Review
Belief
Culture
Death & life
Joy
Music
Wildness
7 min read

Nick Cave’s Wild God challenges a too comfortable culture

Eavesdrop on profound discomfort and raw wonder.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A singer, wearing headphones, turns from a microphone in front of him.
Listen with Nick.
nickcave.com

In the fourteenth and fifteenth centuries, there lived an anonymous mystic who we’ve since come to know as Julian of Norwich. After coming chillingly close to death at the age of thirty, she spent the subsequent decades of her life in a small side room of St Julian of Norwich church (the inspiration behind her pseudonym), speaking to people only through windows and writing masterfully about her supernatural visions of God. 

Her anonymity, modesty, and creativity meant that she was free to write about God without the pressure of being theologically or doctrinally ‘correct’. She wasn’t too interested in making her writing academically bulletproof, nor was she too bothered with institutional rightness.  

Rather, she experienced, and she wrote. She pondered and she wrote. She suffered and she wrote. She rejoiced and she wrote.  

She was utterly captivated by God, and that meant that she was free.  

I think that Nick Cave is free, too.   

His latest album reminds me of Julian of Norwich’s work; baffling, subversive, mystical, rooted in a truth that can’t be proven. A truth he wouldn’t be interested in proving, anyway. It, too, swerves ‘rightness’. It, too, refuses to dilute the oddness of faith. It, too, is irresistibly intense. I pressed ‘play’ at around 8:03am this morning, assuming that this album would be the soundtrack to my mundane morning. But two songs in, I found myself sitting on my kitchen floor with my coffee, a notebook, and the album turned up to a volume that would have justifiably annoyed the neighbours.  

This is not a casual album. Any true Nick Cave fan would scold me for ever expecting it to be. 

The album is a ten-track-long ode to a Wild God who has met Nick in the darkest of places. Places, I’m sure, he never wanted to go. Places, I’m sure, he will never fully leave. Such a wild God is a challenge to a culture that has enthroned comfort. We’re too easily spooked. But Cave, through a combination of circumstance and intentionality, appears to have entirely shunned comfort. And so, he’s in prime position to introduce us to a God who will confound us.  

Julian of Norwich’s book and Nick Cave’s album are centuries apart – yet, somehow, it feels as though they have been made from the same materials: profound discomfort and raw wonder. 

Suddenly, you’re reminded that you’re eavesdropping on a man who has lost his son, conversing with a God who lost his too. 

This is Cave’s eighteenth album with the Bad Seeds. Together, they have created a soundscape to get lost in, a changeable climate controlled by their instruments: you get caught up in a cyclone during the title track, the cymbals crash like waves on the shore in ‘The Final Rescue Attempt’, you can hear the gentle droplets of rain fall in ‘Frogs’, the strings somehow sound like a sunset in ‘As The Waters Cover The Sea’.   

It’s music that baffles your senses. 

And then there are the stories that the songs are telling.  

The album opens mid-way through a bar, its first song – ‘Song of the Lake’ - sounds as if it was playing before you hit play. In 2015, Nick and his wife Susie lost their teenage son. In 2022, Nick lost another son. The last two albums offered up by Nick Cave and the Bad Seeds – Skeleton Tree and Ghosteen – they have an address, and the address is grief. They’re laced with palpable agony. And so, beginning this album mid-way through a bar, it’s as if Nick is telling us that we’re picking up a conversation where we left off in 2019. This album wouldn’t exist if the previous two didn’t exist.  

He uses the opening song to remind us of the tragic circumstances in which he lost his teenage son, Arthur, by referencing the nursery rhyme character, Humpty Dumpty – who, of course, ‘had a great fall’. Nick quotes, ‘… and all the king's horses and all the…’ before cutting himself off with ‘… oh never mind. Never mind.’ 

What’s the meaning of this recurring ‘never mind’? Is it agony or acceptance? Maybe it’s both. Maybe it’s neither. Maybe Nick, as usual, doesn’t want to be too knowable.  

