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War & peace
6 min read

How Ukraine reckons with its reality

From Kyiv's coffee shops to the front line.
A woman squats and touches a war memorial
War memorial in Bucha.

How on earth it came up I have no idea, but I vividly remember chatting with my grandmother about the ‘Phoney War’ of 1939. I can’t have been much older than 10. It’s not that I was especially inquisitive about history, nor that I had the presence of mind to ask for stories from her extraordinary life. How I wish I’d done that with all four of my grandparents. But my hunch is that it was prompted by sitting in the garden on a glorious summer’s day. We were probably shelling peas or peeling potatoes or something—she always got people staying to do jobs. 

She was reminiscing about how weird those months in mid-1939 were, in particular remembering how lovely the summer had been, far brighter and drier than normal. Even after the Nazi invasion of Poland on 1st September (thus triggering Britain and France to declare war two days later), the weather remained good. A sense of war’s inevitability had hovered throughout 1939, so even after Chamberlain’s famous ‘final note’ was rejected, nothing much changed. At least, not for ordinary Britons. Life went on. It would take many months before the conflict came all too close to home. 

I couldn’t help but think about this during my visit to Kyiv and Lviv earlier this month. The difference, of course, is that there was nothing phoney about Russia’s 2022 invasion or the horrors inflicted on eastern Ukraine since the 2014 annexation of Crimea. But for the majority, routines continued uninterrupted. As they must.  

For example, assuming the worst, I had contacted several Ukrainian friends offering to bring any scarce or unavailable items from Britain. No one took me up on it; it was unnecessary, they all said. After wandering through both cities, it was obvious why. Although trade will undoubtedly have been slower than before the war, shops seemed well stocked with all the necessities and not a few luxuries.  

Then on my final morning, I was quietly sipping a cappuccino in Lviv’s historic Rynok Square when the air-raid sirens suddenly cranked up into their now familiar whine. Being kept awake by Kyiv’s sirens had been a new experience for me (a mark of our Western privilege that we have avoided all-out war on our soil for decades). But this was my first daytime alert. It was even accompanied by booming Ukrainian announcements, although the advice was inevitably lost on me. As it was on all around me, who seemed assiduously to ignore it. The few mid-morning pedestrians—few tourists come here— maintained their ambling pace unchanged; the taciturn waiter patiently took orders at the next table; a middle-aged businessman on the square continued his negotiations on the phone while gesticulating with his briefcase. So naturally, I kept sipping. 

This was not because the sirens cried wolf. Just 10 days before my visit, Lviv had suffered one of the worst air attacks of the war, with 7 killed, over 60 injured, as well as the destruction of schools and historic buildings. Moreover, I met a friend for lunch an hour later who told me that some man-sized drones had attacked his side of Lviv and he saw one or two shot down. So it was all real enough. What was everyone thinking? 

Those who keep going amid a siren’s whine are not perhaps ignoring it but taking calculated risks in their perseverance.

Ignoring reality 

T. S. Eliot famously observed that "Humankind cannot bear very much reality." So perhaps that was what was going on here. After two and a half years of war, I can quite imagine exhaustion and resignation to what was going on. So it just gets ignored. Ordinary life must go on. After all, only a small proportion of the population is actively engaged in the war; the rest, if they haven’t already left, must try to keep calm and carry on. In fact, men aged between 18-60 are unable to leave at all without the necessary papers and these are hard to come by. Perhaps the only way, then, is to avoid thinking altogether. On a beautiful day, once autumn has begun to temper Ukraine’s oppressive summer heat, sustaining the illusion is simple. Life carries on. 

Of course, it can’t last. Every single person I spoke to had family or friends at the front; some had already been killed. The destruction caused by air raids brought a distant conflict onto people’s doorsteps. However, it was driving through the pleasant Kyiv suburbs of Bucha and Irpin, both of which I had previously visited several times, that reinforced the impossibility of ignoring reality. Bucha is now emblematic of the invasions very worst atrocities, from when Russian forces had Kyiv almost entirely surrounded before being pushed east. Locals were rounded up and slaughtered, with the bodies of several hundred civilians later found to have died from bullet wounds rather than shrapnel. But as we drove through, it was impossible to conceive of those horrors. Apart from anything, the weather was so lovely. Atrocities don’t occur on beautiful days… or in lovely places… surely? 

