Interview
Books
Creed
S&U interviews
9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan. 

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.” 

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography” 
 

C.S. Lewis. 

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ. 

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”. 

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.  

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”  

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.  

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”. 

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.” 

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith. 

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”  

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”  

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.” 

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.” 

 

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.

 

Interview
Creed
Mental Health
Trauma
17 min read

When the answers run out: Kate Bowler on faith, fragility, and the beauty of uncertainty

Kate Bowler in conversation with Graham Tomlin.

Nick is the senior editor of Seen & Unseen.

A woman sits and smiles in front of her bookcase.

This interview is an edited transcript of the Seen & Unseen Live event.

Graham 

Kate Bowler is a four-time New York Times bestselling author. She's an award-winning podcast host and also an associate professor of American religious history at Duke University. She's the author of a number of books, including Blessed, a history of the American Prosperity Gospel. And they're wonderfully titled - The Preacher's Wife; The Precarious Power of Evangelical Women Celebrities.  

And you may know something of Kate's story, she was unexpectedly diagnosed with stage 4 cancer at the age of 35. And then out of that, wrote the New York Times, bestselling memoir. Everything Happens for a Reason and Other Lies That I've Loved, and her latest book, Have A Beautiful, Terrible Day. Daily Meditations for the Ups, Downs, And in Betweens. Kate hosts, the award-winning podcast Everything Happens.  

We were just talking about students and teaching. What do you teach your students? You say American religious history? Is there a kind of theme? And how do you go about teaching your students? How does that work in your setting? 

Kate 
Sometimes they make me do the Puritans to Trump sort of lectures which I enjoy, but I think the heart of what I love is to talk about American religious myth making. What stories animate their accounts of how to live a good life. Most American stories end up being iterations of that and some pretty classic themes of righteous individualism, of wanting only good things because God is good, a sense that all things can be conquerable. So, it's got this intense agency to it.   

I end up doing a history of American theodicies, explanations of evil. It mostly ends up being storytelling about whether people believe that they deserve the lives they got. It's a privilege to do it, especially at a divinity school. These are going to be people who are in the forefront of helping people interpret and explain their pain. 

And I guess that's something about America, isn't it? Because America was born out of this hopeful sense of people leaving the terrible strictures of Europe, and going off to this free new land, and so on. So, I suppose it had sort of hopefulness and positivity built right into the beginning, didn't it?  

It does. I also really just enjoy civic virtues, in general Canadian civic virtues. The Americans ones are, of course, the pursuit of happiness. Canadians have peace, order, and good governance as their primary civic virtues, which always makes me laugh. It's just so polite and so reasonable. But Americans are hoping fundamentally that they can become. The kinds of people that can conquer a fickle market, who can overcome any sort of structural evil, can be winners in a culture that doesn't ever really try to explain away inequality. It attempts to create the kind of people who can navigate it. 

And you started out by studying the prosperity gospel, didn't you? And particularly within the United States. Is that right? The kind of idea that God wanted good things for you. You've been talking about that already, and when you did that study, what did you expect to find? And what did you find when you did that research? 

Well, the very first time I bumped into the prosperity gospel I was in my hometown of Winnipeg, Manitoba, which is right in the middle of Canada, and we have only one fast road, and they had put up a traffic light. So, I was in a terrible mood. Then I saw all these people pouring out from what I thought was a factory that was running on Sunday morning, and then I thought, oh, no, I believe these are churchgoers. Oh, no, that factory is a church, and it turns out that was Canada's largest megachurch that was run by a man named Leon Fontaine, who had just been given a motorcycle by his congregants, and then rode it around on stage, and I thought, no, that is for Americans. I was so insistent on the idea that a story of health, wealth, and happiness was exclusive to an American cultural narrative.  

I think I was 18, maybe 20 when I first bumped into it, and then I spent my entire twenties wasting my youth interviewing televangelists in Canada and the United States, trying to understand why it was so deeply American, and also why it was so infinitely exportable and ultimately discovered that there was something very deeply humbling about studying a movement of infinite spiritual expectation. It taught me that we all want to be able to comb through our own biography, to know whether we have any evidence of God's love, special appreciation connection to us, but also that even when we think that we don't have a prosperity gospel in our own lives. We probably do. 

