Article
Change
Identity
1 min read

How to be (un)successful

Could busyness really be the counterfeit of significance?
A man sits cross legged in a park with a laptop on the grass in front of him. He looks to one side.
Malte Helmhold on Unsplash.

You probably want to be a success. 

That’s OK – it’s a very reasonable thing to desire.  

The questions ‘Am I successful?’ or ‘What is success?’ are deeply significant and to ask such questions is a normal part of the human experience. The yearning for a life of purpose, as elusive as it can seem, is felt acutely by the majority of those who have ever lived – certainly by more than might admit it. (Those feelings of inadequacy you experience may be more common than you think.) And now more than ever it is understandable that you may feel you are not particularly successful, or not successful enough. We are assaulted by a combination of capitalism and consumerism, social media and cancel culture, polarised ideologies and virtue signalling, topped off by the wounds of our parents passed down – all of which can amalgamate into producing some pretty angsty, pressure-driven people. 

It’s not just you; I’m pretty sure we all have a bit of a problem with success (the word itself is so subjective), and our idea of it can often be fuelled by wounds rather than vision, romanticised projections rather than reality. Because we are all somewhat flawed, any worldly contribution we try to make can get precariously entangled with a me-fixated narcissism on a fairly regular basis.  

Most of us know that being successful is not simply about money, looks, large numbers or power. That’s just a caricature to which very few reasonable people actually subscribe, right?  

Well, sure – at least on the surface. 

My social-media feeds are rammed full of early-to-mid-thirties enjoying a kind of spandex-clad transcendence. 

The thing is, despite seeing through it and being repelled by it in others (we see it’s all vanity, inch-deep), something in us longs for success on these terms. But much more interesting than skimming along the surface of ‘success’ is excavating deeper into some of the core motivating beliefs we humans have about ourselves, such as mistaken pride in thinking we each control our destiny, or paranoia that tells us there’s an inherent scarcity of everything in the world. These are the swell that carry along the undercurrent of comparison – where we see the lives of others and long for a different reality for ourselves. And comparison – so often eliciting either pride or despondency – rarely ends well.  

A cursory glance through the wisdom of online articles on the matter tells us millennials typically understand that material wealth isn’t the marker of success – there are enough old, sad, rich people to show that. Instead, success has now become synonymous with living a life that others want. Chase an experience. Go adventure. Wanderlust. #yolo. To succeed in life is to publicly consume as many unique experiences as you can during your short time on earth.  

I don’t know about you, but my social-media feeds are rammed full of early-to-mid-thirties enjoying a kind of spandex-clad transcendence. Success for today’s generation would seem to look a lot less like the overweight suit-clad city trader selling their soul to the system, making shedloads of cash to buy a slice of suburban real estate with a Porsche in the drive, and more like the lithe and mindful global citizen doing ‘life on my terms’. Think coastal living, yoga on a stand-up paddleboard in the morning, slaying the emails in your industrial co-working space, eating a superfood lunch, nailing a couple of zoom calls early evening before smashing some gua bao and margaritas with ‘your peeps’ at the latest pop-up restaurant before taking an Uber home. #squadgoals  

There’s no escaping the fact that technology has shrunk the world and as James Mumford notes, ‘global capitalism has brought so many different ways of life closer to us than ever before. We can see vividly a greater number of people who we want to be.’ This can bring up hidden feelings we thought we’d buried long ago.  

I often feel unfulfilled. Sometimes completely lost. For years I haven’t been able to admit that. Until fairly recently I would find myself looking at others and thinking: ‘Don’t they ever struggle with life’s big questions? Don’t they ever want to give up? Surely, I can’t be the only one sinking under the weight of comparison?’ Far from freeing me from my broken sense of self, the version of faith I was trying to live by was exacerbating the core wound I recognised in myself. That wound was a sense of feeling a failure, unsuccessful. And like an unwelcome parasite, it fed on comparison to others.  

Read any random couple of articles on ‘successful’ people talking about how ‘successful’ they are, and a lot of what’s conveyed is a profoundly angsty relationship with time: ‘You only have one shot at life’; ‘I don’t want to waste my time on earth’; ‘You can never get it back.’  

It’s as though we have an inherent recognition – and for some, dread – of the physical limits placed on us by virtue of being mortal and human. But what if unencumbered productivity, unceasing activity and unrelenting progress – however that is defined – are signs less of success than of self-centred insecurity? Could busyness really be the counterfeit of significance?  

It’s as if we have, left unchecked, an insatiable appetite for accomplishment. It’s not hard to see where this comes from. Paul Kingsnorth comments that: “Modern economies thrive by encouraging ever-increasing consumption of harmful junk, and our hyper-liberal culture encourages us to satiate any and all of our appetites in our pursuit of happiness. If that pursuit turns out to make us unhappy instead – well, that’s probably just because some limits remain un-busted.” He goes on to suggest that this is a fundamentally spiritual problem, because ‘a crisis of limits is a crisis of culture, and a crisis of culture is a crisis of spirit.’ 