Persevering amid reality 

What impressed me most in those areas was the speed of the rebuilding work. Entire shopping malls and neighbourhoods had been razed. But after only twelve months or so, a memorial to Bucha’s 500 dead had already been erected. As we drove through, major construction projects were underway, with multiple cranes towering over rapidly rising apartment blocks and retail parks. 

These are not signs of reality ignored but faced. These are signs of gritted hope. So it struck me that those who keep going amid a siren’s whine are not perhaps ignoring it but taking calculated risks in their perseverance. Just as it is unwise, if not impossible, to live on a permanent adrenaline rush, so one cannot always exist in flight or fight mode indefinitely. It is simply that in wartime, risk thresholds change. Human beings are resilient and adaptable. They endure the most extraordinary setbacks and conditions. 

So, to be with Ukrainian friends in my limited, deficient expression of solidarity, has been inspiring. No one I met had any illusions about the realities of Ukraine’s current plight (especially with a harsh winter looming as Russia systematically destroys power stations). But still they persevere. 

Seeking deeper perspectives of reality 

However, Eliot did not primarily refer to bearing the reality of the mundane. As the novelist Jeanette Winterson explained, Eliot was identifying how little twentieth century society (that of his Waste Land in particular) could bear of spiritual reality. He meant the phenomenon of resistance to a journey towards God or of facing themselves as they stand before God. 

However, the horrors of invasion and the nightly anxieties of air raids have put paid to all that. One friend I was glad to see again is Andriy, previously a fairly well-known Ukrainian journalist and now a church pastor. He regularly goes to the frontline as an unofficial chaplain, visiting troops in their camps and the injured in hospital. He was unequivocal. Before the war they would undoubtedly have been shrugged off. But now, he has not met a single soldier who is uninterested in the things of God and eternity. War has forced them to face their mortality and Andriy has found that most are desperate to talk about little else. These things matter. Even on a beautiful, bright, early autumnal day.

Review
Art
Culture
Ethics
War & peace
5 min read

Can we stop killing each other?

How art, theology, and moral imagination confront our oldest instinct

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

A 17th Century painting of Moses and the brazen cross.
Luca Giordano, The Brazen Serpent, c.1690, oil on canvas.
Compton Verney, photography by Jamie Woodley.

What more important question can there be for humanity, Jago Cooper, Executive Director of the Sainsbury Centre, asks than ‘Can we stop killing each other?’ The Sainsbury Centre’s radical exhibition programme explores the big issues in contemporary society (see my article ‘Life Is more important than art’) so has rapidly arrived at the point where it is exploring what has wrong with the world when killing occurs and how can we put it right. 

Cooper sets out the ground that this series of exhibitions seeks to cover: ‘From interpersonal violence to state level conflict, killing has spread its devastating impact throughout all human cultures across the centuries. Why does this violence occur? And can it be better prevented at a time when increased societal pressures of population growth, resource scarcity, human migration and rapid environmental change make the risk of conflict higher? Every day we read about horrifying acts playing out locally and internationally, but what is the answer to stopping them?’ 

Can we stop killing each other? includes an installation by Aotearoa/New Zealand artist Anton Forde, a series of new paintings reflecting on the refugee crisis by Ethiopian artist Tesfaye Urgessa; presentations of historical artworks such as Claude Monet’s ‘The Petit Bras of the Seine at Argenteuil’, and an exhibition spanning Shakespearean tragedy to Hitchcockian spectacle, which asks questions of violent stage and screen narratives, plus (from November) ‘Seeds of Hate and Hope’ highlighting personal artistic responses to global atrocities, such as genocides, ethnic cleansing, war crimes and crimes against humanity.  