You're talking there about the the kind of desire can control outcomes a little bit.  It struck me that I think the very first reflection you got in your book, which is called Have A Beautiful, Terrible Day, which is whenever everything is out of control, is that the sort of big theme that you  found with it - the desire to control? And I guess that's something you've experienced in your own life, that sense of not being able to control things? 
And  one of the books I've been reading recently is this one by Hartmut Rosa, called the The Uncontrollability of the World talks about how a world in which everything has been planned and controlled would be a dead world. It's the uncontrollable things that kind of make life kind of interesting, when snow falls and you can't control it, or a sports game that you can't predict the outcome of. Do you think there's something in that? That we try to resist? 

I am committed to resisting. I mean, if I could arrange some sort of consumer feedback to our Lord and Saviour, I would suggest that I would be given more control over my circumstances. I guess it's been a question that is really at the heart of so much of my both academic and spiritual interest is, what do we do now, when we feel ourselves confronted by all the things we can't control. Typically, the things that we can't control can do two awful things. One, they seem to preach the story of a God who is cruel and and just doesn't care. That can't possibly care enough to want to confront the evil that overwhelms. Because suffering isn't just like cosmetic change. It's just an avalanche that that sweeps everything away. And then in the face of that we don't know how to say what my friend Tom Long, who is a wonderful preaching professor at Princeton, says. He likes to say there's always two preachers at a funeral. There's the body. But what can tell a story that is bigger than death? So, I think that's the first thing - that suffering, of all the things that are uncertain seems to tell us something about God that isn't true. 

I think the other thing, and maybe this is just especially the marketing for women. But when I began to be an unlucky person, I began to feel the sting of a very distinct kind of shame. I felt that it was not just circumstances, that there was something about me, something about my failure, something about my unlovedness. One of the first thoughts I had when I got my diagnosis was, well, of course it's me.  

And that is an awful lie that buries itself somewhere in our hearts. But I think uncertainty can have this effect - we end up holding the blade on the wrong side, and it just it always feels like uncertainty. We sort of plunge it right into our chest. So, I think I think uncertainty in general, it's every wave and we have to learn to navigate, but mostly it feels like an affront on our essential goodness. 

 

And how did you learn to manage that uncontrollability?  There's a tendency in many of us to try to control everything, and we want to have everything sorted and ordered. And then you kind of get to the point where you realize can't do that. Then the temptation is to be just overwhelmed by it, and to feel there's nothing I can do at all. How do you navigate that sense of being out of control?  

One of the American cultural diseases, she can say lovingly, is, they are high on what I like to consider is ‘everything is possibleism’. And so then, in the face of uncertainty, or confusion, or despair, or undoing, then the great fear is that you swing right into ‘nothing is possibleism’ and a kind of despair and nihilism. And I'm very interested in every, especially religious tradition that that helps us cultivate an experience of limited agency like, how do you find that space, spiritually, emotionally, communally, of what is possible today? And I've really, I've really struggled with this over the various intellectual and sort of seasons of illness in my life. In Have a Beautiful, Terrible Day I wrote these little snack size reflections, because I was in a period of so much chronic pain that I really just didn't even have brain space for more than an hour and a half a day. So that became an exercise in trying to still allow myself the joy of creation. Because isn't it so wonderful when your brain goes somewhere, and pain is so boring. And I mean talking about pain is so boring, telling it to your friend for the 200th time, like we are all over it. 

 So, I just was trying to practice the experience of limited agency, even if for the other six hours I would have to lie in the bath and take pain meds. But I've realized over and over again that trying to find that soft space is a place where I can re-experience, humanity, love, and really just the weird, wild gifts that God gives us. Even when life falls apart. 

If anyone's watching this and hasn't found a book yet, I really do recommend it. It's a wonderful thing. It's got lots of different kind of poems and meditations and prayers, and it's got titles for when things are falling apart, when you screwed up, when you're in pain, when life feels incomplete, things like that. 

