Article
Creed
Death & life
Football
Trauma
5 min read

The derby, the downpour, and the death of a hero

At Anfield, grief and glory collide
A mural on a side of a pub shows a footballer making a heart sign.
Diogo Jota commemorated, near Anfield.
Liverpool FC.

My wife and I went to our first game of the season recently: Liverpool v Everton, in the pouring rain. The stuff of dreams.  

It’s a bit of a walk from the train station to Anfield and the whole way, I’d been so excited to get that first glimpse of the stadium, the fans, the atmosphere, the buzz. We turn a corner and suddenly you can see Anfield looming large between rows of houses. One more street and then we’re there and … flowers on the floor. Tributes to Diogo Jota. 

Oh yeah. Diogo Jota’s dead. 

We get a pie, a programme for Jo’s Mum and Dad (who lets us use their season tickets; thanks Jeff and Janet), find our seats. Kick off. Flags wave from the Kop as they normally do and … there’s one of Diogo Jota. 

Oh yeah. Diogo Jota’s dead. 

10 minutes in and Ryan Gravenberch scores a beautiful goal to make it 1-0 and Anfield is roaring. Then 20 minutes hits and everyone stands up to sing Diogo Jota’s song (“Oh, he wears the number 20 …”). 

Oh yeah. Diogo Jota’s dead. 

I hadn’t forgotten that Diogo Jota had died, but being at Anfield made me remember that Diogo Jota had died. 

Being at Anfield – seeing the flowers and the flags, singing his song – all of it hit me and my wife unusually hard. With each new reminder of Jota’s death, I was taken back to the moment a mate messaged me to ask if I’d seen the news of his car crash. There I was again, no longer at Anfield watching the footy, but stood in my house, staring at my phone in disbelief.  

For the last year or so, St. Mellitus College (where I’m lucky enough to teach) has been hosting a series of public events to celebrate 1700 years since the Council of Nicaea. The events have been fantastic and, one of the perks of the job is that I’ve had loads of chances to learn from some of the best theologians alive at these events.  

In March 2025, Professor Trevor Hart was giving one of the public lectures for this project. The next day, I and the rest of the staff team had a chance to speak with the professor about his paper. One of the things that struck me in the conversation was what he said about trauma. 

One of the key characteristics of trauma, he said, is that it interrupts our sense of time. I’m going about my day and – all of a sudden – something triggers my trauma response and the past (that thing or event that causes my trauma) is made very present again. I see it and feel it as if it I’m living it for the first time again; it is re-present-ed to me.  

And this is exactly what happened to me, 20 minutes into the Merseyside Derby.  

Look, I’m not saying I have PTSD about Jota’s death or anything like that. I didn’t know Jota; frankly he’s not mine to grieve and I don’t want to co-opt the loss that Jota’s friends and family will be feeling.  

But, our first trip to Anfield since Jota’s death gave us something of a taste of how trauma re-present-s itself. The past became all too present as I stood there, thinking about the moment I heard of Jota’s death.  

But, for a Christian theologian (like Hart), this aspect of trauma is very significant. Because this is exactly what happens in the sacraments.  

The sacraments are bits of Church life in which Jesus Christ is really and especially present. Different Churches will disagree on exactly which events or rituals constitute the sacraments but most would say that baptism and Holy Communion definitely do. 

Let’s take Holy Communion (sometimes called the Eucharist, or Lord’s Supper) as an example. Again, this will look different in different Churches, but in holy communion bread and wine is blessed and said to become Jesus’ body and blood. And here we see the rupture of past and present. The body and blood of Christ, broken and shed on the cross before being raised again, is re-present-ed here for me, now. It is made really present (both in the physical and temporal sense of that word).  

Time and space collapse in on themselves as Jesus Christ – who created time and space in the first place and so can do what He wants with them, thank you very much – bends them to His will just to be present here, and now, with me. 

I wonder whether something similar happens in trauma, too? If trauma, too, might function as a sacrament, of sorts? If the moment of the past rupturing the present when trauma responses are triggered is precisely where Jesus Christ seeks to meet and really be present with those people? 

It certainly felt like it in the roaring, red cathedral of Anfield Road. The moments of remembering Jota’s life and having his death re-present-ed to us felt genuinely … sacred.  

And look, it was the Merseyside Derby, our first in-person game of the season; I was obviously excited, so maybe I was just primed to be emotional when these memories of Jota appeared. Maybe. Who knows? But it would be entirely in keeping with what the Church knows of God’s character that he meets with us precisely at those points where time and space begin to fall apart: in the sacraments, and in trauma. 

There will be flowers and banners and songs for Jota for some time yet. Whenever we drive from our house into Liverpool city centre, we drive by a huge mural of Jota that’s been painted onto the side of a pub.  

