Events
Identity
Politics
S&U interviews
4 min read

June 3: Esau McCaulley and Graham Tomlin - get tickets now

Join us in London as we explore today's cultural moments.

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

A man talks to a camera with his hands together palms up and his finger interlaced.
Esau McCaulley on the Re-enchanting podcast.

Meet Esau and us

Seen and Unseen is hosting an incredibly rare event: Bishop Graham Tomlin in Conversation with Esau McCaulley on 3rd June, at St Mellitus College, 24 Collingham Road, Earl’s Court, London starting at 7.30pm .

As well as hearing more of Esau’s story, this conversation will cover the place of faith in public life, the significance of the black church, US politics, and this cultural moment. Trust me, you don’t want to miss this. I have had a couple of conversations with Esau McCaulley, and they have re-arranged the theological air I breathe.  

You can find out more about Esau on his web site and read his New York Times columns. Or listen to my interview with him, as part of our Re-enchanting podcast.  

Places will be limited, get further details and reserve your (free) ticket on Eventbrite.

 

Belle Tindall writes...

How does one wrestle their faith out of the hands of those who used it as tool to enslave them? How does one keep hold of such a faith when the owner of the local plantation was also the pastor of the local Presbyterian church? When the people who filled the pews were also the people who turned up to the KKK rallies? And how do the descendants of those people wade through the cultural and spiritual residue of such a history? Wrestling, still, with the complex evil that defined their ancestors' days?  

And how does one respond when Donald Trump, the likely Republican presidential candidate, endorses a God Bless America Bible as some kind political strategy? What does one do when their community are being peddled their own sacred book, this particular edition of which includes the American Constitution, the Bill of Rights, the Declaration of Independence, the Pledge of Allegiance and the lyrics of a country song also entitled God Bless the USA? Oh, it also has the American flag emblazoned across the front. For good measure, I suppose.  

And finally, how does one look out at an increasingly secular culture and remain confident that what it really needs is to be reminded of an ancient Galilean carpenter, as if he’s still some kind of relevant solution to our deepest hopes and fears?  

These questions have something in common: they have been, and are continuing to be, answered by Esau McCaulley.  

Answered honestly.  

Answered powerfully. 

Answered ever so publicly.  

Last year, Esau was named by the Washington Post as one of the most influential faith leaders in the USA. He is a New York Times contributor and a New Testament Professor at Wheaton College, he is also the author of the award-winning Reading While Black and his latest best-selling memoir, How Far to the Promised Land? What began as a eulogy for Esau’s (rather complicated) father became ‘one black family’s story of hope and survival in the American south’. The eulogy was unapologetically complex, and so is this book. It was unwaveringly honest, and so is this book. It was utterly profound, and so is this book.  

Esau, when reflecting on his own history, stretches for truth, refusing to relax into comfortable simplicities or false binaries that don’t belong in reality. Writing this memoir cost Esau something. You can tell. The grace woven into the paragraphs did not come cheap.  

This book, as Esau himself explains, is about his father, but his father is a metaphor for America. And so, when it comes to this book (and much of Esau’s work), the political makes its home within the personal; the story that Esau tells is, to an extent, a trojan horse. A challenging commentary of America is sitting within this book’s pages. Esau is clear, his father – who continued to leave a trail of trauma in his wake – made bad decisions. But society played a significant role in creating the context within which those decisions were made. Were the poor decisions his father made down to personal responsibility or was it structural injustice? Esau’s answer? ‘Yes’.  

Again, he has an aversion to binaries that don’t belong in reality.  

To borrow an Elizabeth Oldfield phrase that I cannot stop thinking about: this book tells us something of our brokenness and our ‘breaking-things-ness’. And, as Esau writes,  

‘patience with broken people and broken things is a manifestation of trust in God’ 

And Esau seems to have a lot of patience. Patience with himself, patience with his father, patience with Rev. Matthew Bone, owner of the Bone planation where his ancestors were enslaved, patience with those who have hurt him, patience with us all.   

And that, it seems to me, has bred a persistence in hope. Real, gritty, bruised and yet still beating, joy-filled hope. The kind of hope that can look at the God Bless America Bible and not face-palm. The kind of hope that can research the links between Christianity and slavery and not fall into spiritual crisis. The kind that can observe the theory that faith is losing its place in public life and can use a New York Times column to prove it wrong.  

Ultimately, the kind of hope that the world is increasingly paying attention to.  

Review
Awe and wonder
Creed
Easter
Film & TV
5 min read

Heading Home: a pilgrimage that breaks out beauty along the way

We can learn a new language together as we travel.

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

A shaft of light from an opening in a dome lights a cross on a pedestal.
Church of the Holy Sepulchre.
Kieran Dodds.

