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Creed
Death & life
5 min read

The lost art of dying well and what we can learn from it today

Living well in order to die well doesn’t simply happen. It takes work. It takes preparation. For All Souls Day, Lydia Dugdale asks if we are prepared for death.

Lydia Dugdale is the author of The Lost Art of Dying. She is Professor of Medicine at Columbia University and Director of the Center for Clinical Medical Ethics. She is a specialist in both medical ethics and the treatment of older patients. 

A medieval book illustration of a person dying in bed.
A 15th Century ars moriendi, or ‘art of dying’ image.
Basel University, via WikiCommons.

The first of November marks All Saints Day on many church calendars—a day when we Christians remember our martyrs together with all the faithful, both living and departed. On that day, we celebrate that our communion is not simply with one another on earth but is also with all saints of all time, including those who have died.  

For some people, the notion of fellowship with departed saints might be quite exciting. They may have pondered questions about the saints since school assemblies or RE lessons. What was racing through Abraham’s mind when he attempted to sacrifice his son Isaac? What would Mary say a sinless Jesus was like as a toddler? Did Jonah float around inside the great fish, or did he find something on which to perch himself?  

But others among us might wish to skip All Saints Day altogether. Talk of dead saints feels positively medieval, even a bit morbid. Some of us might wonder about our own saintliness—or lack thereof. Could we really experience ineffable joy in an afterlife? Moreover, the very suggestion of an afterlife implies that we ourselves must die—an uncomfortable prospect for most of us.   

Such divergent reactions to the day are revealing. On the one hand, the idea of having saints to remember is to inspire us to live well. They invite us to examine their lives and to grow ourselves in response. On the other hand, they remind us that our days are numbered. And because our days are numbered, we should attend carefully to what it means to live wisely. Saints teach us that if we want to die well, we must live well. 

But living well in order to die well doesn’t simply happen. It takes work. It takes preparation. Which is why this year on All Saints Day it’s worth asking the question: Am I prepared for death? 

Death exists as a paradox for Christians—as something at once lurking and vanquished. 

In the late Middle Ages, the ars moriendi, or ‘art of dying’ genre of literature developed in response to mass loss of life from a fourteenth-century outbreak of bubonic plague. The genre consisted of a number of handbooks on how to prepare for death. Although the earliest text was anonymous, historians believe that its authorship had a connection to the Western Church. After the Reformation, Protestant versions began to circulate, and later handbooks omitted religious particularity altogether. The handbooks grew in popularity throughout the West for more than 500 years. 

This notion of living well to die well lay at the core of the various iterations of the ars moriendi. Early texts warned readers that five temptations lead to dying poorly—temptations to doubt, despair, impatience, greed, and pride. If you don’t want to die a doubting, despairing, impatient, greedy, and proud person, you must cultivate the virtues of faith, hope, patience, generosity, and humility now. But the ars moriendi texts were very clear that virtue did not happen to a person all at once at the end of life. Rather, it required habituation. Cultivating virtues was the work of a lifetime. If you want to be remembered as a person of sound character, a generous person of hope and good will toward others, you cannot delay making such attributes a regular practice. If you are willing to be martyred for your faith—as some of those early saints were—you have got to be sure it is a faith worth dying for. 

I once met a man who had converted from the religion of radical self-centeredness to Christianity. When I asked him why, he told me that of all the world’s religions, Christianity had the best story. As with the martyred saints, it was for him a story worth dying for. And All Saints Day reminds us that in Christianity, death is stranger than you might think. 

Death exists as a paradox for Christians—as something at once lurking and vanquished. Death is the enemy that at long last will be destroyed, and death has already been swallowed up in victory. But you might ask: if death has already been defeated, what remains to be destroyed? And if death will be destroyed, how has it then been defeated? This enigma might partially explain why many regular church attenders are neither physically nor spiritually prepared for death. Researchers at Harvard University have shown that people who describe themselves as most supported by their religious communities are also most likely to reject hospice care and instead to elect aggressive life-extending technology. 

The story goes as follows. Death is an enemy because it suggests rejection of God. From the beginning, God tells our forebearer Adam that he can freely eat of any tree in the garden but one. If he eats from the tree of the knowledge of good and evil, he will die.  Thus, from the beginning, God equates the possibility of human disobedience with the actuality of death.  

Of course, Adam and Eve eat the proverbial apple. And when they do, they don’t immediately die, but they experience a sort of death. For the first time, they become filled with shame and fear. They hide themselves from God. They cast blame. God tells them that moving forward their life will be filled with great suffering. God says to Adam, ‘By the sweat of your face you shall eat bread until you return to the ground, for out of it you were taken. You are dust, and to dust you shall return.’ Disobedience is what Christians call ‘sin’—and it brings death. Sin severs that once harmonious relationship between God and people—a fact that also grieves God, which is why God does not let death have the final word. 

The story gets better. Since we humans cannot possibly undo the drastic results of our disobedience, God becomes fully human in Jesus Christ, so liable to death, while also retaining full, divinity which cannot die. Then, as a human on a cross, he dies as the ultimate sacrifice on behalf of humankind. But this God-Man does not stay dead. After three days in the tomb, Christ is resurrected, defeating death, on what has come to be known as Easter Sunday. Christ’s resurrection functions as a sort of guarantee that all God’s people will one day be resurrected and receive new bodies, that day on which the great enemy of death will be destroyed once and for all. If Adam and Eve brought death into the world, the resurrection hope is that death will be no more.  

