo death curse’. An admittedly politically incorrect name for a horrifying phenomenon that has haunted me ever since. The studies, reported in the early twentieth century, attempted to account for the highly effective way in which shaman in tribal cultures were able to pronounce death on aberrant members of their community. Often within days of coming under the curse, the hexed individual was dead. It looked like magic. 

Psychologists studying anxiety became interested in this phenomenon as an illustration of the connection between social stress and physical health. On closer examination, they noted that those on the receiving end of a death curse, not only came under the opprobrium of a powerful spiritual authority but were consequently entirely isolated from the community that gave them their identity. The moment the curse was decreed they became a non-person. They ceased to exist in the eyes of the collective. They became a ghoul, a wraith, an abomination to their people. They experienced a social exclusion so absolute and catastrophic that the stress of it killed them. Physical death swiftly followed social death. 

When we fall foul of the charismatic leader of a workplace... we may for a moment shiver in the chill breeze of the death curse.

But the death curse is not confined to stone age tribes and agrarian collectives. It is a ubiquitous artefact of human social life. In subtly disguised form it continues to stalk the industrialised societies of the West. We see it in any social situation that terminally frustrates our hardwired biological need to belong. When we are cast out of employment through redundancy, retirement, or sickness. When a social faux pas leaves us persona non grata. When our social media presence is more of a toenail than a footprint. When we fall foul of the charismatic leader of a workplace, a neighbourhood, a family, a church. We may for a moment shiver in the chill breeze of the death curse. We wonder briefly if the silence and the cold shoulders will kill us. 

We don’t often think about the all-too evident connection between belonging, stress and health- but we should, because social connectedness is the primary way we as a species have made it this far. Most of us are familiar with the physiological responses to acute stress. There are only a few of them. It’s like a multiple choice test, take your pick: a) fight, b) flight, c) freeze, d) faint, or e) some bespoke combo of all of the above. We probably also have some recognition that those of us living in information economies tend to spend too much time in these stressed states of mind. They are designed for short-term threats (like predators), not long-term projects and serial deadlines. The cortisol coursing through our veins designed to deliver us from danger now stops us sleeping at night, and lurks behind all the major killers of our culture: cancer, heart disease, and depression. 

But before we get to all that stressed-out running and punching and standing still like startled rabbits, there is a more common everyday way that human beings deal with stress. Our primary way of navigating a challenging and threatening world is our equally hardwired ability to reach out to others- the social engagement system. This tend-and-befriend response is present in many species, but it reaches a particular level of genius in ours. Our capacity to form groups that can coordinate action through a sense of unified purpose is what allowed our ancestors to take down woolly mammoths and survive ice ages. Our principal strength comes not from our ability to make fists, but to join hands. 

 

To fall out of connection with others is an existential threat. 

No wonder then, given our history as an eminently social species, that loneliness- the perceived shortfall between desired and actual social contact- is experienced as a menace to our survival. It once was, and still is. To fall out of connection with others is an existential threat. Clinical research has been reporting for decades that social support, or rather the lack of it, predicts and maintains pretty much every form of psychological distress we can bring to mind. In a small-scale way I repeat that finding with my own students every year. We annually distribute a 19-item well-being survey to several hundred university students. Most of it asks about the good stuff, happiness, quality of relationships, sense of purpose and so on. But one question asks them to rate, simply on a 1-10 scale, how lonely they are. Every time we run it on campus, this single lonely question predicts levels of depression, anxiety and stress, better than any other demographic. 

So, it is good that loneliness is back in the news. Only last month the US Surgeon General, Vivek Murthy, issued a report on the devastating health impact of loneliness. It affects a large proportion of the population- he cites 50% in the US, but UK estimates tend to be more conservative. It is apparently as damaging to our health as smoking 15 cigarettes a day, and twice as risky as downing six alcoholic drinks daily. Public health officials are partial to measuring mortality in fags and booze. But Vivek Murthy did something very un-like a public health official: he spoke about his own loneliness. How his very success in office had severed ties with friends and family, leaving him isolated, lonely and having to learn to re-connect. He proposes six pillars for addressing the societal scourge of loneliness, but as yet no government funding has been allocated to the initiative. 

It is when we give to others that we know we are known- we matter. 