This film, this pilgrimage, this story begins in Jerusalem in the rotunda of the Church of the Holy Sepulchre with its Aedicule, a small chapel, containing the tomb from which Jesus rose.  

Jesus' resurrection was revolutionary because it is the first fruits of a wider resurrection into a new heaven and a new earth, the new Jerusalem, where all that is harmful on earth is transformed into eternal glory and beauty. 

The Church of the Holy Sepulchre holds that vision within its walls, a vision that was then transported throughout the world through pilgrimage and creatively replicated in other locations so that all who entered their local church or cathedral would be transported through art and architecture to the New Jerusalem.  

US philanthropist and author Roberta Ahmanson thinks that American Protestants, in particular, have neglected this story because of the Reformation's preference for word over image. As a result, in 2022, she gathered an eclectic group of Christian college presidents, church pastors, and Christian creatives taking them on a pilgrimage from Jerusalem to London via Italy and Aachen while filming their responses to the visual history of the New Jerusalem as found in the churches they visit. In their two-week journey, the group cover almost 2,000 years of church art and architecture. 

Ahmanson explains that this search for the reality of the Kingdom of God as it is to be realised in the New Jerusalem at the end of time did not mean that pilgrims were to abandon the world. On the contrary, she says, "their job was to serve this world to make it more like the heavenly home where their ultimate citizenship lay." That remains the aim of this art and architecture as:  

“By studying the nature of that promised place, as artists and architects and writers of the past have sought to express it, we are schooled to live lives of wholeness and beauty right here on earth. The longing for beauty is ultimately a longing to be Home, to be in the place where we are whole.” 

The beauty of the churches visited on this pilgrimage provided a vision of the New Jerusalem to those who entered in order that they took that vision into their everyday lives when they left. Along the way, the pilgrims on this trip learnt how artists, architects and theologians worked in parallel for many centuries – from Saint Augustine’s vision of a New Jerusalem to Dante’s admonitions about the Last Judgment. 

The film combines scenes of beautiful interiors with explanations of their significance from Ahmanson and others, plus it shows the reactions of various of the pilgrims as they allow their sense of wonder and understanding of Church history to be expanded. David and Joy Bailey, founders of Arrabon which cultivates Christian communities to pursue healing and reconciliation in a racially divided world, are two of those to have spoken about the impact the trip had on the group of pilgrims.   

Joy said: “Everybody was very literate coming from these strong traditions of faith being either oral or written but to see it so visually impacting, it was breaking us all open and trying to find language for that took the entire trip.” David suggested that: “What the trip was helping you to see was this deeper rootedness, this long tradition that, I think, could actually be very helpful for us today because some of the things that were there were the understanding of humanity as plain on the outside and beauty on the inside, the glory that comes with the inward journey that reflects on Heaven as it is on Earth.”  

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience 

As we travel further from Jerusalem in the film, we are surprised to find that the template of the Holy Sepulchre continues to inspire and shape the experience of pilgrims. Ahmanson explains that: “In churches across the old Roman Empire, from Africa and Palestine to the furthest reaches of Britain, liturgy was created to tell the story and to bring the spaces alive in the telling. Pilgrimages to Jerusalem and later to Rome and then to the tomb of Saint James in Spain became a kind of geographic liturgy. When the trip became too long or … too dangerous, believers found alternative destinations. Across the continent, from Magdeburg in Germany and Constance in Switzerland, to Bologna and Pisa in Italy and London and Cambridge in England, round churches or smaller models replicating the Church of the Holy Sepulchre became pilgrim destinations.” 

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience, particularly during Lent and Holy Week. Walking labyrinths, Palm Sunday processions and Passion dramas, praying the Stations of the Cross, washing feet on Maundy Thursday, sharing a Passover meal, the Good Friday three-hour devotional, and the Dawn Eucharist on Easter Day are among the many ways Christians continue to follow in the footsteps of Jesus while remaining where they are during this most special season.  

Many of these practices provide the opportunity to go on pilgrimage while remaining at home. Just as with images of the New Jerusalem brought from Jerusalem to the churches of Europe, so with, for example, the practice of praying the Stations of the Cross which originated in medieval Europe when pilgrims were unable to visit the Holy Land, so instead “visited” the Holy places through prayer.  

The film, and other creative off-shoots including exhibitions of photographs from the pilgrimage taken by Kieran Dodds and performances by spoken word poet Street Hymns (one of the pilgrims), with his fellow poets Hanna Watson, Jasmine Sims, and Lo Alaman, in response to images of the New Jerusalem, provide viewers with a similar opportunity to experience, reflect and pray. The aim of all these initiatives is, as Ahmanson explains, what has always been the aim; “to serve this world to make it more like the heavenly home” where our ultimate citizenship lies, and to do so by “creating beauty in buildings and art and music and serving the suffering and those in all kinds of need”. 

 

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