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Belief
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5 min read

Mapmaking our meaning in a modern world

Real ‘reasoning’ happens only when we have learned to trust one another.
A hand holds a pen over a map, at the side is closed journal and colour pencils.
Oxana v on Unsplash.

People first began to think about theology not because they were looking for intellectual stimulus or solutions to abstract problems, but because they found themselves living in an unsettling and vastly expanded ‘space’. They were conscious of new dimensions in their connection with each other, new dimensions in coping with their own fear, guilt, despair, a new sense of intimate access to the limitless reality of God. They connected these new experiences with the story of Jesus of Nazareth, executed by the Roman colonial government, reported by his closest friends as raised from death and present with them and their converts in the communication of divine ‘spirit.’ As we read Christian scripture, we are watching the first generations of Christian believers trying to construct a workable map of this unexpected territory. 

When I started writing the assorted pieces that make up the little book on Discovering Christianity (published earlier this year), my hope was above all to convey something of this sense of Christian thinking as a process of mapmaking in a new and bewildering landscape. That’s why one chapter – originally drafted for a Muslim audience – tried to list some of the things that an interested observer might spot in looking from outside at the habits of Christian believers: not first and foremost their spectacular and uniform embodiment of unconditional divine love (if only), but just the sorts of things they said and did, the sort of language used about Jesus, the rituals of induction and belonging. Indeed, if there is one biblical text I had in mind in virtually all the chapters, it is the simple phrase, ‘Come and see’ that Jesus uses in St John’s gospel when he is first followed by those who will become ‘disciples’, literally ‘learners.’ 

‘Come and see’. When we use language like that in everyday life, we’re encouraging others to share something that has excited or troubled us (or both). It’s not a proposal for solving a problem. It’s not even a recruitment campaign. It’s an invitation to stand where someone else is standing and look from there. In the rich symbolic context of John’s gospel, it’s about sharing Jesus’ ‘point of view’ – which is, as we’re told right at the start of the gospel, a point of view unimaginably close to the heart of eternal life and reality itself.  

We can only see in this way when we move away from our ordinary perceptions a bit. Just as we can only learn to swim when we have jumped into the water, so we shan’t learn what faith is all about until we have been prodded by whatever forces around us to take the risk of trusting that (so to speak) the ground is going to hold beneath us if we step forward (I like to speak sometimes about discovering what images, ideas, perspectives and relations are ‘load-bearing’ in our lives).  

So part of the invitation is also about telling the stories of those who have taken that kind of risk and what sort of lives they have shaped for themselves in the light of it. There is little point in summoning others just to share my individual set of feelings. But there is perhaps more weight is saying, ‘A lot of people have felt this shape beneath the surface, this grain running through things.’ Which is why – as the book seeks to explain – theology works with the ‘classical’ shared texts that most Christian communities found themselves reading together in the first hundred years after Jesus; and works also with the history of the arguments and diverse perceptions that reading brought into focus.  

We read and think in company; our theological reflection like the rest of our lives of faith is a shared, ‘conversational’ affair.

It's not unknown outside theology. We have become so much more interested over the last few decades in how to understand works of art not just in terms of what the artist ‘meant’, but in terms of what the actual work does or makes possible. What world does it create? So we read the Bible, obviously, but we also read the readers of the Bible (think of the Jewish Talmud, with the original text of its classical legal discussions literally surrounded on every page by the arguments that this text has generated). We read and think in company; our theological reflection like the rest of our lives of faith is a shared, ‘conversational’ affair. And so along with reading the Bible and immersing ourselves in the history of what sense others have made of the basic text and story, we also bring to bear the sorts of things that are part of our current conversations in society and culture – the habits of ‘reasoning’ that we have picked up.  

There is an important difference between talking about ‘reason’ as a sovereign, detached capacity and talking about ‘reasoning’, the range of processes and practices that carry forward a common life of intelligent learning (and that learning may be at any level of supposed ‘intellectual’ capacity; once more, it’s not about abstractions). Our society these days is fairly comprehensively confused about this: we have a mythological picture of some supremely obvious way of arguing that allows for no final dispute; we call it ‘science’; and then we expect the impossible of it and are disillusioned and sceptical when it can’t give us absolutely certain answers. One of the many ironies of our society is that we are besotted with ‘science’ and at the same time fascinated by the idea that there are many ‘truths’, or else suspicious that apparently objective sources are actually controlled by other interests. Real ‘reasoning’ happens only when we have learned to trust one another’: a long story, but an all-important element in our human discovery. 

Bible, tradition, human reasoning – those are the tools we bring to this job of mapmaking. The book is really just a meditation on those words, ‘Come and see’, as the basis of Christian thinking. At the centre of everything is a set of very ambitious claims about what God is like – and what we are like. Part of what we’re invited to ‘come and see’ is ourselves. Once again it’s not unlike what happens in a really good play or film, when we go away conscious that we have seen not just someone else’s story but something fresh about our own selves. 