When the experts are asked what we can do about loneliness they tend to advocate a multi-level approach. As individuals, we should Get Out. If we are lonely there are things we can do about it. Volunteering, exercise, singing, therapy, reconnecting with old friends, Counter-intuitively, we are more likely to benefit from activities in which we give something, in which we care or contribute. It is when we give to others that we know we are known- we matter. 

As groups we should Look Out. Not everybody is able to overcome the barriers to social contact. Some people through physical or mental disability need others to look out for them. I witnessed a heart-warming example of this recently. There is a notorious character who lives locally. He dresses in black, has wild hair, walks with a limp, and speaks in grunts. He’s harmless, but he scares children. I don’t know what trauma or substance reduced him to this state, but he staggers past us twice a day on the way to his allotment. A few weeks ago thieves broke into his shed and stole all his gardening tools. He was pitifully distressed. But within hours the entire neighbourhood had mobilised through social media, and equipped him with every trowel, fork and hoe, that could be spared. I can’t help feeling that there is something in us as people that wants to act kindly like this, and cultivating this instinct gives me hope that we as a society can beat back the spectre of loneliness.

Loneliness it seems may not be just a bug in our software, it may be encoded in our cultural firmware- part of its operating system. 

Which leads us to the third level of action, we need to Sort Out the dehumanising trends of our culture that inevitably generate and enable the pandemic of loneliness. As Mother Teresa famously observed, loneliness is the price we pay for wealth in the West, it is our true poverty. There may be something inspiring about the ruggedly individualistic, materialistically motivated, hyper-competitive, ideal of success that presides over our culture. But the studies of psychological wellbeing unanimously conclude that every one of those motivating values leads to misery, distrust and isolation. Loneliness it seems may not be just a bug in our software, it may be encoded in our cultural firmware- part of its operating system. Perhaps that is why most government-led attempts to alleviate the problem (in the UK and US at least) smack of tokenism. As the old organisational mantra goes: our social system is perfectly designed to bring about the outcomes it produces. So, what do we need? Nothing much. Just a completely transformed society. If only there was one of those knocking around, somewhere. 

Review
Culture
Music
Race
6 min read

Beyoncé’s breaking barriers

Cowboy Carter sees the star crack her whip in the temple of the music industry.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Side by side, two rodeo riders on horses trot toward the camera. One is Beyonce, the other a cowboy
Beyoncé at the Houston Rodeo.
Beyoncé.com

I sometimes wake up in a cold sweat with flashbacks of one terrible swimming lesson at school. I had accidentally forgotten to forget my kit, so was forced to face not only the freezing water, but the spouting of ignorant prejudice from my teacher.  

“Kandiah, you’re useless,” he said, as I heaved myself out of the pool at the end of the lesson. “Although I guess it’s not your fault you can’t float like the white children. Your bones are heavier. Look at the Olympics – you never see black and Asian swimmers, do you?” 

I opened and closed my mouth a few times, like the fish out of water I suppose I was, but inside I was seething.  

Being told I couldn’t do something made me all the more determined to do it. Back in I jumped.  

Last week, in another splash aimed at proving people wrong, Beyoncé’s magnificent album “Cowboy Carter” became the first album by a black woman to top the country charts. 

On her Instagram feed she said: “the criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me.” 

It was a brave move. Back in 2016, she had received heated and hate-filled reactions when she performed her song Daddy Issues at the 50th Country Music Association Awards with the country music group Chicks, formerly known as the Dixie Chicks. Many country music fans were outraged, calling it an act of cultural appropriation. One response on social media put it starkly: “SHE DOES NOT BELONG!!”.  

But as a Texan who had been brought up around country music, Beyoncé disagreed. She would spend the next five years planning her response. Cowboy Carter proves her country credentials beyond all doubt. It’s not only about the music. It also does three important things that show the world what can be done when faced with barriers of prejudice and ignorance. 

She honours the past

The album is clearly an act of tribute to trailblazing country artists before her. Beyoncé included notable guest appearances and feature tracks and took the unusual step of sending flowers to all who had inspired her.  