It won’t be possible to forget Jota, and there will be lots of prompts to remember him. And in those moments of remembering, time and space may well continue to collapse in on itself. I may find myself once again in my house, staring aghast my phone. And I may well find that Jesus Christ is there with me too. 

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Article
Art
Awe and wonder
Belief
Creed
4 min read

The art of astonishment

Why I am still bowled over by Easter’s implications.

Jamie is Vicar of St Michael's Chester Square, London.

A painting depicts Jesus talking to disciples at a meal.
Caravaggio's The Supper at Emmaus.
The National Gallery.

Recently I wrote about how it would be helpful for those of us in the church to be honest about what we don't know.  

Mary Oliver wrote: 

'Truly, we live with mysteries too marvellous 

to be understood… 

 

Let me keep my distance, always, from those 

who think they have the answers. 

Let me keep company always with those who say 

"Look!" and laugh in astonishment, 

and bow their heads.' 

We begin life by thinking we know everything, and we end it by thinking we know nothing at all, or, very little. Easter confronts us with what we don't know, and what is too marvellous to be understood comprehensively. Sure, the evidence for the resurrection of Jesus is surprisingly staggering. Take Francis Collins, who was Director of the Human Genome project and led the US government's COVID-19 pandemic. He said that he grew up thinking faith was the result of emotionalism or indoctrination. Although his job was saturated in evidence-proving hypotheses, he hadn't taken the trouble to look at the evidence in arriving at his conclusion that God didn't exist, before doing so and giving his life to Christ. 

But even when you've surveyed the wondrous cross and its aftermath, the implications of Easter are unscientific and unsettling, as well as documented and liberating. Try as we might, we can't pin down Jesus. Rowan Williams offers that: 

 "One of the strangest features of the resurrection narratives is precisely this theme of otherness, the unrecognisability of the risen Jesus… For some at least, the encounter with the risen Jesus began as an encounter with a stranger".  

We see this as Mary Magdalene mistakes Jesus for the gardener at the tomb, and similarly with those on the road to Emmaus on the day of the resurrection. They had known Jesus up close, and yet here they travelled quite some way with him before realising it was him. 

This is most beautifully depicted by Caravaggio in his 'The Supper at Emmaus', hanging in the National Gallery in London. As Jesus breaks the bread, their eyes are opened to see what the breaking of his body meant for them. Jesus was hidden in plain sight all along. With the echoes of Christendom, or the Christ-haunted cultures many of us live in, Jesus is hidden in plain sight for us too. We hear echoes, but do not hear his voice. We see fingerprints, but do not see the scarred hands of the Almighty. And in the renaissance master's painting, we see dramatic light and shade, the freeze-frame burst of astonishment of the disciples. As the National Gallery description offers, 

 'he has shown the disciples as ordinary working men, with bearded, lined faces and ragged clothes, in contrast to the youthful beardless Christ, who seems to have come from a different world.’ 

Amidst the mystery, this revelation comes in relation to us. And this is what Caravaggio depicts: that which we find difficult to understand is the joy of a risen saviour who chooses to walk, talk, eat with fellow humans on the day of his resurrection. But, as Williams writes,  

'He eludes and questions our predictions and projections, recedes and hides before our attempts to arrive at adequate, definitive statements... A theology of the risen Jesus will always be, to a greater or lesser extent, a negative theology, obliged to confess its conceptual and imaginative poverty.'  

Perhaps Caravaggio's imagination is less impoverished than most of us!  

Intriguingly, Williams has also written a poem about how the resurrection changes the way those on the road to Emmaus viewed each other. Maybe the anonymity of one of them (the gospel writer, Luke, only names one) helps us to place ourselves in the middle of this mystery. And that is a good place to find ourselves, if we answer the invitation of the risen Jesus and the God who spoke to a captive people through the prophet Jeremiah  

'Call to me, and I will answer you and tell you great and unsearchable things you do not know.’ 

For the disciples, the penny drops, but there is still so much they don't know. This is not to say that they know nothing. Jesus is, in many ways, what Donald Rumsfeld would categorise as a 'known unknown'. Christians believe that Jesus revealed himself in the scriptures, but enough for us to know that there's a lot more to know that we don't know. For those with Christian faith, we don’t exchange the certainty of what we know for mystery, but one of the invitations of the resurrection is to incorporate mystery into faith. And this in itself is not difficult: for to encounter Jesus is to be met with wonder. Those on the road to Emmaus didn’t recognise Jesus at first but their hearts burned within them. For John Wesley, his 'heart was strangely warmed', which strikes me as a very British way of saying his heart was burning within him! 

But many of us will attest that to encounter the risen to Jesus is to shout 'look!' and laugh in astonishment, and to bow our heads. 

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

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