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Digital

6 July 2023

6 min read

Letter from a digital nomad

The real gift of the digital tools we now have access to is to make the world both bigger and smaller at the same time, writes Lianne Howard-Dace.

Lianne Howard-Dace

Lianne Howard-Dace is a writer and trainer, with a background in church and community fundraising.

Photo by Chenspec on Pixabay.

The air in the carriage is still and stifling. I’m sat near the border of Romania and Bulgaria, waiting for the Poliția to return my passport, and I tot up that I’ve spent over 100 hours on trains in the last two months. But, despite my large suitcase and brightly coloured bum-bag, I’m not strictly on holiday. I am – for now at least – a digital nomad.

Even before Covid-19 hit, the number of people combining work and travel in this way was growing. The increasing openness to remote working which the pandemic catalysed means this has only continued to explode.

Some countries, like Portugal and Italy, are even trying to incentivise people to work there to aid their economies, or repopulate declining areas.

Exactly what constitutes being a digital nomad is a little fluid, but essentially it is working remotely, in different places, for a prolonged period of time. You could certainly be a digital nomad moving around your home country, but there is a strong trend of people exploring places where their salary goes further.

If you’re stuck renting and you work remotely anyway, why not add some adventure to the mix?

It’s not hard to see why nearly half the people pursuing this lifestyle are in their 30s. Many of us have not been able to “settle down” in the ways we anticipated growing up. If you’re stuck renting and you work remotely anyway, why not add some adventure to the mix?

Often, this means rocking up to a new city for a month or two, maybe as long as a year. Having bought a three-month interrail pass on a bit of a whim, I’ve taken a slightly different approach. Having already established myself in a new city a couple of years ago, I wasn’t looking to do that over again. But, working on the road is allowing me to scratch the wanderlust itch without eating into my savings.

Making the most of my all-inclusive travel, I’m spending the week in one city and moving on to another for the weekend. I’ve been blessed to experience some of the best art, culture and food that Europe has to offer. Galleries in Dresden, a piano trio in Venice, and pierogies in Warsaw have been just a few of the highlights.

I have also had to hold onto my job, of course, and getting used to balancing work and sightseeing was a steep learning curve for the first couple of weeks. My employer has not only allowed, but encouraged, me to make the most of their flexible working policy. This has made keeping the FOMO at bay easier, as I can always take a break to visit a gallery or museum and work into the evening if needed. Taking a late dinner is so much more continental anyway…

The “digital” bit of being a digital nomad isn’t confined to remote working either. Having the timetable of every train route in Europe, a map of the world and a translator at my fingertips offers more than just convenience. As a woman travelling alone, I feel much safer knowing that the possibility of getting lost and not being able to communicate with anyone is reduced.

Just as much as the breath-taking scenery and legendary landmarks, it’s been these little moments... which have really made this trip.

Showing an Austrian man in the laundrette how the camera feature on Google Translate turned the washing machine instructions into English in front of our eyes was a really fun moment. In fact, just as much as the breath-taking scenery and legendary landmarks, it’s been these little moments (you might call them casual magic) which have really made this trip. Like noticing that I’m one of five women on the train to Oslo who are knitting or crocheting, or watching a man in Bratislava cycle across a park with a giant bundle of modelling balloons strapped to his back.

Some people were surprised I was undertaking such a long trip alone, but it suits me. Compared to the 2021 lockdown - which happened to be my first experience of living alone - this is a doddle.

I’ve also been helped by the fact that a few friends and family have taken my trip as an excuse for a break, so I’ll have had company for four of the thirteen weeks I’m away. As a bonus, I randomly bumped into a couple I know from London whilst walking over a bridge in Budapest and joined them for an impromptu beer.

I’ve become very content dining alone. It’s nice to feel comfortable in your own skin like that, and it’s helped me get a lot more reading done as well! There have been other unexpected benefits of moving around so much. Oddly, for someone with hoarding tendencies, I take pride in being a light packer. I’ve really enjoyed the simplicity of living with a smaller amount of stuff and finally understand the power of “a place for everything and everything in its place”.

In my “normal” life I am terrible for procrastinating with life admin and leaving things until they become stressful. On the road I can’t do that. I have to book the next train or place to stay. I have to tidy up because I need to be out of my room. I’ve learned that I thrive with this blend of structure and change, though I’m yet to figure out how on earth to translate that when I get back.

I’ve also tried to keep a stricter morning routine than usual. I’ve started most days with a few pages of journaling and the daily reflection on the Pray As You Go app. It’s working well to have that consistent touchpoint, whether I’m waking up in a quirky studio apartment or on a busy sleeper train.

I’ve visited a lot of cathedrals and churches on this trip, as these are amongst the significant landmarks in many European cities. Sometimes this is a purely touristic experience; if a church is teeming with people chatting and taking selfies I might take in the artistry of the building, but find it harder to connect on a spiritual level. But many times an atmosphere of reverence is maintained. There will be a quiet sense of shared wonder. I’ll find myself slipping into a pew, meditating on the imagery around me, having a little chat with God and generally enjoying being out of the hustle and bustle of the city for a short while.

On Sundays, I’ve sought out an English-speaking church where possible. Maintaining some of the rhythms and rituals from my everyday life helps me to feel grounded. If I couldn’t listen to podcasts, or write, or crochet I suspect I would feel more disoriented whilst moving about so much. And if I didn’t go to church for the whole three months, I think I would feel out of sorts. Untethered, perhaps. In the twelve years or so I’ve been a Christian, I’ve grown used to that weekly gathering punctuating my week, giving me space to connect to God and others and allowing me time to reflect.

