Article
Creed
Football
Leading
Sport
6 min read

Even the best have their limits: Jürgen Klopp’s lessons for life

A famed football manager’s resignation tells us a lot about human nature.
A football manager stands on the touchline and stares hard, dressed in a black coat and hat.
Klopp faces the future.
Liverpool FC.

10.36am, Friday 26 January 2024. A video is posted by Liverpool Football Club. It’s an interview with Jürgen Klopp himself. They only do this if it’s something big. Maybe he’s going to extend his contract at the club? Maybe they’ve found a replacement hamstring for Mo Salah?! 

“I will leave the club at the end of the season.” It is an absolute gut punch, and the sentence hits me like a truck. A feeling of shock washes over me. I’m reminded of a video of a young lad in Liverpool in 1974 being told Bill Shankly has resigned. He is in complete denial and just flat-out unable to accept the truth of the matter. Fifty years later, at 10.36am on Friday 26th January 2024, I am that young lad. This can’t be real. He’s not really going. This is one of those AI-deepfake things. Jürgen’s not leaving. Is he? I knew this was coming, but I didn’t think it would be so soon. I’m not ready.  

My mind is chaos, and I am a mess of contradictions. My wife is out and the only other person in the house I can talk to is a cat who does not understand the gravity of the situation. All too quickly it becomes painfully clear that this is real. He is leaving. And soon

The seeming mundanity of Klopp’s decision to leave, and his reason for doing so, speaks to his own philosophical nature.

When I return to reality, more questions emerge. Why is he leaving? Is he okay? Has he been offered a better job? Has he been sacked?! “I’m running out of energy,” he says. Jürgen Klopp, manager of Liverpool Football Club, has the best job in the world, is outstandingly good at it and, at only 56, feels as though he doesn’t have the energy for it anymore. What a thought. Surely there has to be more to his leaving than this? It can’t be that simple. 

But no; it really is that simple. It’s something unheard of in modern football. Jürgen hasn’t been sacked for poor results; Liverpool are flying at the moment and, at the time of writing, could still win every competition they’re in. He hasn’t been offered another job somewhere else; he says he won’t manage anywhere else for at least a year. He just hasn’t got the energy to do this anymore. Despite what everyone at Liverpool wants – himself included – he feels it’s the right time to acknowledge that he has simply reached his limit. He can do no more. 

Jürgen shares many similarities with the pantheon of great Liverpool managers, of which he is now a part; the likes of Bill Shankly, Bob Paisley, Kenny Daglish, still sung about on the kop to this day. One characteristic, however, strikes me above all others.  All of Liverpool’s greatest managers have been deeply philosophical, both about football and about life itself. Klopp is no exception. The seeming mundanity of Klopp’s decision to leave, and his reason for doing so, speaks to his own philosophical nature. It also speaks to something seldom noted about human nature more generally: our finitude.  

There is goodness in finitude. Our creaturely limitations remind us that we are not God; our finitude reminds us that we come from infinitude. 

By finitude, I mean our inherent limitations are created beings. Put bluntly, one day, we will die. We are finite, not infinite. This finitude is an inalienable part of being human: to be human is to be limited rather than limitless. We encounter our finitude at all moments of our lives. In our need to sleep, rest, eat, drink, and so much more besides. Any moment at which we are not wholly self-sufficient (if we are ever wholly self-sufficient), when we rely on something beyond ourselves, we are faced with our own finitude. 

This finitude can certainly lead to difficult moments (like, for example, having to watch one of your footballing heroes suddenly announce he’s leaving your club). But despite this, there is goodness in finitude. Our creaturely limitations remind us that we are not God; our finitude reminds us that we come from infinitude. It reminds us that we need those around us and, in turn, that they need us. These are good things to be reminded of, that we always live in a complex web of dependence on one another, as we navigate our finitude together.  

Jürgen’s resignation is such a shock because it speaks directly to this often-unnamed aspect of our nature; this inter-dependence we all rely upon due to the limitations built into our human nature. He has simply recognised his finitude. It comes as such a shock, in part, because it is rare to see someone acknowledge their humanity and their limitations so plainly. Jürgen is running out of energy. Aren’t we all? 