This year on All Saints Day we have the opportunity to consider what it means to commune with ‘all saints’ extending back to Adam and forward to future generations. We have the opportunity to study the saints and then examine ourselves. What sort of people are we becoming? Are we living well to die well, as the ars moriendi handbooks teach? And of all the stories out there, which provides the greatest hope in life and in death? 

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How black holes illuminate love’s greatest story

The universe’s darkest mysteries hold strange parallels with Christ’s Passion

Jake is a former BBC journalist turned writer and speaker about art and faith.

A spital galaxy coloured red, white and black.
A composite image of Andromeda galaxy.
NASA/JPL, Public domain, via Wikimedia Commons.

Thanks to the BBC radio show In Our Time, I’ve found a new pleasure in life. It is this: to learn about the enormity of outer space, and the absurdity of what goes on there, and to share what I find with anyone who’s interested. By ‘anyone’, I mean my wife. But now that Seen & Unseen have published this, I mean you too. 

Or that mysterious cosmic rays from deep space regularly sail straight through the bodies of each of us, and scientists are baffled as to what might have created them? Did you know that a tiny, pale area of the night sky once named the ‘little smudge’, is now known to be the biggest thing anyone will ever see with the naked eye: the Andromeda galaxy? And did you know that the strength of gravity on Venus would crush you instantly? I could go on indefinitely. 

The centrepiece of all this galactic trivia, however, is reserved for black holes. Almost everything about them fascinates, baffles and scares me.  

Black holes are the remnants of dead stars that have collapsed in on themselves, creating a gravitational field so powerful that nothing – not even light – can escape. If you were to pass over its threshold, you’d be obliterated as you get pulled towards the black hole’s infinitely dense centre.  

They get even stranger though. Inside them, astrophysicists say, the laws of physics break down completely. Time and space somehow swap places, they say. And even though anything pulled in by a black hole's gravity is crushed by unimaginable force, in some sense it may be preserved and – in theory – might end up elsewhere, in a new form. It is a death that might not in fact be the end of us. 

There are many black holes – there’s one at the centre of our galaxy. But even though we can study them and develop scientific theories about them, we have not come close to grasping them in all their terrifying and monumental glory. What goes on inside them is, and perhaps always will be, an unfathomable mystery. 

This is why I’d love to see them refracted through the eyes and hearts of poets and artists, philosophers and theologians. What might their strangeness tell us about their creation, their creator? What might they tell us about how to live our lives? And if gravity at its most intense can upturn the laws of science, bamboozle great minds, and maybe even turn death into new life, then might other forces of attraction that do not adhere to known laws of physics, like love, do the same?  

Scenes from the Passion of Christ by Hans Memling.

A painting of a medieval cityscape.
Hans Memling, Public domain, via Wikimedia Commons

In dwelling on questions like these, I have found this painting to be strangely helpful. It tells a love story that – in terms of its sheer intensity, its pull upon us, its utter strangeness, its death-defying endpoint – is not a bad match for a black hole. It’s called Scenes From The Passion Of Christ, it’s by the northern European painter Hans Memling, and when I first saw it I thought it looked silly.  

Why cram onto one small canvas over twenty scenes from the final eight days of Jesus’s life on Earth? It’s like a cartoon strip without the white lines to divide up each scene. We see Jesus welcomed by a crowd, betrayed by Judas, denied by Peter, sentenced by Pilate, stripped by henchmen, humiliated by another crowd, crucified by soldiers, and buried by loved ones. We see him upending a table, praying for an escape route, sharing bread and wine, carrying a cross, emerging from the grave, and appearing to his followers.  

It reduces the crucifixion to a few square millimetres at the top. It sidelines the heart of Jesus’ story – the resurrection – to the far right edge. It shrinks Jerusalem to a tiny labyrinth resembling an MC Escher painting. It is daytime and nighttime. It is disorientating. And it is claustrophobic. But I think it is also brilliant, and it’s made me look in a new way at the strangest of weeks in the story of the world.  

By showing us so much convening at this moment in space and time, we sense how impossible it would have been for Jesus’s followers to compute anything that went on during that week. As each event unfolded, they would have had to rethink what might come next, whilst dealing with some pretty overwhelming emotions. They would have had no time or space to process any of it. It seems perfect, therefore, that in this painting, we don’t either.  

But as I look at it now, I wonder: have we actually processed these events, two thousand years later? Do Christianity’s attempts to explain everything that went on here really do justice to a story in which divine love does some of the unfathomably strange things that a black hole does? Or do these explanations tell us more about our own way of thinking than they do God’s?  

I think there is a tendency – which I see in myself and in most churches I have attended – to resist the weird, mysterious and inexplicable nature of this story. We draw heavily on logic and evidence to try and explain a story that defies both. But just as it is within the boundaries of a black hole, so it is within the frame of this painting: the old rules no longer apply. Divine love manifests itself in ways we cannot yet fathom. Pretending otherwise saps power from the story.   

At the top right corner of the painting, there is a tiny dot on the seashore. It’s the last image of Jesus in this painting. And next to it, a church. Here, the baton is being handed over from Jesus to those who follow him. The church is now the ‘body of Christ’, tasked with embodying infinite love in a world that badly needs it.  

What a daunting task. Frankly, it can be easier to believe in a bizarre series of events from two millennia ago, than in a church here and now, comprised of people as flawed as I am, that is meant to be capable of embodying a world-changing love.  

And that is why I am so drawn to black holes, and to this painting. In them, I see that impossible things can and do happen; that unfathomable mysteries are littered throughout reality; that these mysteries are not so much problems to solve as they are wonders to revel in; that the narrow, rational mindset in which I too often dwell is small and limiting; and that an overwhelming force of attraction can and will overpower anything in its way. 

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