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Hospitality
5 min read

How a nation opened its arms to refugees

Fascinated by Polish hospitality extended to Ukrainian refugees, Tory Baucum delves into its nature.

Tory Baucum is the director of the Benedictine Center for Family Life, Benedictine College, in Atchison, Kansas.

A helper in a yellow vest reaches up to a open train carraige window while offering a bottle. The side of the carraige is covered in graffiti.
A Polish volunteer hands water to Ukrainian refugees at Przemyśl, Poland.
Mirek Pruchnicki, CC BY 2.0, via Wikimedia Commons.

How does one explain three million refugees in Poland but not one refugee camp? Even the experts find it hard. Dr Marc Gopin of the Carter School for Peace and Conflict Resolution at George Mason University, and a world expert on refugee crises, says in 30 years of work among refugees he has never seen anything like it.  

In December 2022 I was visiting early responders near the Ukrainian-Poland border. One man (whom I’ll identify as Slawomir) was particularly heroic in his efforts to whisk fleeing Ukrainians to safety. Upon introduction, he asked if I wanted to know how he did it. I replied,  

“What I really want to know is why? Why did you risk your livelihood, even your life, to rescue people whom you did not know? Indeed, even people with whom you share a hard and sometimes bitter history?”  

He had no answer. He could only manage a shrug and murmured,  

“I just had to.” 

This conversation, with variations, could be told repeatedly. By all the accounts I’m aware of Poles are acting inexplicably heroically. It merits investigation and understanding beyond the anecdotal.  

So why then has Poland played such a heroic role in this global crisis? 

One answer I’ve by given Poles, is that they have experienced what the Ukrainians themselves are now going through. Their own history of PTSD has primed them to empathize with effects of the shock and awe of an aggressor’s invasion - indeed, of Russian invaders. A scholar at the Jagillonian University said to me of their two 20th Century invaders - the Germans and Russians - most Poles preferred the Germans. Having just visited Auschwitz I found that incredible. “Oh, the Nazi’s were wicked, but they were civilized in their wickedness. Russians show no constraint whatsoever,” she said.  

Poles also know abandonment, such as when they fended for themselves as the neighbourhood bullies took turns pounding them. The 1944 Warsaw Uprising, ending in the razing of Warsaw, could have been averted if the West had intervened. But Poles were betrayed by those they believed were friends, or at least, allies. We weren’t. So, Poles are constitutionally unable to simply stand by and watch atrocities. But other European neighbours can and still do.  

So what makes the Poles’ response so extraordinary beyond its rarity?  

As we probe deeper - beyond collective experience - we hit Polish character. Character is durable. Ever since the late 18th century when Poland was partitioned by three neighbouring Empires (Prussian, Russian and Austria-Hungarian), Poles have been in survival or nearly survival mode. In the 1770s Swiss political theorist Jean Jacques Rosseau wrote an epistolary tract warning the Polish government that if these empires succeeded in “eating you then you must never let them digest you.” For nearly two hundred years the Poles learned that culture and faith keep a people together when even the state buckles. Culture and faith make a people indigestible. These lessons, learned in the crucible of multiple failed uprisings and even death camps, steel the Polish people to do the truly remarkable deeds the world now witnesses.  

Poland’s long partitioning and occupation baked in their collective experience. At his recent visit to Kyiv and Warsaw American President Joe Biden singled out the Poles for their heroism. It was a first in this particular crisis.  

But can we dig deeper still for an answer to why Poles have acted in such a remarkably generous manner?? For it’s not only singular and durable but it’s also a theological response. This answer requires a little history to absorb.  

Many Polish people possess a heroic - even radical - hospitality. The ultimate cause of Polish homes, hostels and hotels welcoming the stranger can be proffered: their faith in God. The Poles have a saying:  

“When a neighbour is under your roof then God is under your roof.” 

 In the 12th century Boleslav the Bold had Bishop Stanislav murdered while celebrating mass (let the English understand). The Poles turned against their king and embraced Stanislav as their martyr and patron. To be received back into the good graces of his people, Boleslav placed a Benedictine foundation in every Cathedral of the land. Rule 53 of Benedict’s Rule states that monks are to receive every stranger as Christ. The common saying of the Poles (if a neighbour is under your roof then God is under your roof) has its roots in this ancient act of royal penance. This Christian practice of hospitality was the core strategy of the Christianization of Poland. In the history of Benedictine evangelization through Christian hospitality we’ve finally hit the bedrock of the Polish response. 

They understand people need not only justice but also transcendence in order to flourish. Or even survive.

However, it would be a stretch to say the Poles’ extraordinary response to their neighbours in need of shelter is simply the triumph of the distinct Benedictine character or even more genetically of Catholic sensibilities. Nothing this complex is that simple. All these factors are integrated in this moment. But after five visits to Poland since the third day of the initial invasion, I’ve concluded the Poles are, by and large, a uniquely virtuous people. Not morally virtuous - original sin is distributed evenly, even amongst Poles. But they are theologically virtuous: they are people shaped by faith, hope and love. They understand people need not only justice but also transcendence in order to flourish. Or even survive. 

