Article
Change
Character
Purpose
Virtues
6 min read

Life is messy, take part

James Baker's political vocation sheds light on why character counts in this networked world.

Emerson writes on geopolitics. He is also a business executive and holds a doctorate in theology.

Two men in seats adress a pyjamap-clad Ronald Regan.
James Baker, left, briefs a recovering Ronald Reagan, right, in hospital .
White House via Wikimedia Commons.

Few White House Chiefs of Staff have been better than James A Baker III. Nicknamed the ‘Velvet Hammer,’ Baker was originally a Democrat, and only introduced to politics in his forties. But he made up for lost time, serving as the original catalyst behind President Ronald Reagan’s time in the Oval Office. He later served as Secretary of State, helping maintain peace following the Cold War.  

In their recent biography of Baker, The Man Who Ran Washington, Peter Baker (no relation to James) and Susan Glasser write that, when called out of his retirement to lead the Republican strategy in the Bush-Gore 2000 Florida vote recount, ‘Baker’s reputation was so formidable that Democrats knew they would lose the moment they heard of his selection.’ More precisely, Baker ‘was not defined by his era; he helped to define it.’  

And yet, the calm, cool and collected former Texas lawyer was – by the end of his tenure as White House Chief of Staff – broken. In Chris Whipple’s The Gatekeepers, a history of American White House Chiefs of Staff, a former Reagan staffer reflects that in a conversation long after their tenures, ‘Baker’s eyes filled with tears. He told me what it had been like for him to be chief of staff in a White House riven by different philosophies and ideological outlooks. And every day various people would try to take Jim Baker out.’  

Baker, a problem-solver and political moderate, battled with his more ideological counterparts for the ‘soul’ of the Reagan presidency. This battle was ‘more emotionally grueling and deeply painful than almost anyone around him knew.’ His struggles were a harbinger of the more divisive American politics to come. Surrounded by long-time Reagan loyalists, he was an unexpected selection for the Chief of Staff role. He ran the Gerald Ford and George Bush presidential campaigns against Reagan but was recognised by the Reagans as the right person for the job. Baker kept focused within the Reagan Administration despite team members undermining him.  

Baker shows that responding to a call requires that a person engage in the world as it is. This realism helps us to reform the world through service. 

Through his participation in the world, Baker reminds us that life is messy. This is especially the case when engaging in communities involving competition between multiple worldviews, philosophies, or ideologies. Keeping the ship steady amid such variation comes with emotional cost. But participation is better than withdrawal from the scene of action, and into the safety of technology.  

Balancing between perspectives requires a personal sense of restraint. Peter Baker and Glasser note, for instance, that ‘one of the keys to Baker’s success over the years was knowing when to back off’ in meetings. This balancing is difficult. Baker succeeded in his political vocation in part because he participated in this swirling mix of perspectives, but the balancing involved suffering.  

What can we learn from Baker on the messiness of life? What does he show us about the living-out of a vocation? Baker was clear-eyed about his calling: that of serving his friend Reagan (and afterwards his close friend George Bush). He put his strategy and negotiating skills to good use as part of a larger life project. This calling strengthened Baker’s persistence, despite the trials and tribulations of participation in the world. Baker shows that responding to a call requires that a person engage in the world as it is. This realism helps us to reform the world through service.  

‘Once we remove ourselves from the flow of physical, messy, untidy life… we become less willing to get out there and take a chance.’ 
 

Sherry Turkle 

How did Baker discover his political vocation? And what is a vocation? The philosopher Robert Adams defines vocation in his Finite and Infinite Goods as ‘a call from God, a command, or perhaps an invitation, addressed to a particular individual, to act and live in a certain way.’ The theologian Oliver O’Donovan defines vocation somewhat differently in his Finding and Seeking. He describes it as ‘the way in which the self is offered to us…. The course of our life that will come to be our unique historical reality.’ O’Donovan focuses on service, where vocation is ‘not a single function, but an ensemble of worldly relations and functions through which we are given, in particular, to serve God and realise our agency.’  

