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.

Column
Awe and wonder
Belief
Creed
4 min read

What brings us into bulwark cathedrals?

A band’s tribe trek to a cathedral that’s defied the dark for centuries.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A view from a floodlight footbridge towards a gap between office buildings which reveal a cathedral and its illuminated dome.

I went along to read some Genesis at a local Nine Lessons & Carols service, wearing the coat I’d worn the week before on my annual cathedral benefit tour with the evergreen folk-rock band Jethro Tull. 

The coat still bore the stick-on backstage pass, ‘access all areas’, that acts as some form of security for band, crew and instruments. I hadn’t had time, or the skill to be honest, to soak it off gently to avoid damaging the fabric. 

A number of congregants, both men and women – I hesitate, for contemporaneous reasons, to add “of a certain age” – noticed it. “Does Ian Anderson still stand on one leg when he plays the flute?” asked one. “I’ve still got some Tull albums from the Seventies,” added another. “Great band,” affirmed a third. 

It strikes me that more church congregants recognise Tull than Tull fans recognise the Church of England. That’s to be expected, given that this is a tribe that grew up with a prevalent post-modern atheism. I remember in the early days following a pair of increasingly hairless old hippies into one of these gigs. “Looks like a flippin’ church,” said one. “That’s because it is a flippin’ church,” replied the other (though naturally they didn’t say “flippin’”). 

These cathedral shows, of which there have been about 30 now, sell out easily and very soon after tickets go on sale in the summer. We played Bristol and Salisbury (again) last week. The larger cathedrals benefit to the tune of upwards of £25,000 for a couple of hours of Christmassy rock ‘n’ roll. They come because they like the sound of Jethro Tull and Anderson’s songwriting canon. 

But there’s something else going on. They come, these predominantly unchurched people, to take ownership of their cathedral. They may come because it’s Christmas and it’s the right place to be. They come to be together, if not as the Body of Christ then at least in some sort of communion, which is true of any rock concert gathering in a corporate way, but which is lent something transcendent in a gothic cathedral. 

This raises questions for me. The first is this: Come Christmas, what is it that they and we have all been waiting for, this crowd of people who seem strangely anticipative, not just to hear one of their favourite bands, but to hear something else in the air in a sacred, ancient place? 

I have a theatrical role, somewhere between master of ceremonies, band confessor and rocking retainer. Top hat, tails, leggings, codpiece, pixie boots and a knobbed cane. Oh yes, and my clerical collar. It’s the dog collar that connects me to a reality beyond the show business.  

In addition to cavorting, I deliver a Christmas blessing during the intro to the last number of the night (usually “May the joy of the angels, the wonder of the shepherds…” etc.). I’m struck by how moved many people are and remark on it afterwards in the crowd. There’s a real hunger for peace and goodwill in a broken world, not just an appetite for a thumping bass line to swing hips to, as they raise their eyes to a vaulted, lit ceiling far away, sometimes a thousand years old. 

My second question is relatedly this: What does a merry Christmas mean in this context? Quite often, Tull’s Christmas song from 1977 will be on the setlist, Ring Out, Solstice Bells. It’s pagan in theme (“seven druids dance in seven time”) but it engenders in this setting a strong folk memory of light and cheer in the darkness. There’s a defiance of the dark here and the cathedral stands as a bulwark against it down the centuries. Be of good cheer because all will be well – that’s what it means to wish a merry Christmas. 

A final question: Why do they come back every year, this motley band of ageing rockers (though there are youngsters too)? Part of the answer to that is the comfort of the familiar and eternal – and I don’t mean only songs that are up to half a century old. It’s a truth among other truths that religious observance is growing in some societal pockets, among Gen Z men for example.  

Cathedrals aren’t like parish churches, where you may feel part of a small community. Cathedrals are a part of the world, in all its harsh reality. Katherine Amphlett LINK has written here of Coventry cathedral (where Tull has played) and a feeling of how Christmas is far from twee in these settings – the Christmas story is hard and subversive. To my mind, it’s a story about persecution, homelessness, displacement, oppression, refugees and misogyny. 

A cathedral is big and strong enough to bring all that to. It always has been. We see some of that recognised in the audiences for these Christmas shows. Perhaps you’ll join us at a cathedral near you next year? Meanwhile, merry Christmas. 

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