Beyoncé sent flowers to Mickey Guyton, the first black female artist to be nominated for a Grammy Award in the Country category. She also sent flowers to K. Michelle and featured Tanner Adell, Brittney Spencer and Reyna Roberts on the Cowboy Carter track Blackbird, a song that Paul McCartney wrote as a response to the case of the Little Rock Nine, a group of African-American schoolchildren initially barred from attending a previously racially segregated school in Arkansas. It took the direct intervention of then President Dwight Eisenhower in 1957 to make it possible for these children to attend their school. She also included guest appearances from country music royalty Dolly Parton and Linda Martell, who both introduce songs on the album. Dolly’s introduction to Beyoncé’s reworking of Jolene is particularly poignant: “Hey Queen B it’s Dolly P”.  

The song Jolene sticks faithfully to the guitar riff from the original, but the words and the tone of this song are completely different. Dolly’s original Jolene was begging another woman not to take her man from her. But Beyoncé will have none of that. She is full of threat and menace:

“I’m warnin’ you, don’t come for my man… don’t take the chance because you think you can.”  

As Beyoncé pays her dues to the greats that have gone before, she also offers a very different picture. She can recognise the past, and yet not be imprisoned by it. She can appreciate those who have laid the foundations for a new era, unbound by cruel stereotypes.  

She challenges the present 

We don’t have to look far to see the way that western society is splintering. It is becoming harder to find common ground, harder to move from one tribe to another.  Beyoncé’s album is political in that it is deliberately breaking down a wall and smashing a division. She refuses to accept that there are no-go areas for people of colour. The album feels like Beyoncé’s famous baseball bat from Lemonade, but this time it isn’t smashing cars, but preconceptions and prejudices instead. 

There’s anger in this record. The first song is “American Requiem” and includes the line:  

“They used to say I spoke ‘too country’./ And the reaction came,/ said I wasn’t country ’nough / If that ain’t country / I don’t know what is?” 

Full of confidence and rage she asks over a bed of country music guitar chords:  

“Can you hear me? / Can you stand me?”  

Beyoncé does not disguise the ironies. The fresh anger and challenge weaves into classic forms and tropes of country music. The artist that some wanted to exclude from the genre tops the charts. The pop icon becomes an iconoclast.  The smashing of divisions makes way for the building of something new.   

She opens a door for the future

It is within living memory of many that black people were prohibited from sitting at the front of a public bus or drinking from the same water fountain as white people. Beyoncé’s Cowboy Carter is not just a smash hit it is a smash down of the boundaries of genre that had excluded her and others. With this boundary smashed the opportunity is opened for others too.  

For example, there was a recent stand-out performance at the Grammy awards watched by millions around the world – the duet between the country star Luke Combs and Tracy Chapman. Luke, a young white man, is part of a new generation of country singers with a huge following. The legendary black artist Tracy Chapman recently turned 60. The joyful performance was particularly touching as the two of them looked genuinely delighted to be singing together. The video went viral and lead to a huge uplift in Chapman’s sales. The song Fast Car rocketed to the top of the charts some 36 years after it was first released.  
 
Cowboy Carter is Beyoncé using her voice and talent to push back against prejudice and push forward to a new era. She is cracking her whip in the temple of the music industry. She is driving out those who have commandeered the space that rightly belongs to those from any and all backgrounds.  She is righteously angry at the injustice. She is declaring that country music be reclaimed as a meeting place for all nations to enjoy.  

When Jesus unleashed the whip against the tables of the moneychangers in the temple who were excluding the non-Jews the space rightly belonged to, he fiercely declared: “My father’s house is to be a house of prayer for all the nations.” He was not only breaking the barriers of the past but ushering in a new future, a future where everyone could gather together before God on equal footing. Jesus would eventually die on a cross to ensure this free access to God was available to everyone - wherever they were from, whatever they had done and whatever they looked like.  

I welcome this album by Beyoncé in that spirit of challenging prejudices, breaking down barriers, and clearing the decks for a new future equally available to all.  

If only I could have whipped myself into shape, I believe I could have been the Cowboy Carter of the swimming world forty years ago.  

 

Beyoncé in her own words

“Ain’t got time to waste, I got art to make/ I got love to create on this holy night/ They won’t dim my light, all these years I fight.”  

16 Carriages 

“Say a prayer for what has been / We'll be the ones that purify our father's sins / American Requiem / Them old ideas (yeah) / Are buried here (yeah) / Amen (amen) 

 Amen