It is also striking, as the UK endures the slow run up to what is likely to be an unedifying general election, that when faced with his own finitude, Jürgen has sought not to consolidate his own power and position, but freely to give it up. He could have had the run of the place for as long as he wanted. If he had asked for a life-time contract, few would have wanted to say no. This is part of what makes him such a compelling leader; his willingness to vacate positions of leadership when the time is right. Because it is this very vulnerability that makes him so authentically human. 

In the end, then, it is an act of love from Jürgen. Clearly the decision has weighed on him somewhat; he is clear that he doesn’t really want to go, but that he feels it’s the right thing to do. Faced with his own finitude, with the limitations of his own creatureliness as a human being, the most loving thing he can do for the club is to walk away, to admit his human fragility. There is something reminiscent here of the apostle Paul, who claimed he would boast in his weaknesses, because that was how Christ dwelled in him. “Whenever I am weak, then I am strong”. Jürgen, too, a devout Christian himself, has displayed immense strength in his weakness. I do not speak lightly when I say it is a deeply Christ-like decision on his part. 

To acknowledge our dependence on others, to acknowledge our inability always to be dependable; these things are acts of love born from recognition of our finitude. To love one another is not to pretend we can fix each other’s problems, nor is it to avoid being a burden on other people. In depending on others and being depended upon, we become more and more like that which God has called us to be: finite, limited creatures in need of those around us. Our limitations are an opportunity to display love, not a hindrance to it. 

In all this, Jürgen acknowledges his own finitude in a way that is rare to see and, clearly, difficult even for himself fully to come to terms with. Like Jürgen, we are all running out of energy. This need not be a cause for sadness; it merely points us towards the one from whom that energy comes and reminds us of our dependency on Him, and on those around us. Our finitude is a gift, releasing us from the burden of being all things to all people. I still wish Jürgen was staying, though. 

Review
Art
Culture
5 min read

The collective effervescence of sport’s congregation

Art captures how sport and religion are entwined throughout history.

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

An impressionist painting of runners bunched together on the bend of a track.
Robert Delaunay's Coureurs.
Public domain, via Wikimedia Commons.

In 2022 I had the opportunity to attend the launch of Football and Religion: Tales of Hope, Passion & Play, a mixed media exhibition with works by Ed Merlin Murray, at the Aga Khan Centre Gallery. The exhibition explored the relationship between football and religion and how the two are often connected, with players praying on the pitch and fans observing religious rituals in tandem. The exhibition also examined football’s ability to champion social causes, promote marginalised voices, and create opportunities for inclusion and diversity 

The accompanying historical exhibits also revealed important collaborations with a variety of organisations and specialists in the field of football and religion. Among the archive material shown, books such as Thank God for Football! reveal that nearly one third of the clubs that have played in the English FA Premier League owe their existence to a church, while Four Four Jew: Football, fans and faith and Does Your Rabbi Know You Are Here? uncover a hidden history of Jewish involvement in English football. 

In an associated essay, ‘Football Is More Than A Secular Religion’, Dr Mark Doidge, Principal Research Fellow in the School of Sport and Health Sciences at the University of Brighton, noted: “Sport and religion are intimately entwined throughout history. Ancient Greek funerary games were seen as the most fitting way of honouring the death of heroes. The Olympics were held in honour of Zeus, which is why the ancient site of Olympia is home to sanctuaries, temples, and sports facilities.” 

Sport metamorphosed into a practice of effort, competition, and record-setting, sanctioned by artists in works that reinforced the cult of sporting heroes, relayed by the press.

While not focusing specifically on religion, as did the Aga Khan Centre exhibition, exhibitions organised for the Paris 2024 Olympics are also exploring stories of sport as culture, impacting on gender, class, race, representation, celebrity, science, and art.  

