Explainer
Creed
Easter
4 min read

Life before death

Embracing death, parading it down streets, and even downplaying their egos, Julie Canlis contemplates why Christians do death.

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

A Good Friday procession of people and priests hold a cross horizontal above their heads.
Good Friday procession in Bielsko-Biała, Poland.
Silar, CC BY-SA 4.0, via Wikimedia Commons.

Easter is not about the Easter Bunny. Easter is about the paradox that we all try to skirt: only in death is there life.  

But Easter is not just about metaphorical death and rebirth, at least not for Christians. Christians don’t believe that Jesus died for our self-esteem. Nor that he raised an Idea of himself. As Thomas Lynch, undertaker and poet in Midwest America reminds us,  

“Do you think they would have changed the calendar for that? Done the Crusades? Burned witches? Easter was a body and blood thing, no symbols, no euphemisms, no half measures.”  

Christians believe that Jesus’ body died. Ceased breathing. Flatlined for three days. And then (in myth-like fashion of the dying and rising god) this human being who lived at certain GPS coordinates, and had DNA from his mother, was given his life back. Not resuscitated. But resurrected. Yes, reader, Christians believe this.  

Our culture is body-obsessed when we are living, and body-denying when we die. 

Who are we without our bodies? When people die, Christians insist that their body isn’t just a “shell” of the real person. No, their body still is the person. That’s why cremation didn’t catch on in the Christian west until recently, and even so, your local priest might turn up their nose if you want to distribute the ashes into jars to be divided between the grandkids. Often, as soon as a person dies, our impulse is to insist, “she’s not there.” This is because our culture is body-obsessed when we are living, and body-denying when we die. As Prof John Behr, a University of Aberdeen specialist in thinking about death, observes, we want to live like hedonists and to die like Platonists. Easter presents a counter-narrative here. Our bodies have meaning. Jesus’ body has meaning. 

 In re-living the events of Holy Week, all eyes are on Jesus’ body. And Jesus’ body is doing some very physical actions – like healing bodies, raising bodies, touching unclean bodies, washing feet. And then it is his turn to have his body ravaged by arrest, torture, sleeplessness, betrayal, and execution. All eyes are not on the idea but on the body of Jesus. So much so, that they put guards at the tomb so that there could be no more monkey business about this man’s body

It might seem peculiar to us that Christianity, infamous for its historically mixed relationship to the body, is centered on one man’s body. Ancient Christians spoke poetically that the tomb that held Jesus’ body became a womb. In his death, in the absolute silence of death, Jesus chose to share dead-ness with us. That this was the essence of his “work.” That his work could only be accomplished by surrendering, doing nothing – and that in doing nothing, he undoes the great “nothing” that threatens each one of us. Almost everything we fear, big and small, is somehow connected to a fear of death in one form or another. It is not death, per se, but the “fear of death” that enslaves us (says an early Christian preacher in Rome. And so, Easter stands at that pivot point between fear of death and life. Christians celebrate Easter as the day the world tilted. Where death no longer has the final say, but is something we can now use to our advantage. In fact, life begins to break in precisely through death. This is only because, as James Alison once said in an Easter sermon, “He entered into death and made it untoxic.” 

The question is not “is there life after death” but is there life before death? 

And so, strangely, Christians embrace death. We parade it on crosses through the streets. We paint it on our tombs, over our meeting houses, wear it on our chests. Because in embracing death (and the even more enslaving fear-of-death), we defeat it. Because of this belief, ancient Christians flung themselves at lions. They endured the agony of torture. They sanctified suffering. They also practiced small unnoticed “little deaths” of that great overlord, the ego. Not because suffering or death is good, or to be sought. But because death and suffering have been transformed into portals. Even in baptism, with oblivious babies being christened in frilly white dresses, we are dipping them defiantly into the waters of death and waging war on death. This is the mystery of Easter. This is why every Sunday is called a “little Easter” because even as we shuffle into that old stone church, something outlandish is being proclaimed. Death is not a friend, but neither is it to be feared. The worst has already happened. Now we can get on with living. The question is not “is there life after death” but is there life before death?  

And here is the final kicker: Christian orthodoxy proclaims that Jesus still has his body. (Not every Christian would insist on this, but it has been central to the tradition for two millennia). Easter isn’t just a mythical story of the paradigmatic victory of life over death. Paul talked about it as a complete reversal: that instead of death swallowing life, Jesus’ embodied life swallows up all death. Christians believe that he is alive and well, in some kind of body (“transfigured” in Christian slang), pouring out blessing on all embodiment. This isn’t a body that is somewhere floating above us in the clouds, but is an embodied person raised as their whole life narrative into eternity – as one recognizable life. Resurrection is not the hope of our joining Jesus in the clouds, but of this same raising of our whole lives into Life itself. This is called “putting on immortality” like a coat – where everything from our past (even scars, like Jesus still had) is integrated into one recognizable life.  

This is the Christian hope of Easter, as we live in the interim, no longer fearing but using death for dear life.

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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