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How black holes illuminate love’s greatest story

The universe’s darkest mysteries hold strange parallels with Christ’s Passion

Jake is a former BBC journalist turned writer and speaker about art and faith.

A spital galaxy coloured red, white and black.
A composite image of Andromeda galaxy.
NASA/JPL, Public domain, via Wikimedia Commons.

Thanks to the BBC radio show In Our Time, I’ve found a new pleasure in life. It is this: to learn about the enormity of outer space, and the absurdity of what goes on there, and to share what I find with anyone who’s interested. By ‘anyone’, I mean my wife. But now that Seen & Unseen have published this, I mean you too. 

Or that mysterious cosmic rays from deep space regularly sail straight through the bodies of each of us, and scientists are baffled as to what might have created them? Did you know that a tiny, pale area of the night sky once named the ‘little smudge’, is now known to be the biggest thing anyone will ever see with the naked eye: the Andromeda galaxy? And did you know that the strength of gravity on Venus would crush you instantly? I could go on indefinitely. 

The centrepiece of all this galactic trivia, however, is reserved for black holes. Almost everything about them fascinates, baffles and scares me.  

Black holes are the remnants of dead stars that have collapsed in on themselves, creating a gravitational field so powerful that nothing – not even light – can escape. If you were to pass over its threshold, you’d be obliterated as you get pulled towards the black hole’s infinitely dense centre.  

They get even stranger though. Inside them, astrophysicists say, the laws of physics break down completely. Time and space somehow swap places, they say. And even though anything pulled in by a black hole's gravity is crushed by unimaginable force, in some sense it may be preserved and – in theory – might end up elsewhere, in a new form. It is a death that might not in fact be the end of us. 

There are many black holes – there’s one at the centre of our galaxy. But even though we can study them and develop scientific theories about them, we have not come close to grasping them in all their terrifying and monumental glory. What goes on inside them is, and perhaps always will be, an unfathomable mystery. 

This is why I’d love to see them refracted through the eyes and hearts of poets and artists, philosophers and theologians. What might their strangeness tell us about their creation, their creator? What might they tell us about how to live our lives? And if gravity at its most intense can upturn the laws of science, bamboozle great minds, and maybe even turn death into new life, then might other forces of attraction that do not adhere to known laws of physics, like love, do the same?  

Scenes from the Passion of Christ by Hans Memling.

A painting of a medieval cityscape.
Hans Memling, Public domain, via Wikimedia Commons

In dwelling on questions like these, I have found this painting to be strangely helpful. It tells a love story that – in terms of its sheer intensity, its pull upon us, its utter strangeness, its death-defying endpoint – is not a bad match for a black hole. It’s called Scenes From The Passion Of Christ, it’s by the northern European painter Hans Memling, and when I first saw it I thought it looked silly.  

Why cram onto one small canvas over twenty scenes from the final eight days of Jesus’s life on Earth? It’s like a cartoon strip without the white lines to divide up each scene. We see Jesus welcomed by a crowd, betrayed by Judas, denied by Peter, sentenced by Pilate, stripped by henchmen, humiliated by another crowd, crucified by soldiers, and buried by loved ones. We see him upending a table, praying for an escape route, sharing bread and wine, carrying a cross, emerging from the grave, and appearing to his followers.  

It reduces the crucifixion to a few square millimetres at the top. It sidelines the heart of Jesus’ story – the resurrection – to the far right edge. It shrinks Jerusalem to a tiny labyrinth resembling an MC Escher painting. It is daytime and nighttime. It is disorientating. And it is claustrophobic. But I think it is also brilliant, and it’s made me look in a new way at the strangest of weeks in the story of the world.  

By showing us so much convening at this moment in space and time, we sense how impossible it would have been for Jesus’s followers to compute anything that went on during that week. As each event unfolded, they would have had to rethink what might come next, whilst dealing with some pretty overwhelming emotions. They would have had no time or space to process any of it. It seems perfect, therefore, that in this painting, we don’t either.  

But as I look at it now, I wonder: have we actually processed these events, two thousand years later? Do Christianity’s attempts to explain everything that went on here really do justice to a story in which divine love does some of the unfathomably strange things that a black hole does? Or do these explanations tell us more about our own way of thinking than they do God’s?  

I think there is a tendency – which I see in myself and in most churches I have attended – to resist the weird, mysterious and inexplicable nature of this story. We draw heavily on logic and evidence to try and explain a story that defies both. But just as it is within the boundaries of a black hole, so it is within the frame of this painting: the old rules no longer apply. Divine love manifests itself in ways we cannot yet fathom. Pretending otherwise saps power from the story.   

At the top right corner of the painting, there is a tiny dot on the seashore. It’s the last image of Jesus in this painting. And next to it, a church. Here, the baton is being handed over from Jesus to those who follow him. The church is now the ‘body of Christ’, tasked with embodying infinite love in a world that badly needs it.  

What a daunting task. Frankly, it can be easier to believe in a bizarre series of events from two millennia ago, than in a church here and now, comprised of people as flawed as I am, that is meant to be capable of embodying a world-changing love.  

And that is why I am so drawn to black holes, and to this painting. In them, I see that impossible things can and do happen; that unfathomable mysteries are littered throughout reality; that these mysteries are not so much problems to solve as they are wonders to revel in; that the narrow, rational mindset in which I too often dwell is small and limiting; and that an overwhelming force of attraction can and will overpower anything in its way. 

