Article
Creed
Redemption
Trauma
4 min read

The healing power of forgiveness

From Parliamentary Prayer Breakfasts to post-apartheid South Africa and fourth-century desert monks, Julie Canlis explores the benefits of relentlessly pursuing forgiveness.

Julie connects Christian spirituality with ordinary life in Wenatchee, Washington State, where she teaches and writes.

Eastern Orthodox icon depict the Prodigal Son
Eastern Orthodox icon depict the Prodigal Son displayed on Forgiveness Sunday

Last week, the National Parliamentary Prayer Breakfast convened with a focus on the power of the F-word in public life. In our cultural moment, we prefer score settling and retribution to what was once a cherished value: Forgiveness. Can the Christian story offer anything to an era which is caught in endless cycles of violence, conflict, injustice, and vengeance?  

In our lifetime, we have seen the experiment of what happens when a whole country dedicates itself to forgiveness. In South Africa, overcoming the trauma of apartheid did not mean forgetting but choosing to remember collectively. Evil was named. But could this kind of truth set one free? There were no shortcuts to forgiveness. There was no quick wiping the slate clean that avoided the truth. Instead, perpetrators were faced with real people and stories of what they had done. Victims recounted their trauma, but in a new way that enabled them to stop being the victim of what had happened to them. In South Africa, forgiveness was not religiously sanctioned denial. It offered the victims agency, and release from the cycle of vengeance. 

From South Africa, we learned the power in sharing trauma stories. We discovered the importance of looking for underlying causes and ideologies that are contributing factors. But that was not the end. We also watched the power of restorative narratives, testifying to the beautiful fragility and hope of reconciliation. Without forgiveness, no relationship on a personal or national scale can be sustained. What would it look like to begin to create a forgiveness culture amid a culture of hate? 

In the fourth century, there were communities of Christians who fled the Roman empire and set up shop in the desert. They gave their life to prayer and forgiveness because they found that despite fleeing from the “sins” of Rome, they could not escape themselves. They were in the desert with a handful of other people, and yet their hearts still contained hatred. They did not have muscle memory oriented toward forgiveness.  

For others, hearing that they are forgiven forty times finally cracks through a self-defeating wall. 

And so, they relentlessly practiced forgiveness. They practiced it by stopping the incessant outward glance at other peoples’ faults. They asked forgiveness constantly, in a bold attempt to own their own culpability and blindness. And they ritualized this practice in a once-yearly “Forgiveness Sunday” which makes many of us squirm just to think of it. The Sunday before Lent, everyone in the community would extend a word of forgiveness to each person, and beg their forgiveness in turn.  

Forgiveness Sunday is still practiced annually in Eastern Christian churches (often Greek or Russian) where you can still wander in on the Sunday before Lent, and work on your F-word muscle memory. In case you find yourself in one of these churches, the script goes something like this: 

Person 1: Forgive me, sister. 

Person 2: God forgives you. And so do I. Forgive me brother. 

Person 1: God forgives you. And I forgive you. 

Of course, this exchange can be rote. But for some for whom there has been anything amiss, eyes well up with tears. Perhaps it is the letting go of an exhausting grudge. For others, hearing that they are forgiven forty times finally cracks through a self-defeating wall. And for everyone, it is a commitment to not constantly ruminate on the wrongs of others, reliving incidents to keep the anger going. If done rightly, it allows for the recognition of wrong, while not allowing it to perpetuate itself in you. In essence, it is the cheapest mental health shortcut, available at a church near you. 

Back in the fourth century, Forgiveness Sunday arose as a circumstantial necessity because these desert dwellers would retreat even further into the desert for Lent. Call it a detox camp. Call it a therapeutic immersion. Call it a technology fast. Regardless, due to the dangers of the desert (wild animals and a hostile environment), these Christians wanted to receive the forgiveness of their brothers and sisters (and offer it) in case they did not return to the community to celebrate Easter. For us, a modern equivalent might be simply to enter the liturgical time of confession and forgiveness on a regular Sunday. And to lean more deeply into the well-worn phrase to “forgive us our trespasses, as we forgive those who have trespassed against us.” Would it be possible to treat these words with a whole new level of personal responsibility and vulnerability?   

Forgiveness Sunday is the humble declaration that we are both victims and perpetrators.

Forgiveness, when taken seriously, is a process that takes time. Forgiveness involves great courage, but also the great humble realisation that we could have just as easily done the very act that needed forgiving, under different circumstances. Forgiveness involves neither appeasement nor grovelling. For the church, the ritualised understanding of Forgiveness Sunday is the humble declaration that we are both victims and perpetrators. And that, somehow, Christ accompanies us in the grief of both. 

In the Christian tradition, Jesus founded his new order upon forgiveness. Jesus knew that the unforgiving heart is closed to not just giving forgiveness but to receiving it – it is sealed up like a tomb. That those who are least forgiving also live daily with the fiercest critic – themselves. In other sayings, Jesus highlights that forgiveness is not merely an interior disposition, but also one honours the integrity of the process of working through an injury. And finally, Christians believe that Jesus practiced what he preached: he forgave his enemies (and died for them) to secure divine forgiveness for everyone. For his followers, they had no choice but to forgive – and many of them ended up founding communities of forgiveness. 

Review
Addiction
Art
Culture
Masculinity
Trauma
5 min read

To the abyss and back. The art of Peter Howson

Painter Peter Howson captures personal conflict, toxic masculinity and horrific wars. Alastair Gordon reviews his work. Part of the Problem with Men series.

Alastair Gordon is co-founder of Morphē Arts, a painter and art tutor at Leith School of Art. He works from his studio in London and exhibits across the UK, Europe and the US. 