Their great 20th Century saint, Pope John Paul II, during the Stalinist occupation, taught them the practices of Domestic Church. The domestic church is nothing less than the family faced outward in love. Christianity began as a domestic movement. Writing to residents of Rome, St Paul greets the Christians who gather weekly in each other’s homes). In moments of great distress Christians have been known to revert to these root realities, these primal instincts. Not always, of course. But in February of 2022 and for the many following months they have. In Poland.  

We are sitting on the most amazing story the world has mostly not heard about. I’m grateful to tell the world what I’ve seen unfold before my very eyes. I wish my telling was adequate to the Poles’ heroism. For as they modestly tell it “we just have to.”  

Review
Culture
Film & TV
Hospitality
Romance
4 min read

From wheatfield to vineyard, can an ancient love story survive a replanting?

Ruth & Boaz finds new soil in rural Tennessee but struggles to grow

Giles is a writer and creative who hosts the God in Film podcast.

A couple hold each others hands as they face each other.
Tyler Lepley and Serayah.

Ruth & Boaz is a contemporary version of the most memorable love story in the Bible. The film tells the story of Ruth, a young woman who escapes the Atlanta music scene to care for an elderly widowed woman. Not only does Ruth gain the mother she never had, she also finds the love of her life in the process. 

The story of Ruth and Boaz is a straight up love story, and it serves as a much-needed respite from the biblical levels of violence in the books that precede and follow it in the Bible. So a modern update of the Ruth and Boaz story serves as good material for a heartfelt, sincere romance.

As part of Atlanta pop duo 404, Ruth Moabley (Serayah) is a talented singer who, after the death of her boyfriend and his father, is desperate to escape her menacing manager.  Ruth makes the impulsive decision to join her late boyfriend's mother Naomi, (Phylicia Rashad) as they both leave Atlanta for a small town in Tennessee to start over from scratch. The only job she can find involves labouring at a local vineyard, leading her to owner Bo "Boaz" Azra, (Tyler Lepley) who falls for Ruth the moment he lays eyes on her. Ruth holds tight to her faith and slowly begins to accept love, but her past is soon to catch up with her.

One of the joys of adapting a Bible story is often the characterisation. Phylicia Rashad’s Naomi is a complex, contradictory figure whose manifestations of grief are not always that sympathetic, pushing away all but the most insistent of helpers like Ruth. As the titular character, we spend a lot of time with Serayah’s Ruth. Making her a singer helps to flesh out the character to an extent, but the scenes where her individuality gets to shine are notable by their infrequency.  

Tyler Lepley’s turn as Bo Azra is perfectly serviceable. He’s essentially an idealised, handsome and muscled 40-year-old. Bo has a wealth of backstory; we’re told he served two tours in Afghanistan, then worked on Wall Street, and finally returned to his family business of the Azra Vineyard & Winery. Despite this, none of it really shows up in his characterisation. He spends his time being a generous boss, and an all-round basic good guy. All of which is great in real-life but can be a little staid in fiction. There’s very little about him to intrigue us, although questions have to be asked about how, if he’s so dedicated to making his business succeed, he managed to find the time to work on a truly magnificent set of abs. 

In a departure from the original Bible story, Ruth begins as a casual worker on Boaz’s vineyard. This is a reasonable change, as the practice of leaving grain after the harvest for widows and orphans to collect just doesn’t fit in a modern context. But in a post #MeToo world, this does create a power imbalance. They attempt to address this power imbalance of employer and employee when Ruth refuses to let Boaz buy her a drink. However, Ruth’s resistance quickly recedes when Boaz introduces her to Rn’B legend, Babyface. In this world, if you want to date one of your employees, all you have to do is introduce her to a Grammy-winning super producer to break down her inhibitions.

All of these shortcomings suggest that the script needed a few more passes, and the saccharine voiceover feels like it’s trying to make up for that. Credibility at times takes a back seat to the gloss of the high production value as almost every other shot looks like it’s promoting a tourist destination. There are moments where it feels like the story is contorting itself in order to be a vehicle for Serayah’s singing talents; which, to be fair, are considerable. Nonetheless, a lot of the tension in the plot hinges on characters not telling each other incredibly important details because of convoluted reasons. It’s a trope that feels a little bit tired. On top of that, the pacing drags until it remembers it has to have a dramatic resolution, which it awkwardly rushes, making the ending feel somewhat unfulfilling.

Ultimately, Ruth & Boaz feels like a romance film made by committee, a Hallmark film with added Bible references and RnB cameos. One could argue that it shines a spotlight on African-American communities in rural America, but the brisk run-time prevents it from revealing anything new, and the light touch characterisation means we don’t really get anything original.

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