Some of his thoughts feel finished and firm, others feel unexplored and new – like we’re hearing them at the same time that Nick is. On occasion it feels as though he’s teaching us something, on other occasions, he’s the one asking the questions. It’s about him, and then it’s not about him. It is intensely personal and then it’s cosmically minded. It’s sturdy, then it’s fragile. It’s from the point of view of a deity, then it’s from the perspective of a frog in his pocket.  

It is pretty uncontainable.  

But the song that my mind seems to have gotten snagged on is ‘Joy’, which sits about a quarter of the way through the album. Again, he begins the song by telling us how he ‘woke up this morning with the blues all around my head… I felt like someone in my family is dead,’ he speaks of his ‘pain and yearning sorrow’ – all of which hits you in the stomach, because such lines are wholly unexpected in a song entitled ‘Joy’.  

You could read a 100,000-word long thesis on the theology of joy. Or you could just listen to this song. I think it would teach you everything you need to know.  

The way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. 

Despite the references to his grief, Nick recently shared that he nearly titled the album ‘Joy’. And I get why. If you think of joy as some kind of light and fluffy thing, you might not spot it. But if you, like Nick and his band of Bad Seeds, perceive joy to be something that can hold tension, confusion, and even sorrow – you will see that it is all over this project. As Nick has already taught us, faith and hope can be found amid carnage. And Nick’s new(ish)-found faith has quite obviously turned him upside down.  

His wild God has clearly swept him off his feet.  

The remaining songs on the album - the ones that I don’t have the wordcount to do justice - they take God/death/life, and they ponder them from every angle. There is a childlike wonder to this album, a pure kind of excitement. The kind that you'd think would be irreconcilable with the realities of grief but is somehow able to sit right alongside it. Nick isn’t trying to explain the God that he has found, or the ‘conversion’ he’s experienced – he’s just celebrating it, and inviting us all to listen.  

He's simply loving God and enjoying being loved right back. It really is all very ‘Julian of Norwich-esque’. It will offend you if you try too hard to put it into a neat box.  

But then there’s the last song, which is where I’ll bring this gush-a-thon to an end. It is a hymn. Like, an actual, albeit tweaked, hymn – the last song is a rendition of ‘As the Waters Cover the Sea’.  

All of a sudden, there’s a gear change to grapple with. Nick is placing himself in a church, he’s tying himself to a particular religious tradition, he’s joining a particular community and affiliating with a particular history. It turns out the God of whom he speaks is not abstract, he’s the Christian God. You’re reminded that you’ve been eavesdropping on a man who has lost his son, conversing with a God who lost his too. The lyrics have been hinting at this all the way through the album, but the way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. He is basically saying -

If you’re intrigued by the Wild God, here is where precisely I have found him…  

And this kind of religious specificity being used to tie up an album so full of metaphor and mystery. An album I thought I had worked out, an artist I thought I had finally cracked, a message I thought I had deciphered… 

… Oh, never mind. Never mind. 

Explainer
Belief
Books
Creed
Poetry
6 min read

Why a book? The words that change the world and me

Living by a literature that’s imbibed in countless cultures.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A man sits on a pier intently reading a book on his lap.
Ben White on Unsplash.

I have a belief system, a story that I live by, a lens through which I perceive the world. That doesn’t make me unusual or in any way different to you – we all have those, whether we’re aware of them or not. What may make me different to you is that mine are primarily explained to me through a book – or, more accurately, a library of sixty-six books – which we call the Bible. 

The story that I live by, that I breathe in and out, is bound. It sits within a cover, it moves through pages, it unfolds according to a contents page – it has genre, it has authors, it has punctuation.  

And I’ve never really found this odd. 

I think it’s because I’m what Charles Taylor would call a ‘storied creature’, my default is to make sense of the world on a largely imaginative level. I’m also quite romantic; poetically inclined, one could say. It sometimes feels as though words flow through my veins – if you were to cut me open, I may just bleed a puddle of my favourite Jane Austen monologues straight onto the floor. And so, my personality happens to lend itself spectacularly well to living my life according to a spiritual, sixty-six book wide, library. I’ve never really had to wrestle with the strangeness of such a thing, I’ve never sat down and stared the oddness of it in the eye, I’ve never even really asked myself (or God): why a book?  