It starts, however, with a room displaying Biblically themed explorations of this question. ‘Denunciation of Cain’ by G.F. Watts depicts the after-effects of the first murder with Watts viewing Cain as a symbol of ‘reckless, selfish humanity’. A pair of paintings by Luca Giordano then take us deeper into the ambiguities of our human responses to anger and violence. ‘The Brazen Serpent’, tells the story of the Israelites’ journey from Mount Sinai in Egypt to the Promised Land of Canaan. On this journey, a plague of poisonous serpents punishes the Israelites for their disobedience and lack of faith. Moses is instructed by God to make a bronze, or ‘brazen’, serpent that will heal those that repent. The curators ask, ‘Does this portrayal of killing as a punishment set a cultural precedent, or establish a moral code for right and wrong?’ Alongside is ‘The Judgement of Solomon’ in which two women both claim to be the mother of a living child and where the true mother is revealed by means of an order that the child to be cut in half with a sword and shared. The true mother reveals herself as the one who will give the baby away to protect the child’s life. Here, the threat of violence is used to bring about justice.  

William Hogarth’s print series The Four Stages of Cruelty, with verses by Reverend James Townley, reveals how violence escalates and shows how a lack of moral supervision can lead to a life of crime. Finally, Matt Collishaw’s series of thirteen photographic works entitled ’Last Meal on Death Row, Texas’ alludes to the number of apostles at the Last Supper while depicting the last meals chosen by condemned prisoners on death row in the state of Texas, United States. 

The curators suggest that: ‘The artworks in this gallery, and beyond, suggest that there is a choice between peace and conflict and that moral stories exist to guide us towards making ethical decisions in real life. Art provides a powerful connection through which to experience life at its most chaotic and incomprehensible, enabling us to pause and reflect on the darkest aspects of human existence. It can also create vital opportunities for society to mourn and remember victims of violence, and to come together in acts of healing and repair.’  

These images and the Bible stories on which they are based give us more than simple moral guidance, however. They also provide an explanation for the existence of conflict between human beings and reveal God’s subversion of that ingrained human tendency. 

In the story of Cain and Abel, Cain is jealous of Abel and kills him as a result. The anthropologist René Girard suggests that this story reveals the way in which we consistently act as human beings. We desire something that is possessed by someone else and become disturbed through our longing for what we don’t have. We resolve our disturbance by creating a scapegoat of the person or people who appear to have or prevent us from having what it is we desire. When the scapegoat is killed, we can gain what we desire and also release the sense of disturbance that we feel.  

This scapegoat mechanism becomes expressed in religions involving human sacrifices as scapegoats to appease their gods. In the story told within the pages of scripture, it is out of such religions that Abraham is called to form a people who do not sacrifice other human beings, but instead use animals as their scapegoats and sacrifices. Jesus is later born into this people who have subverted the existing practice of scapegoating and he further subverts this practice because, as he is crucified, God becomes the scapegoat that is killed. Once God’s Son has become the scapegoat, for those who follow him, the scapegoat mechanism is undermined and the scapegoating of others should no longer be possible. 

In ‘The Judgement of Solomon’, the threat of violence is used to reveal the desire of the woman who had taken the mother’s child and the self-sacrifice of the true mother. On the cross, the violence meted out to Jesus reveals the full horror of the scapegoating mechanism in the torture and violent death of the wholly innocent one.   

Jesus explicitly equated his crucifixion with the raising up of the bronze serpent that brought healing because in that story, when it is raised, as Jesus also was, the image of the source of the poison in the lives of human beings became the source of healing. That is also the promise that Christianity holds out to us in relation to the effect of Jesus’ crucifixion where he becomes sin for us. It heals us of our absolute need to scapegoat and harm others. 

 

Can We Stop Killing Each Other? Sainsbury Centre: 

  • Tiaki Ora ∞ Protecting Life: Anton Forde, 2 August 2025 – 19 April 2026 

  • Eyewitness, 20 September 2025 – 15 February 2026 

  • Roots of Resilience: Tesfaye Urgessa, 20 September 2025 – 15 February 2026 

  • The National Gallery Masterpiece Tour: Reflections on Peace, 20 September 2025 – 11 January 2026 

  • Seeds of Hate and Hope, 28 November 2025 – 17 May 2026 

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