And my greatest hope for the book is that it may prompt someone to look a bit harder, to listen in to how Christians talk – and in that moment find that they recognize what’s being said in some complicated and untidy way. One of the most vivid characters in the gospel I’ve been quoting says of Jesus that he has told her everything she has ever done. I hope that those who are moved to investigate a bit further will come to that same unsettling and exciting point where they see themselves freshly, and the new landscape begins to unfold.  

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Review
Ageing
Belief
Books
Culture
4 min read

Mine eyes have just read the best novel of the year

Quentin Letts’ Nunc! is a beautiful, moving and funny exploration of life, death and first century Jewish cuisine.
A book cover shows a cartoon man sitting on the title text while a dog sits below.

Historical fiction is my favourite genre of novel. Make it biblical historical fiction and you’ve sold me before I’ve cracked the spine! I bought a copy of Quentin Letts’ NUNC! without having read a single review or knowing anything about it… and what a sensible decision it was. Letts has produced a novel that combines his rapacious satirical wit, theological and historical acumen, and a beautiful sentimentality – the novel is dedicated to his brother Alexander, who died of cancer. 

It is inspired by the words of the Nunc Dimittis, as translated in the Book of Common Prayer. Sung by Simeon, as he holds the Christ child in his arms, they are words that are full of joy, because God has promised Simeon that he will not die until he has seen the Messiah. “Lord, now lettest thou now thy servant depart in peace,” it begins: words that are spoken or sung at every Evening Prayer in the Church and have provided hope and comfort for generations.

The novel opens with the character of Symons (no, I didn’t misspell it), a titanic literary concoction of corduroy, wax jacket, and mild middle-aged irritation, who lives in a classical English cathedral town. He receives a terminal cancer diagnosis. He has an argument with his wife, Anne (the typology is strong in this novel). He gets pissed. As he totters home from his local wine bar, he passes the cathedral and is captivated by the sound of singing.  

Upon entry he realises the choir is rehearsing the canticles for Evensong. He hides behind a pillar and kneels down in a pew. The Nunc Dimittis is rehearsed, and the heady combination of high emotion and fine wine sends him into a prayerful stupor. We are transported to first century Jerusalem and spend most of the rest of the novel in the company of Simeon and a cadre of his friends, acquaintances, and opponents. 

What follows is a series of hilarious vignettes, featuring a wide array of brilliantly sketched characters. Spending much of our time in ‘Deuteronomy Square’ we meet Rueben the tea seller, Tambal the slave (who has a fondness for Roman cuisine and a horrid aversion to gefilte fish), Noor the mad garlic seller, Jonah the hypocritical Pharisee, and Shlomo the dog. Through them, and many others, Letts allows the reader to explore the social, political, religious, and dietary life of the inhabitants of Jerusalem. 

The humour never vanishes, the confessional power never overwhelms, the lightness of touch is always present; and yet the novel takes on a new intensity...

How did the Judeans feel about the Romans? Were there ever friendships between Jew and Gentile oppressor? How did the average man or woman feel about Herod? What was their attitude to a priestly and religious hierarchy? Were the Wise Men buffoons? Letts weaves such themes through a narrative laden with the humour and heart-warming episodes that mark the best ‘slice-of-life’ writing. The people of first century Jerusalem might be separated from us by time, space, language, culture, and cuisine, but their highs and lows, their gripes and loves, their daily search for happiness and meaning, are no different to ours. 

Underpinning the story is Simeon’s daily watch for the promise of the Christ. Letts has ten verses from the Gospel of Luke as a foundation to build his protagonist, and four of these are a song. Undeterred, Letts uses Simeon as a cypher to explore further and deeper themes: youthful indiscretion, regret, passion, love, shame, faith, doubt.  

Letts also allows for a certain frisson of imaginative licence to round out his back-story. What was Simeon’s profession? Who were his parents? Did he know Anna the Prophetess? Why had God given him this task of watching and waiting, praying and hoping? Never overexplaining or labouring the point, Letts grants the reader a few moments of memory and introspection from the old man, but otherwise invites us to understand Simeon through his daily dealings with those around him.  

By the end of the novel we have not only one of the funniest characters of modern fiction, but one of the most spiritually and emotionally complex. I prepared to leave Simeon – encountering Mary, Joseph, and the infant Christ – feeling as if he was a member of the family.  

Letts concludes the novel with Simeon’s great biblical performance: ten verses which suddenly take on a remarkable poignant weight. The novel quietly switches gear to become a theological meditation worthy of any spiritual writer. The humour never vanishes, the confessional power never overwhelms, the lightness of touch is always present; and yet the novel takes on a new intensity and seriousness that took me by the hand and led me to look upon the mystery of life, death, truth, beauty, and goodness.  

It took me a while to make it through the final two chapters…my eyes kept misting with tears.  

If you only read one novel this year, please let it be NUNC! 

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief