Explainer
Creed
Eating
1 min read

Intermittent fasting? Try the 5th century playbook

Lent is upon us – those 40 days of voluntary masochism that we moderns have mercifully put behind us. Or have we?

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

A wine glass of water sits on an empty clean plate.
Daylight fasting.
Jean Fortunet, CC BY-SA 3.0, via Wikimedia Commons.

Fasting, at least in the health world, is no longer a derogatory term but one in vogue. Particularly the merits of the restricted diet, in which you limit the amount of time you eat either to a day (e.g. to an eight-hour window) or a week (e.g. skip eating on two different days). The latter approach, maybe surprisingly, follows in the footsteps of our religious forebears, who fasted every Wednesday and Friday. Could it be that they’d figured out a practice we are just discovering? And what else were they trying to achieve?

To a medieval peasant in Britain, Lent ratcheted up the twice-weekly fast. It was 40 days of a vegan diet, that often increased in intensity as the body adjusted (though the pregnant, young, sick and old were exempt). Lent also issued in much cultural creativity. Who knew that Cathedral at Rouen was a Lenten by-product, as those desperate for butter could get a dispensation by contributing financially to the Butter Towers (as they became known)? And Britons may have Lent to thank for both black peas, a Lancastrian delicacy, and fish & chips, as cooks were challenged to keep Lenten menus interesting.

Despite our caricatures of Lent as a dour and draconian time, it was essential to the enjoyment of medieval life. The purpose of Lent was not the denial but the renewal of pleasure. Maybe it’s precisely that aspect that has echoed through the centuries, manifesting now in our punishing diets, Tough Mudder races, and endurance stunts. Isn’t that a bit part of why we (well, some of us) do them?

 

This article was first published on March 15 2023. 

'One of the principal rhythms of medieval life was this move from feasting to fasting to feasting again.'

Our modern fascination with fasting can also receive wisdom from Lent, which is that fasting for its own sake will always lead to something unhealthy. It must be for the purpose of something greater. Our forebears worried that physical practices could become idolatry, when wrenched out of their context of repentance. As G. K. Chesterton remarked,

'Physical nature must not be made the direct object of obedience; it must be enjoyed, not worshipped.'

The Old Testament prophets were particularly grumpy about this, insisting that fasting would do no good if it did not also help you love your neighbour more. Or as the early third-century Christians who fled from Roman excess into the deserts remarked,

'If you fast regularly, do not be inflated with pride; if you think highly of yourself because of it, then you had better eat meat.'

Fasting on its own will not make us better people, though we might shed a few pounds. Fasting is to restore the pleasure not only to eating, but also to the soul in need of God. Interesting that one of the primary biblical metaphors for a lively spiritual life is that of feasting and eating. Fasting resets the soul with repentance. It is praying with our body. It is not a negation but a purgation of desire – not denying our desires but resetting them. C.S. Lewis wondered whether our desires are not too strong, but too weak.

'We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered to us, like an ignorant child who wants to go on making mud pies in a slum because he cannot imagine what is meant by the offer of a holiday at the sea. We are far too easily pleased.'

So if you’ve considered intermittent fasting, or even if not but you feel you might need a more balanced perspective on pleasure, consider the Lenten playbook. Feast and fast cyclically. Do it for a greater purpose than just losing weight. Let it change and reset your true desires. And maybe, just maybe, you might discover God waiting for you at the root of all your desires.

Article
Creed
Egypt
Film & TV
Freedom of Belief
6 min read

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An graphic image shows 21 men in orange suits kneeling in front of executioners in black.
MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.  

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.  

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.  

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.  

We knew a story, now we’re hearing their story. 

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.   

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,  

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.    

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.  

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.  

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.  

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.  

40 days, that’s how long the twenty-one were held for.   

960 hours.  

57,600 minutes. 

3,456,000 seconds.  

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.  

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes. 

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.  

 ‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’ 

 This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.  

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.    

Watch the trailer

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