Interview
Assisted dying
Culture
Politics
S&U interviews
5 min read

Marsha de Cordova: the personal experiences driving her passionate politics

“What disabled people need is assistance to live, not to die.”

Robert is a journalist at the Financial Times.

 

A woman wearing a red jacket stands formally beside an office stair case.

When Marsha de Cordova talks about most issues relating to her work as the Member of Parliament for Battersea, in south London, she sticks to the standard position of her Labour party. Meeting at her constituency office by the busy Clapham Junction railway station, she dutifully defends her party’s government, elected last July. She points to ministers’ work to reform planning and improve renters’ rights as evidence they are making progress. 

But when conversation turns to the Assisted Dying Bill currently going through parliament, her tone becomes unmistakeably more urgent and her passion more obviously personal. 

The strong feelings mark de Cordova out as one of a group of Labour MPs who have been spurred by personal experience and, in many cases, religious conviction to oppose the Assisted Dying Bill introduced by a colleague, Spen Valley MP Kim Leadbeater. While the legislation is a private member’s bill without official government support, it has been widely seen as reflecting the views of Prime Minister Keir Starmer. 

De Cordova, who is Black, expresses similarly trenchant views about the government’s rhetoric on immigration. She is also a strong supporter of rapprochement with the European Union. 

However, her views on assisted dying – informed partly by being a committed Christian – are particularly forcefully expressed. She answers tersely, “No, I’m not”, when asked if she is happy about the political capital the new government has expended on the Assisted Dying Bill. She adds that she voted against it at second reading, the first parliamentary vote on a bill. She intends to oppose it again at third reading, before it passes to the House of Lords. 

“We didn’t need to expend so much capital on it,” de Cordova says. “The aim now has to be to ensure the bill doesn’t pass third reading.” 

Many of the Labour MPs who have opposed the legislation have cited religious objections. In the Cabinet, they include health secretary Wes Streeting and foreign secretary David Lammy, both Christians, and justice secretary Shabana Mahmood, a Muslim. 

De Cordova also links her opposition to her disability. De Cordova is registered blind because of nystagmus, in which the eyes repeatedly move involuntarily, disrupting vision. There have been fears assisted people could come under greater pressure than others to seek assisted death. 

“As a disabled woman, I’m incredibly concerned,” de Cordova says. “What disabled people need is assistance to live, not to die. That should be our government’s priority.” 

“My faith is an integral part of who I am. It really is part of my values, my beliefs, my politics.” 

The assisted dying fight has garnered unusual levels of publicity for the Battersea MP, who entered parliament seven years ago when barely expecting to do so. De Cordova, now 49, was serving as a Lambeth borough councillor when the 2017 snap general election was called and decided to seek the Labour nomination for Battersea, then held by the Conservatives. 

The seat was one of several Conservative seats in pro-Remain areas that fell to Labour’s surprisingly strong showing in the election in the wake of the 2016 Brexit referendum. 

“No one really thought I could win here,” de Cordova says. “Obviously, Brexit I would say played a role in that I’m a strong Remainer.” 

De Cordova increased her majority in 2019 and last year’s general election. She sees strong continuities between serving as an MP and her previous role in the charity sector. She had been working when elected as the engagement and advocacy director for the Thomas Pocklington Trust, which supports blind and partially sighted people. 

“I didn’t grow up wanting to be a politician,” de Cordova says, of her upbringing in Bristol. “I’ve always had the desire to be making a difference. All of my work before becoming a politician centred around that – being that voice for the voiceless.” 

She links her work to her faith. She became a Christian in her late 20s and now attends Holy Trinity Clapham. The church is famous as the spiritual home of William Wilberforce and the “Clapham Sect” of early 19th century campaigners against the slave trade and other social evils. 

Her faith has led to her appointment as second church estates commissioner – the liaison between parliament and England’s established church, who answers questions in the Commons on behalf of the church. 

“My faith is an integral part of who I am,” de Cordova says. “It really is part of my values, my beliefs, my politics.” 

It becomes clear speaking to her that her objections to the policies of the government – and the Assisted Dying Bill, which many of her party colleagues support – are clustered around areas involving challenges to fundamental rights. 

She objects to the Assisted Dying Bill because she sees it as part of a steady erosion of disabled people’s rights. 

“The issue will have a hugely, hugely disproportionate impact on disabled people,” she says. “That, for me, is a no-no.” 

Provision for disabled people was “hollowed out” under the last Conservative government, she says. 

“That, for me, will always be the issue,” de Cordova says. “I want to campaign and fight for full equality for us.” 

She also views immigration issues through the prism of immigrants’ rights. 

Asked if she wishes the government took a less hostile tone on the issue, she replies: “From my perspective, when I think about immigration, I tend to think about it in a compassionate way.” 

She calls for the establishment of “safe routes” to ensure people fleeing persecution can claim asylum from outside the UK, without making dangerous Channel crossings. The government has shown no signs of introducing such rights. 

“Let’s think about immigration in a positive way,” de Cordova says, adding that her grandparents were immigrants to the UK from the Caribbean. “The Tories and the right have always tried to portray it as a negative. It’s not always a negative.” 

For de Cordova, the unglamorous role of church estates commissioner forms part of that pattern of advocating for the voiceless. 

The job entails dealing with every aspect of MPs’ questions about church life, including the status of historic buildings and other less obviously morally important questions. 

However, de Cordova, who was appointed a month before publication of the Makin Report on the church’s handling of abuse by John Smyth, is clear the church has urgent problems to resolve. 

The Makin Report has to be a “turning point”, she says. 

“I understand steps are being taken to address the challenges,” de Cordova says. “They need to set out over time how they’ll ensure such abuse never happens again.” 