So far so depressing? 

It needn’t be. 

Fullness of life – true success, if you like - is found in living to serve others above ourselves. 

Despite my continued struggle with all of the above, (neatly summarised by the inner critic’s voice asking me ‘what have you got to show for your life?’), I am beginning to learn that ‘life in its fullness’ (as Jesus once described what he came to offer) is found elsewhere. So, what does this look like and how do we successfully access this fullness of life? This quote can come across – and I’ve heard it used as such – like a marketing slogan, dangling a golden carrot in front of sad or vulnerable people to recruit them into church. Presumably that wasn’t what Jesus had in mind.  

Now there’s no denying the fact that Jesus was one of the most influential people who ever lived. Arguably THE most influential. Generally, even those who don’t follow him recognize that what he taught was pretty timeless. (Also evidenced by the 2.6 billion people today who are happy to be called Christian.) All of this suggests he had some fairly wise takes on how to live life well, and that his perspectives have stood the test of time. So, when he is recorded as teaching about how to discover what he described as ‘life in its fullness’, the chances are there is something valuable and insightful for those of us searching for success.  

The thing is, in this particular speech, Jesus conceptualized ‘life in its fullness’ as a shepherd who ‘lays down his life for the sheep’. Sure, he was talking about himself, but he was also talking more broadly about the human experience. Jesus’ point is that fullness of life – true success, if you like - is found in living to serve others above ourselves. This flies in the face of much conventional ‘self-help’ wisdom, but it would seem you cannot find true abundance any other way.  

We might well think: ‘Well hang on a minute, Jesus claimed to die for the sins of humanity – we can’t all do that!’ Absolutely right, and please don’t try. But in dying and raising to life again, Jesus foreshadowed the journey of surrender and rebirth that each person who chooses true success must go through. As C. S. Lewis said: ‘Nothing that you have not given away will be really yours. Nothing in you that has not died will ever be raised from the dead.’ This new life of serving others above ourselves – where we seek to align our desires, loves and motivations, our use of time and energy, words and actions with those of Jesus – comes to resemble the promise of life in its fullness. Discovering that would seem fairly successful wouldn’t it? 

 

How to be (UnSuccessful) is published by SPCK. 

Review
Art
Culture
Identity
6 min read

How the incomer’s eye sees identity

A re-invigorated art gallery highlights synergies between ancient texts and current issues.

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

A painting depicts a round table in a room. Those sitting around it rise up as a Christ figure enters.
Horace Brodzky, Supper at Emmaus.
Ben Uri Gallery and Museum.

Ben Uri was founded in 1915 in London’s Whitechapel and was named after Bezalel Ben Uri, the craftsman who designed and built the Ark of the Covenant.  

Originally it was an art venue for Jewish immigrant artists who were unable to gain access to mainstream art societies at that time. Today it has been reimagined and relaunched, becoming an expansive digital platform designed to be the first stop for information on Jewish, refugee and immigrant artists, designers, dealers and scholars who have made significant contributions to the rich and diverse British cultural mosaic.  

In 2023, I curated an online exhibition for Ben Uri exploring migration themes in Biblical images drawn from their Collection.  

Themes of identity and migration feature significantly in both the Hebrew and Christian Bibles and images from these Bibles are a substantive element of the Ben Uri Collection. As a result, the exhibition that I curated, Exodus & Exile: Migration Themes in Biblical Images, includes a range of Biblical images from the Collection. This is in order to explore migration themes through consideration of the images, the Bible passages which inspired them and the relationship between the two. The images are presented broadly in the order that the stories on which they are based appear in either the Hebrew or Christian scriptures. 

The combination of images and texts I selected from the Ben Uri Collection enabled a range of different reflections, relationships and disjunctions to be explored. These include the aesthetic, anthropological, devotional, historical, sociological and theological. The result is that significant synergies can be found between the ancient texts and current issues. In this way, stories and images which may, at first, appear to be describing or defining specific religious doctrines can be seen to take on a shared applicability by exploring or revealing the challenges and changes bound up in the age-old experience of migration. This was important in writing for an audience including people of all faiths and none, and in writing for an organisation which seeks to surpass ethnic, cultural and religious obstacles to engagement within the arts sector. 

“Most of what we’d today call migration is in the Bible, and it’s through migration, not in spite of it, that revelation occurs.” 