I'm a huge bummer, Graham. Thank you. I think it's so funny. I think it's because we grew up Mennonite, and we love our version of like Saily Bread, and like the tiny little booklets, and all of them were very sweet and very precious moments. And then in my version, it's like, when you're worried you want to eat your own arm, you hate your life so much. So, I do kind of prefer them for the rawer times. 

Coming on to how Christian faith helps you navigate those, one thing that struck me as I was reading through it is there's a difference between, one of the common approaches to suffering you get in the modern world, which is the stoic idea that you  just sort of grit your teeth, you can't control what's going to happen to you, but you can control your own emotions.  

That's such crap, isn't it?  

It’s pretty common, isn't it? You get that sort of sense of stoicism, these days there are stoic podcasts and books. What do you see is the difference between that and what Christian faith says to on how you navigate these really difficult periods of life? 

I want to say specifically that what I truly believe is crap is the phrase, the argument, ‘you might not be able to control but you can control how you respond.’ I mean, anyone who's been unexpectedly stabbed with a needle knows that that is fundamentally not true. And the reason why I am so sensitive to it is, you know, as somebody who’s had a public cancer diagnosis, I see how quickly the cultural narrative is so intense, I've seen every single person who suffers is lined up to give that response, because what everybody wants to know is, well, just tell me that there's an escape hatch on the other side of it. 

Modern stoicism is - and when I say modern it did not have a Renaissance until the 2010s, which is wild - in part a result of an incomplete theology of masculinity that has been available, and it has become a way to explain specifically to men that there's an almost natural impassivity that is theirs should they claim it, And that in the face of chaos, global and personal, that there's a higher path. Stoicism is always, of course, stripped of its original cosmology, refitted with self-help techniques. But what I really object to, which is at the core, is a story about control.  

Emotional management is, of course, a therapeutic good. But, man, we're 50 years into the therapeutic paradigm. It makes me want to add the word dude at the end of that sentence. We are 50 years into the therapeutic paradigm, and we have not yet found a way to control our emotions, and that is because, as spiritual creatures we are always, we have this ache, we have this soul-cry that Augustine named so beautifully. We have a spiritual restlessness that no kind of emotional management strategy can overcome, and because it it is meant to be satisfied fundamentally by our love, our love of God, our love of others, and frankly, an unsolvability that tells us that we are an incomplete story. If we could be a complete story, I don't know if we really should be religious at all. Frankly, I really would. I would probably do other things with my time. 

It does seem to be something about desire at the heart of this. The Stoic response is to just slightly repress your desires, keep your desires under control. It is offering a sort of sense of control. Or Christian faith is actually about redirecting your desires to something that is bigger than yourself and more powerful and beautiful than you are. And so whereas sort of stoicism seems to say, just control your desires, Christianity in some ways almost says let your desire for God grow as you go through this.  

But I was wondering a little bit about prayer, and how prayer works for you in times of real struggle? I often seems to me that when you go through really difficult times, the time when you kind of feel you need to pray, is often the time it's hardest to do so. Do you find that? What role prayer plays for you in moments of uncontrollability, of the sufferings and struggles of life. What role does prayer play for you in that

This stoicism to prayer thoroughfare is a perfect continuity of the argument. Stoicism, and I mean just living inside of the precarity of this world, reminds us again and again that life requires so much more courage than we thought. Maybe we were convinced along the way that prayer also doesn't require courage just to get to that place of spiritual honesty again, I mean especially if you feel like your prayer was supposed to follow a different template. Whether it was always supposed to very quickly move from brief needs, long descriptions, great thankfulness. That's the classic three-parter, but most often are our honesty requires us to be incomplete before God. I mean utterly, or angry or unknowing. Maybe this gets back to your certainty comments at the start about like, how do we manage such enormous uncertainty? Do we imagine prayer as a strategy for certainty? And if we're hoping it's that, we might be we might be unsatisfied. I just know that when I pray honestly that when I'm in a really terrible season, my prayers sound more like it's 2am. And I'm the sort of self who is buying things on Amazon and wishes I could call people and say things and cannot be trusted. Those prayers sound something like, help me! Help me! Save me, make them come back. Make this stop! Those are necessary, deep, guttural cries. 