A painting shows a group of refugees waiting behind a barrier across a road, the background is intense yellow.
Barrier Sunset; 1995; oil on canvas; 122 x 183cm.
Flowers Gallery, London; © the artist; photograph Antonio Parente.

“Everybody’s capable of doing wild things,” says artist Peter Howson, scratching his head as he looks pensively over his paintings.  He is talking about the events of his youth and how experiences of trauma, addiction and childhood bullying have influenced the way he paints the misfits, non-conformists and the overlooked.  

Howson is one of those rare breeds of artist who garners both public adoration and critical acclaim, an achievement celebrated in his recent retrospective at Edinburgh City Art Centre, an ambitious show spanning four floors and four decades of the painter’s career.  

I asked curator, David Patterson why Howson’s work continues to draw public interest. “People can see in every brush stroke how he pours his heart and soul into it,” he replies. “A lot of people are commenting on his honesty. He’s brutally honest and speaks what he feels in his heart.”  

Howson rose to public attention shortly after his graduation from Glasgow School of Art in the 1980s with a public commission for a series of wall murals for the Feltham Community Association in London. He became known for his visceral depictions of men caught in contradictory states often painted in monumental scale with his particular style of raw, fleshy realism, an approach influenced by his interest in German Expressionism. It was his tutor, Alexander Moffatt who first introduced Howson to the work of Otto Dix and Max Beckmann, their brutal exposition of the German bourgeoises clearly making an early impact. From the hulking boxers and football hooligans of his early career to the bullish vulnerability of soldiers currently fighting in the Ukraine war, his characters are rendered with a raw realism, matched only by the brutal honesty of the artist himself.   

People misunderstand the meaning: they think that I’m making (those men) into heroes, when it’s not that at all. 

Howson was part of a group of male figurative painters known as the New Glasgow Boys, alongside Adrian Wiszniewski, Ken Currie and Steven Campbell, who studied at the Glasgow School of Art at a similar time in the 1980s. Later artists such as Jenny Saville and Alison Watt would continue the Scottish figurative tradition.  

It might be easy to misread his early work in particular as a kind of ode to masculine swagger but when Howson speaks of his work it becomes clear his intentions are more to dispel such toxic masculinity. “I was bullied a lot at school,” he reflects. “I felt so emasculated when I was young, I tried to build myself up: I became a bouncer and wanted to exact revenge on my bullies and I joined the army. All these things that are really not me. People misunderstand the meaning: they think that I’m making (those men) into heroes, when it’s not that at all. It’s a contradiction: I’m trying to get power into my work at the same time as taking the mickey. But some of the Bosnian work is my freest.”  

In 1993 Howson was appointed as official war artist to the Bosnian conflict where he witnessed first-hand the atrocities of conflict. This work culminated in a solo exhibition at London’s Imperial War Museum with some of the most harrowing and empathetic works of his career so far. Barrier Sunset, painted in 1995, shows a line of Bosnian refugees, emaciated and restrained by a blockade that bars entry to safe land. Behind them, a burning sky speaks to the ravages of war.   

Howson is an artist who wears his past on his sleeve, speaking openly about his autism, childhood traumas, recovery from addiction and unnerving experiences serving in the army which he describes as “hell on earth”. Rather than dismissing these traumatic experiences, Howson finds way to manifest them in paint, a process that demonstrates profound empathy with his subjects, both villain and victim.  

“You’re always walking a tightrope and I always say I’m walking on the edge of the cliff,” says Howson as he reflects on the influence of traumatic memories. “The trick is not to fall off. But you can go to the edge and look over into the abyss and the abyss is frightening.” Howson takes us to the abyss and brings us back again. Like Dante, a key influence on the artist, Howson doesn’t shy away from the more macabre, morbid and sinister subjects of the human experience yet refuses wallow. His recent ink paintings depict the effects of corona virus and atrocities of the war in Ukraine. Rendered with biblical intensity, bodies writhe in a mass of human flesh pulling and straining as in battle or torment.  

His faith is as sincere as his painting, neither dogmatic or didactic, worn on his sleeve along with his experiences of trauma and addiction 

Unusually in British art, Howson also speaks openly about his faith, having converted to Christianity later in life. Indeed, a whole floor of the exhibition is dedicated to his religious paintings.  “There’s a part of me that wants that peace” he says. “It’s why I’m not frightened of the death thing. The real life is yet to come.” Howson acknowledges the unusual nature of his belief, not least in an art world where sincere religious faith is something of a novelty. 

“There’s hardly anyone believes these days but I don’t care if I’m wrong anyway because I’ll never know it anyway.” Even his faith is expressed with honest cynicism. “Religion in art is unfashionable,” he says yet Howson seems unfazed by fashions. His faith is as sincere as his painting, neither dogmatic or didactic, worn on his sleeve along with his experiences of trauma and addiction.  

Prophecy 

2016; oil on canvas; 183.5 x 245cm; private collection; © the artist; photograph Antonio Parente.

A painting of a melee of many people across Christ on the cross.

This exhibition laments the broken nature of our world yet offers glimpses of hope in human empathy, compassion and ultimately in a redemptive God. In this way Howson describes his painting as “a warning of what’s to come”.  Howson refuses to be defined by his traumatic past and it seems evident he now sees the world through the lens of his Christianity, a perspective that clearly defines his understanding of human nature, masculinity and redemption. Whilst we might consider Howson a chronicler of our times his painting are more than reportage.  He looks into the very soul of humanity, finding hope in the horror, making visible the invisible and giving voice to the unheard.