Joining a service has also given me a different window into some of the cities I’ve visited. I loved hearing that the church in Prague were having their annual book sale, singing with a visiting choir in Berlin and learning about the grant the church in Bucharest have received to support refugees in their city.

I am part of a worldwide movement... I can learn from others and find kinship wherever I am.

The American student handing me the order of service, the Indian priest leading the service, the Australian retiree reading the bible passage for the day; they all remind me that I am part of a worldwide movement. That I can learn from others and find kinship wherever I am. And, when it hasn’t worked logistically to attend a local service, I’ve watched one on YouTube from my church back in Brighton. I’ve been able to both find a sense of connection in a new place and stay connected to my home community. Maybe that’s the real gift of the digital tools we now have access to; they make the world both bigger and smaller at the same time.

Now, I’ve got my passport back and in six hours or so I will be in Sofia, something like city 20 of 27. In a few days I’ll take an overnight train to my furthest destination, Istanbul. I’ll be right on the precipice of where East meets West, having taken in the Alps, the Baltic Sea and the banks of the Danube along the way. Not a bad way to make a living.

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Books

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Faith

15 August 2024

4 min read

Faith is no longer a dirty word in publishing

Sarah Perry’s comments suggest a reawakening of concern for its observation.

George Pitcher

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

A woman being interviewed gestures with a hand in front of her

Sarah Perry.

Waterstones.

If there’s one thing anyone who has ever written a novel can’t stand, it’s having to congratulate a successful novelist. So, it’s through gritted teeth that I warmly welcome the words of Sarah Perry (The Essex Serpent) that religious faith is ceasing to be a subject of embarrassment in published fiction.

It’s about time. Perry told the Edinburgh International Book Festival that, for her latest book Enlightenment, she was asked to put in more theology: “I assumed that everybody knew what the doctrine of predestination meant.” Bless.

The cause of my pathetic envy as I applaud her is that I had my first (and, to date, only) novel published in 2017, to almost universal disinterest. I like to tell people that it was well received – all three people who actually read it said they enjoyed it and only one of them was a family member. It actually did a bit better than that, but you get my drift.

It was an unashamedly religious psychological thriller, titled A Dark Nativity. Brace position, here comes a one-sentence synopsis: The narrator, Reverend Natalie Cross, is a frustrated former aid worker who undertakes a mission to Israel, is kidnapped and held hostage, murders her way to freedom, discovers she was the victim of an Anglo-American plot, wreaks her terrible revenge and (spoiler alert!) gives birth to a son of uncertain paternity.

See what I did there? As well as the latter-day Nativity resonance, thematically I was interested in what redemption looks like in Israel and Palestine. I know, I know – but even I thought it would be distasteful to try to cash in on what’s happened there since.

Enough of the plug for a seven-year-old novel. My point is that its religious themes actively militated against it at the time. Novels addressing Christian faith (or any other kind) occupied a particular publishing niche – a harsher word might be ghetto. To try to break out of it was pointless. The great Christian novelist Penelope Wilcock told me (very kindly) that my book was too religious for the secular market and too secular for religious readers.

Perry’s observation that faith is no longer a dirty word in publishing might yet suggest a reawakening of serious concern for its observation.

The restricted area to which religion was confined had its stylistic rules. There was the cathedral close romp, which authors such as Catherine Fox had made their own. The vicarly whodunnit (lately updated by Reverend Richard Coles). Magic realism with its daemons and Philip Pullmans. And anything, in the wake of Dan Brown’s The Da Vinci Code, involving ancient plots that might make a movie, with hooded figures walking in slo-mo through cloisters.

Vicars had to be evil or silly. I may be both those things at times, but I’d like to think there is other stuff going on here for cultural exploration. My narrator, Nat Cross, was driven, often funny and more than a little mad. So like a lot of Anglican clergy.

If she’s right – and I very much hope she is – it’s why what Perry has to say is so hopeful. Because it begins to suggest that religious faith is slowly beginning to be accepted back into polite society. Whisper it softly, it might even become a cultural norm. If Richard Dawkins can describe himself as a “cultural Christian” and the historian Tom Holland, in his book Dominion, can claim that Christianity is the entire foundation of western civilisation, then there is everything to play for. And, indeed, write for.

It’s not as if cathedral frolics and the revelation of Jesus’s wife in Leonardo’s Last Supper was anything other than a fictional diversion of post-modernism. Religion and specifically Christianity had been a staple of the novel in English.

I hesitate to mention their names in the same column as the authors above (including me, most obviously), but Graham Greene’s exposition of Catholic guilt in The End of the Affair and Evelyn Waugh’s of the impossibility of moral reformation in Brideshead Revisited are probably the best religious novels of the twentieth century.

Further back towards the birth of the English novel, the Reverend Edward Casaubon in George Eliot’s Middlemarch is perhaps the most tragic portrait of a clergyman who is neither evil nor silly. He stand as a warning from history to today’s Church of England.

And it’s to that, the established Church, that Perry’s remarks ultimately turn our attention. We’re told that there has been a five per cent spike in church attendance recently, but that of itself isn’t sufficient to suggest a renaissance in our religious culture. Our arts and culture will only ever really reflect what we care about.

Perry’s observation that faith is no longer a dirty word in publishing might yet suggest a reawakening of serious concern for its observation. If so, that’s good news for the religious, as well as for religious authors. And I might just get a sequel out of it.