My 2pm prayers, I've got Trinitarian round-outs. I've got sophisticated nuanced theology. I'm quoting here and there.  

Both are reflections of how much we're not even entirely known to ourselves, except that we find ourselves unfolded by our circumstances. 

Pressing into how you deal with enduring pain. You talk very movingly about what it's like to go through really quite searing pain that just doesn't go away. And you have to kind of deal with it. Here in the UK we've been having a debate over the last few months about assisted dying. Which is a route out of pain for some people towards the end of life. Did you ever experience the temptation to that? Or has your experience helped you reflect upon that kind of route that our society is offering people at the moment? Can you end this by ending it all. 

Canada's been having similar and terrible debates with terrible consequences. I think one of the great worries, especially with North American theologies of the self, is that the suffering, those who suffer are inherently less valuable because we are not the worker self. We're not the productive self. We're simply the the feeling and the limited and the precarious self. 

What really worries me, especially with some of these exit interview for people who apply for euthanasia in Canada, is is quotes like ‘It's not that I don't want to die it’s that I can't afford to live’, because so many of the things that relieve pain are frankly so expensive and so off insurance. Any discussion about pain and assisted suicide are also just always, at least in North American context, conversations about who is valuable and whose pain is insurable. 

I know that one of the major differences that I've had in my own life between a self that was in so much pain I could barely function to this version, is that I could pay for my own treatment. I feel overwhelming compassion for all those who feel like they will suffer without end because there are no social services to alleviate it.  

I've been in a situation where I'm so desperate to live that I have not fundamentally experienced despair that has a telos to it. I've experienced despair at times in which I feel my own helplessness.  

I had a lovely interview with Dr. Catherine Mannix. She developed a cognitive behavioural therapy therapeutic approach inside of palliative care in the NHS. And it was really it ended up being a way to talk about how do you experience control inside of that much suffering. Her books are about people who thought that they would want to die in that much pain. In these little case studies, I found her description to be so deeply Christian. What she was arguing was that even in the midst of deafening pain, that helping people find a small, soft place of narrow choice and meaning-making could reinfuse their lives with such purpose that otherwise our culture would erase.  I just wish that everybody that inside of our conversation about when pain is too much, had a little bit more of that place of gentle possibility. 

One of the phrases that that really struck me as I was reading your book is that ‘we are united by our fragility.’ The implications seem to be that that's actually what we have in common. The fact that we are fragile or incomplete, in your language from earlier on. It got me thinking about how that might change the way we think about each other and community and relationships, and maybe even church. What that difference would it make if we actually thought that was the centre of what we have in common, our fragility. Do you have any thoughts on that? 

At heart, I'm an anti-culture warrior. In this time of increasing binaries our democratic structures or any kind are fragile, especially in the United States, the big tent umbrellas of denominationally or otherwise. I do think it is important for us to sort of spiritually land on what we think makes us all deeply the same. I know that when I started down this path there was a lot of humiliation because I was treated as disposable by the healthcare industry. I was truly humbled by it. In suffering you are laid low and there's a little key in that that I found that I've never wanted to give up. IT is that the second I knew I suffering, I could see it so much more easily in other people.  And that I could know that a broken heart is an open heart. If you can keep that at the at the centre of of a story about our difference Ihave just found it easier, easier on Facebook, easier at family gatherings, just easier. We have a contingency that we're all grappling with, and we can't always see it on each other's faces. But if we know that we all are so worried that we're wearing a sweater and someone's going to pull a thread and then there we are, naked to the world. I think I know that it inculcates a deep feeling of humanity in me. 

There’s something about approaching another person with that thought of  I'm fragile and kind of so are you. Especially it's not that terrible if you see my fragility, and maybe I begin to look for the fragility and the other person, and that makes that person that much more approachable somehow, and a bit more human. This militates against the idea of going to everybody else and trying to  give to give out this image of being complete, and I've got everything sorted, and I know all the answers. The kind of image we try to present of ourselves.  

I think I think invulnerability is exhausting, and we could just cut ourselves some slack.

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 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.

Graham Tomlin
Editor-in-Chief