Sam Wells

Engaging in a dialogue between images and texts and with an audience made up of people of all faiths and none, can be revelatory for all involved, particularly those doing the writing. In an essay related to the exhibition, about which I will say more shortly, I discuss the impact of émigré artists, many of whom were Jewish, who contributed artworks that greatly enriched British culture and churches. Another example of someone impacted by the insights of those from another faith community is that of Lord Maurice Glasman, who has written of the part played by Catholic social thought in restructuring his politics, ethics and orientation of thought. He writes that: “It established the Common Good – a negotiated settlement between estranged interests – as the ultimate end of politics. It is Catholic social thought that has guided me through the 2008 crash, Brexit and now the coronavirus. It has been my inspiration and I will be eternally grateful to Catholics and the Church. It was a very generous gift. In the darkest moments, it lights the way.” 

Sam Wells, Vicar of St Martin-in-the-Fields, argues that the Bible itself is founded on six journeys, all of which have a bearing on themes of migration: “Jacob and his entourage migrate to Egypt in the midst of famine. This is an economic migration, but really it’s a journey of survival. Moses and the children of Israel migrate from Egypt to the Promised Land. They leave as refugees to flee slavery. They take 40 years to reach their destination, and, when they get there, they face a very hostile environment indeed. Judah loses a battle and is displaced 500 miles to Babylon. There, as Daniel shows, exiles play a vibrant role in public life, and bring unique qualities, represented by the ability to interpret dreams. Jesus travels from Galilee to Jerusalem. He’s living during the occupation by an invading power, Rome. Finally, Paul migrates from Jerusalem to Rome. He’s searching for legal protection in an empire where citizenship transcends geography.” His conclusion is that “most of what we’d today call migration is in the Bible, and it’s through migration, not in spite of it, that revelation occurs”. As a result, we don’t get Judaism or Christianity without migration. 

Many of these artists were part of a remarkable generation of refugees from Nazi-dominated Europe who contributed artworks that greatly enriched British culture and churches. 

Wells’ approach is one that I adopted in exploring migration themes through Biblical images in the Ben Uri Collection and many of the journeys he mentions feature in the exhibition images. The images I chose, begin with an L. Michèle Franklin watercolour of Adam and Eve. In her image they are naked with heads in hands, lamenting their loss, as they leave Eden. This is an archetypal image of forced migration, with those who have become migrants mourning the loss of the home they loved. The creation stories contained in the Bible quickly lead to a founding act of exile as Adam and Eve are banished from the Garden of Eden. One reading of this story suggests that we are all migrants, outside of a truly harmonious relationship with the world we inhabit but looking to return to our harmonious origins. 

The exhibition ends with Horace Brodzky’s 'Supper at Emmaus', an image which comes at the end of a journey and depicts the moment of realisation that the one who had been lost and mourned had in fact been with the travellers throughout their journey. As a result, the realisation comes that what we seek may be with us on the journey or Exodus we undertake, rather than awaiting us at the end. This realisation results in a new journey for the exiles and a return to their people and purpose.  

In between come stories of migration in the lives and experiences of the artists who created the images included in the exhibition, with aspects of those stories becoming entwined with the Biblical narratives depicted. Attention is drawn to René Girard’s mimetic theory, whereby imitation of one another gives rise to rivalries and violent conflicts that are then temporarily solved by scapegoating others. Some artists of Jewish origin included in the Collection addressed their experience of persecution through crucifixion imagery and, thereby, played their part in exposing and subverting this scapegoating mechanism.  

Many of these artists were part of a remarkable generation of refugees from Nazi-dominated Europe who contributed artworks that greatly enriched British culture and churches. After the Second World War, there was an almost unprecedented expansion of the number of church buildings containing works of art, as churches were repaired or built with new work installed in them. This was a time of impassioned artistic activity, in which the catalyst for the Church was, to a significant extent, émigré artists, many of whom were Jewish. I explore the contribution made by this group of artists in a related essay called Debt Owed to Jewish Refugee Art which is also available through Ben Uri Online.  

Will Hutton, writing in The Guardian in 2015, noted that refugees “are, as migration specialist Ian Goldin characterises them, ‘exceptional people’”. He continued: “Over centuries, as [Goldin] painstakingly details, it has been immigrants and refugees who have been part of the alchemy of any country’s success: they are driven, hungry and talented and add to the pool of entrepreneurs, innovators and risk-takers. The hundreds of thousands today who have trekked across continents and dangerous seas are by any standards unusually driven. They are also, as Angela Merkel says, fellow human beings. To receive them well is not only in our interests, it is fundamental to an idea of what it means to be human.” The history of émigré artists in the twentieth century, and the part of that story I explore in this essay and exhibition, reiterates and demonstrates the continuing relevance and significance of that message.  

In relation to the story told in my essay, it is a story in which the Church is at the heart of welcome and hospitality, combined with awareness of the immense contribution that refugees make to the culture and economy of their host countries. Our current lack of appreciation for that story, these artists, and their works, is, perhaps, symptomatic of the place in which our nation’s conversation about immigration is currently stuck. My hope is that this exhibition and essay can play a small part in changing that situation. 

 

View the Exodus & Exile: Migration Themes in Biblical Images exhibition.