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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. 

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Art
Change
7 min read

The bold museum reflecting a “moonlight” experience of the unseeable

Robert Wright visits the UK's only Faith Museum, in Bishop Auckland, and hears how its funder hopes to inspire reflection on the divine.

Robert is a journalist at the Financial Times.

 

A art installaton showing purple and pink flame-like shapes moving in a darkened room
The Eidolon art installation.

It takes a moment to grow accustomed to walking in the dark of the long, steeply roofed room that houses Mat Collishaw’s art installation Eidolon. But the artwork’s impact is immediate. Two huge, moving images in the middle of the room show a blue iris flower. It is being engulfed by flames but not consumed. Speakers play, in Latin, a story from the Hebrew bible’s Book of Daniel in which three young Jewish men survive being thrown into a fiery furnace for refusing to worship the Babylonian king. The artwork is a rare successful attempt to capture in modern art the essence of Christ’s crucifixion and the Christian tradition of martyrdom, with its roots in earlier Jewish beliefs.

Watch Eidolon

Eidolon is one of the highlights of the UK’s first Faith Museum, a bold project opened on October 7 in Bishop Auckland castle, the historic residence of the Bishops of Durham. The museum forms part of The Auckland Project, a series of initiatives in Bishop Auckland, north-west of Darlington, being funded by Jonathan Ruffer, a Christian and successful City investor. Ruffer’s childhood home was outside nearby Middlesbrough. The new institution aims to tell the story of 6,000 years of faith in Great Britain, starting with the Gainford cup and ring stone. The stone, found 90 years ago 10 miles from Bishop Auckland, may date from as early as 4,000BCE. It features carvings regarded as the earliest evidence of religious practice in Great Britain. 

Jonathan Ruffer.

A man stands in a formal dining room that has traditional paintings on the walls
Jonathan Ruffer, in Bishop Auckland Castle.

Ruffer, however, declines to link the museum’s contents to his own faith or an explicitly Christian message. He insists that he is merely seeking to advance discussion of faith in a society where it is little debated but remains a potent force. In the living room of Castle Lodge, his home in the castle grounds, Ruffer compares the contemporary taboo about religion with the very different mores of the 19th century. 

“Nobody talked about sex in Victorian times,” he says. “It’s impossible to imagine that because the public world was silent on it, it was not as much a guiding force as it is today. I think that’s where faith is now.” 

He adds that the 10-year process of establishing the museum has made it “absolutely apparent” to him why there are no other similar institutions. 

“What is a museum for?” he asks. “It’s to gawp at things and if you think what is the subject matter of a faith museum, it’s God. In whatever form and shape that you believe that God to be, you cannot see that topic.” 

The museum is nevertheless rich in sometimes poignant objects that the curators call “witnesses” of faith. They include the Binchester Ring, a ring with Christian symbols dating from the third century of the Christian era. The ring, found only a mile from the museum, is regarded as the earliest known evidence for Christian practice in Britain. There is a small slate, engraved on one side, that served as an altar for Recusant Roman Catholics while their Church was out in the cold and had to stay hidden during the Reformation years. The slate could be turned over and disguised as a normal roof slate when not in use. The museum has on loan the Bodleian Bowl – a rare example of a ceremonial vessel used by one of England’s Jewish communities before King Edward I expelled the group in 1290. 

Ruffer says the impact of the objects – many on loan from other museums - comes from their histories. 

“There’s a great power in the objects that we have,” he says. 

Eileen Harrop.

A priest stands in front of lead glass windows and carved seats.
Eileen Harrop, entrepreneur priest and museum advisor.

Among the advisers on the museum’s establishment was Eileen Harrop, a Church of England priest originally from Singapore and of Chinese origin. She was appointed an “entrepreneur priest” in 2016 to work with Ruffer on The Auckland Project. Meeting in the castle’s former library, she says the museum avoids suggesting all faiths are the same, while also steering clear of Christian proselytising. Harrop, now the vicar of four parishes around Bishop Auckland, expects the museum to have a powerful effect on visitors. 

“It allows for people to experience the God who led Jonathan here,” she says. “It allows for people to enter into all the different ways in which people can identify something about faith and then it’s up to God.” 