I feel I should pause here, and offer a quick Rory Stewart-esque explainer, just so that we’re all on the same page.  

What I, and Christians through time and place, call the Bible is an anthology of sixty-six books, written by around forty authors, in three languages, over the span of 1,400-ish years. Within it, one can find poetry, narrative, apocalyptic literature, erotic literature, lists and figures, instructions and explanations. It is – year in and year out – the bestselling book in the world, with over 100 million copies sold or gifted each year. The New York Times Bestseller List actually omits it from its rundown, because otherwise it would always be so boringly there – sitting comfortably right at the top. No other book ever comes close. Words from this anthology of literature are graven into the floors and walls of the Houses of Parliament, they’re woven into almost every work of Shakespeare, they’re spray-painted clumsily onto billboards in the city I call home.  

And so, I guess, in one way, the answer to my question – why a book? – is all of that. The peculiar far-reaching resonance of the methodology speaks for itself. I think of Robin Williams’ impassioned monologue in Dead Poets Society… 

‘No matter what anybody tells you, words and ideas can change the world. We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion.’  

… And I get it. I understand why it was literature that was compiled, why language and words were the tool of choice. For better and for worse, biblical words and ideas have changed the world – they have been ‘the making of the western mind’, just ask Tom Holland. And so, pragmatically, one could argue that the Bible being a book (or a book of books) means that it has successfully imbedded itself in countless cultures, while also transcending them. It’s gone further, lasted longer, sunk deeper than any other form of communication could. Such is the power of words. 

But to stop my pondering there feels like I’d be stopping short. I’m not sure that a distant, pragmatic, academic answer is one that I feel satisfied with.  

So, this morning, I sat down with a cup of tea, a pen, my notebook, and a newfound curiosity - and I asked myself, and God, why a book?  

Why poetry?  

Why story?  

Why wordplay?  

Why have I – an educated, arguably disenchanted, most definitely left-brained, twenty-first century adult - been so willing to let these things mould my interior life? Why am I so moved by them? Moved to action, moved to tears, moved to rage. How can I read something that was written a millennia ago, in a part of the world I have never trod on, and somehow feel as if it is a love letter written exclusively to my own soul?  

I think that those are the real questions - the questions to which I have both a thousand and zero answers.  

And, like any work of literature, it does not give its meaning up easily – it requires me to sit with it, to excavate it, to gnaw on it like a dog with a bone. 

Zero answers, because I fundamentally think that it’s a spiritual thing, a God-designed thing, a thing that sits beyond any explanation I could piece together. The God that I believe exists wants me to know about him, wants me to learn and study, wants me to get glimpses of how thinks, how he works, he feels about me – and you. That’s a wild and wonderous thing. That reality leads me be stunned not only at the methodology, but the desire behind it, as St. Augustine wrote,  

‘the whole Bible does nothing but tell of God’s love’.  

And so, this literature, to me, is a source of truth, leaning into Iain McGilchrist’s inkling that,  

‘the fact that religions and mystical and spiritual traditions have always had to use language in a poetic way doesn’t mean that what they’re talking about is not real, it means it is ultimately real.’ 

The biblical literature uses words to take us to the edge of them.  

And, like any work of literature, it does not give its meaning up easily – it requires me to sit with it, to excavate it, to gnaw on it like a dog with a bone.  

Sometimes reading it feels like a balm on my heart, other times it feels like a wrestle in the dirt. But I guess that’s the beauty of it being a book, right? My worldview sits within a piece of literature that is adorned with my scribbles, tear stains, tea spills. A book that meets me every single day, ready to read me as I read it, giving my as many questions as it does answers. 

So, why a book? Because now that I think about it, it is odd. The powerful resonance of words for all cultures at all times, perhaps? Or the way that poetry was designed to make a bee line for the deepest parts of us? Or the fact that it is only through language that we can talk about the things that go beyond it?  

There are a thousand human-sized answers, if you really need them. I happen to enjoy the mystically-charged zero answers, myself.  

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