Sometimes, as O’Donovan suggests, a calling captures our attention, even if we only know the immediate next step, as if stepping from a quayside onto a boat (a helpful metaphor used throughout O’Donovan’s work). For Baker, it was the death of his first wife that precipitated a call from his friend George Bush. In this conversation, Bush asked whether Baker would be interested in volunteering for a campaign, to help take his mind off his grief. What was initially a way to help keep his mind off a trauma became, over time, a life project.  

Baker thought carefully about the world and the people around him as precursor to action. He epitomised the thinking of Dietrich Bonhoeffer, who writes that individuals should participate ‘in the times and places which confront us with concrete problems, set us tasks and charge us with responsibility.’ We must remember that people are multidimensional. This is not easy, Baker as a case in point through his political vocation. 

Unfortunately, while recognising this is a realm of considerable debate, aspects of our culture discourage genuine engagement in the world. Sherry Turkle, Professor of the Social Studies of Science and Technology at MIT, describes ‘networked life,’ where individuals use technological devices (we might think today of WhatsApp or Instagram) to withdraw from hard, in-person conversations. She says that people nowadays tend to communicate with others on their own terms. It is easy for people to engage – or disengage – others whenever convenient.   

Yet, as Turkle writes, ‘Once we remove ourselves from the flow of physical, messy, untidy life… we become less willing to get out there and take a chance.’ Networked life is for Turkle an escape from the messiness of life. It prevents encountering others as they really are. This leads to weak personal foundations: personal characters built on sand rather than on rock. It helps to be tested by conflict with others that are different than ourselves. This testing helps to reduce narcissism, in which we think more about ourselves than about the wider world.  

Marshall McLuhan, in his Understanding Media, reflects on the Greek word narcosis meaning numbness. The service of networked technologies, to which Turkle alludes, is in McLuhan’s eyes a worshipping of these technologies as God. This numbing via the worshipping of technology is contrary to Baker’s more engaged way of life – encountering others in person in their complexity.  

We can remind ourselves that life is messy. What we think we see upon first impressions may evolve upon continuous examination. And what is previously unseen may become evident over time. Jesus states that ‘For nothing is hidden that will not be disclosed, nor is anything secret that will not become known and come to light’ and later, that ‘Nothing is covered up that will not be uncovered, and nothing secret that will not become known.’   

The genius of James Baker was found not in academic intellect, but in his ability to understand others through real engagement in the world. This understanding of others, serving them, was the cornerstone of his vocation. Former White House speechwriter and now-columnist for the Wall Street Journal Peggy Noonan once commented – as reported in The Gatekeepers – that Baker ‘was a guy who didn’t seem to move forward with a lot of illusions about life or people or organizations or systems.’ Baker embraced the messiness of life, but also the importance of taking part to serve others and help restore the world.

Review
Art
Character
Creed
Easter
Suffering
5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

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

A man looks up a shaft of light that illuminates him and a crucifix higher up a wall.
I Accepted, 2025.
Richard Foster.

The seeds of faith were sown in the life of Nic Fiddian Green by his father. As he has explained recently, he “was shown a way and a faith, and an understanding around the faith of Christianity, in the way my father lived”. 

Later, his wife-to-be, Henrietta Hutley, asked him to help create Stations of the Cross for the Wintershall Estate in Surrey where, today, The Nativity and the Life of Christ are regularly performed. Henrietta’s father, Peter, wrote and brought The Passion of Jesus to Trafalgar Square, while her mother, Anne, had the vision for the Stations of the Cross project after a life-changing visit to Medjugorje. 

Fiddian Green says that “The Face of Christ has been with me for over 40 years” and that he has “searched for His face through my art as part of my spiritual journey, and also in the work of many others – especially Renaissance artists like Giotto, Piero della Francesca and Michelangelo”. 

