Explainer
Creed
Mental Health
Trauma
5 min read

Lamenting the losses in life

There are paths through the thicket of loss that mental illness causes. Rachael Newham explores lament.

Rachael is an author and theology of mental health specialist. 

 

 

A Victorian fisherwoman sits on a beached boat, shoulder slumped.
But O For the Touch of a Vanished Hand, 1888, Walter Langley. The title is taken from the Tennyson poem 'Break Break Break'.
Photo by Birmingham Museums Trust on Unsplash.

I am lost. I feel utterly bewildered by my surroundings and my head is beginning to spin under the strip lighting. There are people all around me, but I can’t find my bearings. This place should be familiar, it’s somewhere I’ve been a hundred times before, but I feel the panic rise as I try to find my way.  

 Before I had known exactly where things were, how to navigate the aisles and reach the things I needed with ease, but in the months I’ve been away, things have changed and I cannot face the thought of finding my way around the new arrangement, so I turn on my heel and leave empty-handed.  

I haven’t been away on holiday or gone on a work trip, I’ve been locked inside my own head doing battle with my own mind in the shadowlands of mental illness. Stable now, with the crisis averted, I am trying to rebuild and yet the Co-op rearranging my local store has served as a stark reminder that things have changed in me and around me. 

And there is no funeral to grieve what you’ve lost, no ‘closure’ as you’re still living it. 

This is the where the conversation about mental health awareness falls silent; the reality of the losses mental illness stacks up like Jenga blocks while you aren’t looking. Serious mental illness doesn’t just take your mind; it takes your ability to enjoy the people you love, the work you find fulfilling, the gloriously mundane school run and the life you once almost took for granted.  

And there is no funeral to grieve what you’ve lost, no ‘closure’ as you’re still living it, no five-step process to ‘get over it’. There is simply the loss and the life you’re trying to rebuild.  

This loss must be grieved. I would argue that all losses must be grieved if we are to learn to live with them. It is as Michael Rosen’s childhood classic “We’re Going on a Bear Hunt” reminds us as the family go on their adventure and encounter the winds and sticky mud: “You can’t go under it, you can’t go over it, oh no! You’ve got to go through it”.  

We simply have to let it have its way with us until the raw pain has faded into an ache we can tolerate. 

It’s perhaps something the ancient faiths and traditions understood better than we do where there are rituals for grief; whether it be Jewish communities sitting Shi’vah or the Irish keening their songs of mourning, they acknowledge the enormity of grief and the need for communities to come together to process it.  

Where the loss is more personal, we can seem to lose access to the healing found in community traditions. When the loss is because of illnesses still so misunderstood and stigmatised, these processes and traditions can feel even further away, still.  

And yet.  

There are paths through the thicket of loss. William Worden, a Fellow of the American Psychological Association speaks of four tasks of mourning which include accepting the reality of the loss, processing the pain of grief, adjusting to the world afresh and finally finding enduring connection. These tasks were designed with bereavement in mind, but they seem to me to speak to losses in the broadest sense and I have found them to be true in mental illness. 

In the Bible we find this prophet Nehemiah, who is tasked with rebuilding the walls of Jerusalem after the Israelites exile in Babylon. They’ve returned home, but home doesn’t look like they imagined to, the place they longed for no longer exists, and they have to accept before they can begin to grieve what has passed. Author Marya Hornbacher writes that  

“managing mental illness is mostly about acceptance- of the things you can’t do, and the things you must”  

and I see it every day - perhaps you do too - as I take the medication and get the sleep that’s required for some kind of equilibrium to be maintained 

Nehemiah grieves and weeps over the city for an estimated four months; but there is no set timescale for such things, we simply have to let it have its way with us until the raw pain has faded into an ache we can tolerate. In the Christian tradition this is called lament; it’s grief directed at God, bringing the pain before him in a way that acknowledges the twin realities of God’s goodness and our grief’s greatness. It is undoubtedly uncomfortable, but it is the gift of honesty. We do not need to put on our Sunday best for God, but can come in our brokenness and mess knowing that we will not be abandoned to it.  

And then we begin to adjust to the new normal we find ourselves in. We test the boundaries of what we can do as anyone in recovery does. There is a slow almost imperceptible move towards more of life; a trip to the local shop much like I did during that disorientating visit to the co-op, a visit from a friend or a phone call answered, long avoided. Nehemiah returns to his work for the King - but even then the King asks him why he’s looking so sad. We need not rush in with fake smiles before grief has finished with us, but be honest with those around us  - and with God.  

We cannot lament our losses without finding a community to be a part of; whether that’s your friends, your local community group or your local church.

The fourth task is that of finding connection. For some it will be found in their friendships, others in their faith communities or peer-led community groups. Whichever way it happens it’s how life grows again around and alongside the loss. Worden I think meant it as a way to continue the connection with a lost loved one, but in the story of Nehemiah we see it as the Israelites first come together to rebuild the wall and then to celebrate it. We cannot lament our losses without finding a community to be a part of; whether that’s your friends, your local community group or your local church, we have to find spaces where we can share ourselves, our stories and know we are not alone. It is perhaps one of our most fundamental needs - it is certainly been mine - to know that I am not alone in my loss and I’m not alone as I survey the wreckage and tentatively begin to rebuild. 

Interview
Books
Creed
S&U interviews
9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

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

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan. 

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.” 

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography” 
 

C.S. Lewis. 

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ. 

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”. 

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.  

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”  

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.  

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”. 

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.” 

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith. 

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”  

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”  

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.” 

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.” 

 

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.