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Mapmaking our meaning in a modern world

Real ‘reasoning’ happens only when we have learned to trust one another.
A hand holds a pen over a map, at the side is closed journal and colour pencils.
Oxana v on Unsplash.

People first began to think about theology not because they were looking for intellectual stimulus or solutions to abstract problems, but because they found themselves living in an unsettling and vastly expanded ‘space’. They were conscious of new dimensions in their connection with each other, new dimensions in coping with their own fear, guilt, despair, a new sense of intimate access to the limitless reality of God. They connected these new experiences with the story of Jesus of Nazareth, executed by the Roman colonial government, reported by his closest friends as raised from death and present with them and their converts in the communication of divine ‘spirit.’ As we read Christian scripture, we are watching the first generations of Christian believers trying to construct a workable map of this unexpected territory. 

When I started writing the assorted pieces that make up the little book on Discovering Christianity (published earlier this year), my hope was above all to convey something of this sense of Christian thinking as a process of mapmaking in a new and bewildering landscape. That’s why one chapter – originally drafted for a Muslim audience – tried to list some of the things that an interested observer might spot in looking from outside at the habits of Christian believers: not first and foremost their spectacular and uniform embodiment of unconditional divine love (if only), but just the sorts of things they said and did, the sort of language used about Jesus, the rituals of induction and belonging. Indeed, if there is one biblical text I had in mind in virtually all the chapters, it is the simple phrase, ‘Come and see’ that Jesus uses in St John’s gospel when he is first followed by those who will become ‘disciples’, literally ‘learners.’ 

‘Come and see’. When we use language like that in everyday life, we’re encouraging others to share something that has excited or troubled us (or both). It’s not a proposal for solving a problem. It’s not even a recruitment campaign. It’s an invitation to stand where someone else is standing and look from there. In the rich symbolic context of John’s gospel, it’s about sharing Jesus’ ‘point of view’ – which is, as we’re told right at the start of the gospel, a point of view unimaginably close to the heart of eternal life and reality itself.  

We can only see in this way when we move away from our ordinary perceptions a bit. Just as we can only learn to swim when we have jumped into the water, so we shan’t learn what faith is all about until we have been prodded by whatever forces around us to take the risk of trusting that (so to speak) the ground is going to hold beneath us if we step forward (I like to speak sometimes about discovering what images, ideas, perspectives and relations are ‘load-bearing’ in our lives).  

So part of the invitation is also about telling the stories of those who have taken that kind of risk and what sort of lives they have shaped for themselves in the light of it. There is little point in summoning others just to share my individual set of feelings. But there is perhaps more weight is saying, ‘A lot of people have felt this shape beneath the surface, this grain running through things.’ Which is why – as the book seeks to explain – theology works with the ‘classical’ shared texts that most Christian communities found themselves reading together in the first hundred years after Jesus; and works also with the history of the arguments and diverse perceptions that reading brought into focus.  

We read and think in company; our theological reflection like the rest of our lives of faith is a shared, ‘conversational’ affair.

It's not unknown outside theology. We have become so much more interested over the last few decades in how to understand works of art not just in terms of what the artist ‘meant’, but in terms of what the actual work does or makes possible. What world does it create? So we read the Bible, obviously, but we also read the readers of the Bible (think of the Jewish Talmud, with the original text of its classical legal discussions literally surrounded on every page by the arguments that this text has generated). We read and think in company; our theological reflection like the rest of our lives of faith is a shared, ‘conversational’ affair. And so along with reading the Bible and immersing ourselves in the history of what sense others have made of the basic text and story, we also bring to bear the sorts of things that are part of our current conversations in society and culture – the habits of ‘reasoning’ that we have picked up.  

There is an important difference between talking about ‘reason’ as a sovereign, detached capacity and talking about ‘reasoning’, the range of processes and practices that carry forward a common life of intelligent learning (and that learning may be at any level of supposed ‘intellectual’ capacity; once more, it’s not about abstractions). Our society these days is fairly comprehensively confused about this: we have a mythological picture of some supremely obvious way of arguing that allows for no final dispute; we call it ‘science’; and then we expect the impossible of it and are disillusioned and sceptical when it can’t give us absolutely certain answers. One of the many ironies of our society is that we are besotted with ‘science’ and at the same time fascinated by the idea that there are many ‘truths’, or else suspicious that apparently objective sources are actually controlled by other interests. Real ‘reasoning’ happens only when we have learned to trust one another’: a long story, but an all-important element in our human discovery. 

Bible, tradition, human reasoning – those are the tools we bring to this job of mapmaking. The book is really just a meditation on those words, ‘Come and see’, as the basis of Christian thinking. At the centre of everything is a set of very ambitious claims about what God is like – and what we are like. Part of what we’re invited to ‘come and see’ is ourselves. Once again it’s not unlike what happens in a really good play or film, when we go away conscious that we have seen not just someone else’s story but something fresh about our own selves. 

And my greatest hope for the book is that it may prompt someone to look a bit harder, to listen in to how Christians talk – and in that moment find that they recognize what’s being said in some complicated and untidy way. One of the most vivid characters in the gospel I’ve been quoting says of Jesus that he has told her everything she has ever done. I hope that those who are moved to investigate a bit further will come to that same unsettling and exciting point where they see themselves freshly, and the new landscape begins to unfold.  

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