En Jeu! Artists and Sport (1870-1930) at Musée Marmottan Monet, Paris, builds up a portrait of the society of the second half of the nineteenth century, which gradually took pleasure in taking advantage of its free time to pursue sporting and leisure activities on land or water. Ranging from Impressionism to Cubism, the exhibition shows how sport and sportspeople were made into icons of modernity and the avant-garde. It also explores the ethical challenges and aesthetic aspects of how sports were perceived by artists such as Claude Monet and Edgar Degas and examines the metaphorical meanings of the heroic figure of the artist as a sportsperson, characterized by determination, stamina and a form of resistance. 

The changing social codes of sporting circles, where venues became theatres of physical prowess, are also examined. Sport metamorphosed into a practice of effort, competition, and record-setting, sanctioned by artists in works that reinforced the cult of sporting heroes, relayed by the press. Artists like Henri de Toulouse-Lautrec and Paul Signac identified with the qualities of determination and endurance of these sportspeople who sought to surpass themselves.  

Paris 1924: Sport, Art and the Body at Fitzwilliam Museum in Cambridge explores how the modernist culture of Paris shaped the future of sport and the Olympic Games as we know and love it today. The exhibition looks at a pivotal moment when traditions and trailblazers collided, fusing the Olympics’ classical legacy with the European avant-garde spirit. Paris 1924 was a breakthrough that forever changed attitudes towards sporting achievement and celebrity, as well as body image and identity, nationalism and class, race and gender.  

The fusion of modern Parisian cultural style with the Olympics’ classical inheritance gave the event a striking visual impact. Curators Caroline Vout, Professor of Classics, University of Cambridge and Professor Chris Young, Head of the School of Arts and Humanities University of Cambridge say: “The exhibition explores the look and feel of Paris 1924 as trailblazing and traditional, local and global, classical and contemporary. It brings together painting, sculpture, film, fashion, photography, posters and letters.” 

The exhibition also highlights the extraordinary achievements of the Cambridge University students who won no fewer than 11 Olympic medals for Great Britain that year, including the sprinter Harold Abrahams whose story inspired the award-winning film Chariots of Fire

Regular congregation at a sacred space to perform collective rituals creates a ‘collective effervescence’... 

Mark Doidge 

Paris 1924-2024: the Olympic Games, a mirror of societies at the Shoah Memorial in Paris highlights the issue of prejudice and discrimination, past and present by drawing on a century of the Olympic Games. Bringing together emblematic images of these sporting events, archive documents, films, extracts from the sporting press and personal accounts, the exhibition reveals the Games to be marked by friendship and excellence, but also as capable of being used for political ends which often reflect deep-seated trends in our societies. The exhibition pays particular attention to the Berlin Olympic Games organised by Nazi Germany in 1936 and to the athletes interned at Drancy during the Second World War. It also shows that the values of Olympism can be a real lever in the fight against racism and anti-Semitism and for a better society. 

Taken together, these exhibitions highlight the development of sport as a culture in ways that have a wide impact on society, including religion. In his essay, Mark Doidge highlights the work of the French sociologist Emile Durkheim who ‘identified that the key social components of religion are the foundational components of society’. Doidge notes that “Regular congregation at a sacred space to perform collective rituals creates a ‘collective effervescence’ where the individuals become a community and identify themselves as such”. He also notes the similarities with sport which provides a “way of understanding who we are - who we socialise with, how we see other people, and the ways in which we interact with others” – and which is, like life, “about rivalries and competition, solidarity and teamwork, division, and unity”.  

These similarities can lead some to privilege sport over religion but Doidge argues that sport “should recognise that religion is a key part of many people’s identity and sense of self, and work hard to be inclusive for all”. 

 

En Jeu! Artists and Sport (1870-1930), 4 April to September 2024, Musée Marmottan Monet, Paris. 

Paris 1924: Sport, Art and the Body, 19 July to 3 November 2024, Fitzwilliam Museum, Cambridge. 

Paris 1924-2024: the Olympic Games, mirror of societies, 6 May to 9 June 2024, The Shoah Memorial, Paris.