Fiddian Green, who is internationally celebrated for his monumental equine sculptures, has created a deeply personal and spiritually resonant exhibition entitled The Face of Christ. The exhibition features 20 new sculptures including works in bronze, copper, lead, marble, plaster, and silver, together with a series of drawings. The exhibition ranges from the Nativity to the Resurrection but focuses primarily on the crucifixion.  

The exhibition is deeply personal for Fiddian Green because it is informed by the harrowing encounters he had with an array of life-threatening illnesses a few years ago. These caused an obvious and honest creative re-assessment and it is from these experiences that a stronger, deeper and more contemplative vision has emerged. One that permeates the new work via modes of stillness and reflection.  

The Face of Christ offers a profoundly meditative engagement with the image of Christ, capturing a sense of serenity, resilience, and transcendence in bronze and stone. In these works, he shows us how his spirit and his faith help him triumph over the physical as he explores the enduring power of faith, suffering and redemption. In the eyes of his work, we feel pain, strength, fear, wisdom and more as he asks questions of the viewer that leave a powerful and spiritual resonance. 

Fiddian Green says: “These works are a reflection of my journey of faith. I have come to find that His power to elevate us underpins everything I strive to do and The Face of Christ is an attempt for me to convey in my work all that He conveys in my heart. Christ gives me the key, but will I open the door…?” 

While the exhibition focuses on the crucifixion and the face of the crucified Christ, the expression on Christ’s face is generally one of peace, rather than pain. In part, this is because many of the heads of Christ included are images of Christ resting in death prior to the resurrection. The brokenness that the crucifixion brought is shown in these images through damage to the body of Christ, as opposed to the expressions on his face. This is most powerfully the case with ‘Broken for You’, a bronze crucifixion sculpture where Christ’s torso, as well as being scarred by a long spear-like fissure, has also been fractured with the two parts fused together using brace brackets. Similar fissures appear on other of the crucifixion sculptures but ‘Broken for You’ goes furthest in graphically showing the pain Christ endured on our behalf. 

It seems to me that Fiddian Green could go further in revealing the horrors that Christ endured and that his love of Renaissance art with its focus on beauty and balance might hold him back in this regard. Another artist to have regularly depicted the Crucifixion in images shown in mainstream galleries in recent years is Peter Howson, whose images of the crucifixion are much more expressionist graphically capturing the depth of pain that Christ endured. Fiddian Green’s drawings, more than his sculptures, tap into the sense of pain endured, particularly ‘This Storm will Pass’, a partial image of the face of the crucified Christ which in its frenetic pencil-marks and incomplete state speaks particularly powerfully. 

Fiddian Green, by contrast, primarily gives us a sense of the peace that he receives from Christ on the face of Christ. ‘I Forgive’, a bronze head of the crucified Christ depicts the love with which Christ looks on us as he endures the cross. ‘Christ is Laid to Rest’ is a huge head encircled by a crown of massive spikey thorns with green verdigris overtones suggesting the sweat and blood of anguish which has led to the completion of purpose that Christ finds in death. ‘Peace’, a plaster sculpture of Christ’s head, is also redolent of the supreme achievement of the cross; ‘It is finished’, meaning that all his work is complete and done, enabling him to rest and enabling us to enter rest.  

In these images, Fiddian Green is reading back into the events of the crucifixion the outcomes that it gains for us and showing, in his Christ figures, the peace that he personally finds in the love and forgiveness which overflows from the crucified Christ to each and every human being throughout time and history.  

Fiddian Green writes of having “been given materials to use by the God of heaven and earth” – those materials of the earth that he uses in his sculptures – and says that “it is my hope that some of these pieces may rest and resonate with those who see it; that they may find a deep connection by gazing on the works which takes the eye, the heart and the soul to the One who helped me create them”.  

While Lent, Holy Week and Easter are often times when art is offered to enable us to walk in the footsteps of Christ it is not common for commercial galleries to specifically invite meditation on these events, so don’t miss the opportunity for contemplation that the Sladmore Gallery is providing through this exhibition. 

 

The Face of Christ, 10th April – 2nd May 2025, Sladmore Gallery, London.