The campaigning approach is part of de Cordova’s wider philosophy. She says she has faced many challenges as a result of her disability and tried to overcome them. 

“I want to ensure that I can break down the barriers for people coming after me, so that people don’t have to face those same experiences,” she says. 

​​​​​​​Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief

Article
Art
Culture
5 min read

Emily Young: the sculptor listening as the still stones speak

Unlocking the stillness, from underwater sculpture to St Paul's Cathedral

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

A sculptor works on a carved face emerging from a stone larger than her
Young creating.
Emilyyoung.com

As a painter, Emily Young says she worked relatively quickly in her distinctive surreal style featuring penguins and figures with penguin heads. When she came to sculpture in the 1980s, what she most appreciated was the resistance she felt as she worked, meaning that she ‘had to slow down’ and ‘be super careful’. Right from her first works as a sculptor, the stone was speaking to her, teaching her the value of stillness.     

The stones with which she works still speak to her. The stone ‘tells me what it is willing to do’ and ‘lets me know exactly what it can and cannot do, and I work with that’. ‘The stone’, she says, ‘leads me through into this zone where we’re working together’. Ultimately, she says, ‘what I’m showing is that the relationship between a human and the planet can be very, very respectful, and very, very beautiful’. In this way, she uses the beauty, history, and energy of stone to connect people to the natural world. 

Her respect for the stones is, in part, because she moves ‘through layers of history in the stones’. Because of their age, stones bring ‘messages to us from a time before culture’; ‘nature has been making stones’ for millions of years meaning that ‘they are from deep time’. This is the ‘stillness of stone compared to me as a short-lived human being’. Her work, therefore, involves ‘throwing something out there that is more enduring than soft humans’. 

Her most recent exhibition was entitled ‘Comparative Stillness’. This title was chosen because the way the faces and the bodies she carves ‘always come out, there’s peacefulness there, there’s stillness’. ‘If you sit in this stillness of the stone’, she says, ‘you can find a great joy and a great peace’. She has asked herself, ‘What is it that I’m doing when I’m carving a human head out of stone?’ Her answer is that she is ‘finding an essential core of being alive that has in it, stillness’. ‘It’s the stillness that I’m after’, she says, and ‘out of that stillness come good actions.’ As a result, she says, ‘what I’m completely dedicated to now is to show that we do have access to that stillness and it could be our saving grace’. Everyone, she thinks, ‘should have quiet, kind symbols of internality around them’.  

Describing her symbols, she says that: her discs are translucent, holding light within while symbolising the wholeness of the universe; her heads are never of particular people and are embodied consciousnesses with a sweetness to their closed eyes; and her torsos show the beauty and vulnerability of the female form which holds the capacity to create life. 

The ‘quietness inherent in stone can also found in our consciousnesses’, which is why she speaks of her stone heads as ‘embodied consciousnesses’. She thinks that religion leads towards this same stillness and, therefore, thinks her art is doing a similar job to that which religion does, ‘trying to give value to people’s lives, what you can and can’t do’. Christ, she says, ‘is a particularly fine example of a teacher’. Her works ‘seem at home within the quietness of churches’ because ‘churches are places that have something of time, deep time’. She has made many sculptures for ecclesiastical settings, including St Paul’s Churchyard and Salisbury Cathedral, while exhibitions of her work have been held at St James Piccadilly and St Pancras New Church. 

When I met her, she was in London for the McDonald Agape Lecture in Theology and the Visual Arts 2025. ‘Theology and the Visual Arts: Firming Foundations; Firing Imaginations’ is a five-year project to strengthen the foundations of Theology and the Visual Arts as a discipline within academic Theology, and help to shape its future. The project’s work is showcased to a public audience through major public lectures in an internationally renowned arts venue. 

This year’s lecture put Young in dialogue with US painter, Genesis Tramaine, an expressionist devotional painter deeply inspired by biblical texts. Like Young, Tramaine also creates monumental heads, and both speak of being led as they create their works; Young, by the stories in the stones, and Tramaine, by the Holy Spirit following prayer, worship and study of scripture. By being led in their work, both essentially agreed that, as Tramaine put it, you can't be present when creating, instead you ‘have to trust yourself to the process, surrender, and play in the space’. Whether creating the heads of angels or of saints, both are depicting ‘messengers from heaven’. 

The good actions that have arisen out of stillness for Young include a project to re-diversify the Maremma seabed in Casa dei Pesci. The seabed in this area, as also in many other places, is being destroyed through illegal fishing by dredger trawlers which destroy the seagrass meadows that are the breeding grounds for marine life. A local fisherman Paolo Fanciulli decided to address the problem by asking artists, including Young, to sculpt huge blocks of Carrara marble as, once these lie on the seabed, they make it impossible for the dredger trawlers to operate in the area. 29 sculptures, including four Stone Guardians by Young, form the Talamone Underwater Museum, which has seen ‘the trawlers go away’ and ‘the seabed diversify’ once again.  

Young also creates large sculptures in the grounds of Convento di Santa Croce, the ruined monastery in Tuscany where she now lives. She says she has ‘been quiet’ and ‘become reclusive’ living there because the place itself is ‘really peaceful and quiet’ with a ‘handmade stillness to everything’. When the rains come, ‘bits of the steep hills fall away’ revealing ancient stones formed of volcanic materials, while caves which had fallen in on themselves have filled up with rainwater creating over time ‘a layered geology’. In this way in this area, ‘the earth is giving great stones to work with’.  

In this delightful, giving place of stillness, she can sit quietly, prayerfully. She notes ‘how difficult it is to find a place of stillness today because of the ‘cacophony of distraction’ we all experience. Her aim is to show the way we are ‘wasting the gift of life’ and to reveal ‘our one consciousness’ in the stillness of stone.   

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 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