A visit’s emotional impact comes largely from the new institution’s first floor, devoted to works created by contemporary artists exploring faith. Some of the most powerful exhibits are black-and-white pictures in which Khadija Saye, a young British-Gambian artist, explores possible uses for religious objects belonging to members of her family, some Muslim and some Christian. Saye lost her life in the 2017 Grenfell Tower fire. 

A series of works by Christian painter Roger Wagner has proved particularly timely. The museum opened the same day that Hamas terrorists started the current Israel-Gaza war with their attack inside Israel. The paintings translate stories from the Christian New Testament to the contemporary, riot-scarred occupied West Bank. 

Eidolon is among the works on the first floor. Harrop calls it an “amazing installation”, particularly for its retelling of the story of Daniel. 

“It relates a story… of what was going on in that particular experience of the faithful person called and protected with his companions in relation with God and the power of faith,” she says. 

Ruffer, meanwhile, shies away from expressing spiritual aspirations. 

Asked how he hopes people will respond to the museum, he says: “I couldn’t care less – that’s up to them. I have many faults but a sense of wanting to tell people or persuade people how they should be is very low down the list.” 

Yet Ruffer is clear that he received a clear, divine call to come to Bishop Auckland. He was first drawn to the area by his enthusiasm for Spanish art and his determination to prevent the Church of England’s Church Commissioners, then owners of the castle, from selling its prize artworks – life-size, 17th century portraits by Francisco de Zurbarán known as Jacob and his 12 Sons. The paintings, saved for Bishop Auckland in 2011 by a multi-million-pound donation by Ruffer, remain in the castle. But the Zurbarán link inspired Ruffer to establish a Spanish Gallery, dedicated to art from Spain, on Bishop Auckland’s Market Place. 

“I came here really through a calling,” Ruffer says. “I felt the need really to drop everything and come up to somewhere in the north-east, to be part of a community.” 

Ruffer’s engagement with the town deepened when the Church Commissioners announced, also in 2011, that they planned to sell the castle. Auckland Castle was formerly a seat of both ecclesiastical and secular power when the Bishops of Durham were prince-bishops – uniquely in England, both secular governors and bishops. The bishops lost the last of their secular powers in 1836. Ruffer bought the castle and transferred ownership to a newly established Auckland Castle Trust, which became The Auckland Project. 

“I’ve heard from people who have through it who have said they can’t really put their finger on what it is, but they must go back again,” 

Ruffer accepts there are issues with trying to capture the imagination of Bishop Auckland’s 25,000 inhabitants from inside a castle whose imposing entranceway symbolises its symbolic role as a seat of sometimes oppressive power. 

“That sense of power is felt as a reality by people,” he says. “But it’s empty. Power has long since moved away from the prince-bishops and then the bishops.” 

The castle’s unique history nevertheless makes it the ideal setting for the museum, according to Ruffer. Exhibits are housed both in a wing of the historic castle and a new, purpose-built extension. Ruffer says the castle was a far better place to site a faith museum aimed at raising questions than somewhere more explicitly linked to a specific faith such as a cathedral close. 

“Auckland Castle has been intricately involved with faith for nearly 1,000 years and yet it hasn’t been a place of worship,” he says. “It has a chapel but it’s ecclesiastical without being a cathedral, church or minster. So it seemed to me that that made it very appropriate for a faith museum.” 

The early signs, according to both Ruffer and Harrop, are that the new institution is encouraging reflection among visitors. Ruffer says the museum has responded to the “elemental need” for faith. He adds that the positive reaction so far vindicates the initiative to establish the museum, which he says has brought together objects and described them “without any directional guidance as to which works”. 

Harrop reports that visitors seem to feel the need to experience the museum a second time after a first visit. 

“I’ve heard from people who have through it who have said they can’t really put their finger on what it is, but they must go back again,” she says. 

Ruffer identifies the museum’s power by saying that it gives people an easier experience of the divine than would otherwise be available to them. He compares the experience of encountering God through the museum to looking at the light of the sun as reflected in soft moonlight. That, he points out, is far easier than looking painfully and directly at the sun. 

“The thing that changes people is to be confronted with something bigger than yourself,” he says.