Essay
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Trauma
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Pain’s scars and the difficult hope they demand

The tension of pain and hope is hard-wired into the human condition.
A close up of the face of a bruised and bloodied cyclist with a large bandage on his forehead.

When I felt a twinge in my lower back at the age of 30, little did I know that this would lead to chronic pain for over 20 years and counting. Defined as persistent or recurrent pain that is present for more than three months, chronic pain can lead those of us who battle it to struggle to carry out daily activities or to socialise freely. Research shows that up to 15 per cent of the UK’s population live with pain that is moderately or severely disabling. Whether discal, muscular, arthritic, or related to auto-immune or other conditions, medical researchers inform us that we are facing a silent epidemic of chronic pain in our society. 

In the past 20 years, pastoral work has opened my eyes to the fact that those of us who face the ignominy and anguish of chronic pain cannot claim a monopoly on suffering. No stranger to significant hardships himself, psychologist and Auschwitz-survivor Viktor Frankl suggests that all suffering should be taken with utmost seriousness, however brief or minor it proves to be. The “size” of suffering, after all, is relative. It is, he claims, like releasing gas into an empty chamber – it doesn’t matter how much gas is released, it will fill the chamber completely. In other words, it does not matter how great or small our sufferings are, they will always hold the potential to darken our hearts completely. 

Behind even the brightest smiles and the most cheerful demeanours are the scars of a thousand cuts.

Suffering and struggle have been particularly marked in our society in recent years, with the twin-tribulation of the pandemic and the cost-of-living crisis leading to so much grief, illness, depression, loneliness, poverty, and isolation. Some years back, I undertook hydrotherapy at the local hospital. With each patient having endured various injuries, many quite serious, I was struck by the plethora of scars in the pool each week – on backs, shoulders, arms, knees, and ankles. The many years of struggle and pain in that pool was all too visible, but, as I undertook my aquatic exercises, I recall thinking to myself: if we could peer into the souls of those around us, how many more deep-seated scars would we notice? Behind even the brightest smiles and the most cheerful demeanours are the scars of a thousand cuts. 

Neither should we fall into the trap of believing suffering merely impacts us as we age. While it is true that there is a correlation between age and bereavement, illness, and disability, the dark hand of suffering is not partisan to age or circumstance. Many children and young people go through all manner of serious trauma and illness, often hidden to those on the outside. Research is showing a sharp rise in chronic pain in young people, for example, while teachers bear testament to the impact of the pandemic on the mental health of so many of their pupils. Moreover, when I was a university chaplain, I saw how deeply young people were affected by incidences and events, even those that, to others, may have seemed trivial. Younger generations are certainly not immune to life’s struggles. 

Like that tenacious and resilient tree breaking through the harsh concrete, we witness hope and promise shining out of the pages of his letters. 

Christians, of course, have always been aware of the philosophical questions surrounding the existence of suffering. The book of Job in the Old Testament details one of the earliest attempts to consider theodicy, while numerous scholars down the ages have grappled with the “problem of pain” (C.S. Lewis) and the question of “where is God when it hurts?” (Philip Yancey). Their musings are well documented and discussed, but, as a Christian with chronic pain, I have become less interested in the “why?” of suffering and more concerned with the “what now?” In other words, I am increasingly interested in how faith responds when confronted with the crippling and dehumanising personal impact of pain, grief, illness, disability, relationship break-ups, depression, loneliness, poverty, or anxiety. 

During a particularly acute flare-up of back pain recently, I took short walks around our immediate locality. We live in a concrete jungle – there are houses, streetlights, cars parked down both sides of the road, and vehicles driving up and down, especially at school drop-off time. In my pain, I was struggling to see any hope in the incarceration of a city. Then I noticed something on our road that I’d walked past on many occasions. It was a small, solitary tree, which is about twice my height. For a brief moment it lifted my heart and I thought to myself how wonderful that someone had planted that tree, just to give some greenery to this urban sprawl. But then I noticed that this beautiful little tree had not been planted at all. Rather, it had broken through the hard, unforgiving concrete, desperate to reach up to the sunlight and take in the oxygen in the air. That small tree is, in many ways, an apt metaphor for the Christian response to personal suffering. 

From the book of Acts and his letters in the New Testament, it is clear that St Paul had walked the gruelling path of pain and struggle. He faced prejudice, persecution, and prison, not to mention his battle with a personal affliction, which he called a “thorn in my flesh”. Scholars posit this may have been an illness or a disability, such as blindness. Yet Paul does not allow his letters to become dark, depressing diatribes of fear and hopelessness. Like that tenacious and resilient tree breaking through the harsh concrete, we witness hope and promise shining out of the pages of his letters. Here was a man who knew suffering, but, through his vivid encounter of the person of Jesus, he had also grasped the profound meaning of hope. When we attend a funeral or a wedding, we will quite often hear uplifting passages of hope and joy written by him. Discussions around the tension in Paul’s epistles between “flesh” and “spirit” are well worn, but, when I read his letters, especially in light of the life and death of Jesus, it is the tension between “suffering” and “hope” that is most conspicuous. 

“I have seen the light – it flickers on and off like a badly-wired lamp”.

Andrew Motion

This tension, of course, is not just prevalent in the Christian scriptures. It is hard-wired into the human condition. Just take the years of the pandemic, when people were either isolated, lonely, stressed, and anxious themselves or were journeying alongside others facing illness, grief, worry, and fear. During that period, I was a parish priest and would regularly visit people, standing socially distanced on their doorsteps. Yet, despite suffering seemingly being omnipresent during the pandemic, people did not generally regale me with their miseries. Rather, they wanted to inform me of moments of uplifting hope that had broken through their difficulties – the beauty of nature on their daily walks, the tireless care of the NHS workers, and the joy of meeting with friends and family, on zoom or outside in the garden. They seemed naturally aware that hope and suffering are inextricably linked. This fact is at the heart of our Christian experience – its recognition is one of those things that define Christians as Christian. After all, the very symbol that has come to represent the Christian faith – the cross – is both an emblem of torture and suffering and a symbol of liberation and hope. 

Not that opening our eyes to moments of hope, love, and wonder is easy when we are going through difficult times. In the dark moments when my own chronic pain seems overwhelming and utterly debilitating, I am inspired by the words of the former poet laureate Andrew Motion: “I have seen the light – it flickers on and off like a badly-wired lamp”. There will be times when Christians will see God’s light clearly and its beauty and glory will dazzle daily. But there will also be times of doubt, grief, depression, anxiety, and physical pain. During those moments, we can learn to be sustained by the occasional spark of hope that will come to us, even in the very ordinariness and humdrum of our daily lives. 

And so, in travelling through life’s dark moments, Christians recognise two powerful realities. One of these has long been championed by preachers and spiritual teachers – it is the presence of a kingdom to come in a heavenly future where there will be no more tears and no more suffering. The other one, though, can speak powerfully into the present predicament – it is the presence of a kingdom all around us now, breaking through the harshness and bleakness of life, like that small tree bursting through hostile concrete. Theologians refer to these two realities as “inaugurated eschatology” and they can also help us to recognise profound moments when transcendent hope breaks into our lives. Opening our eyes to compassion, beauty, wonder, and awe can help us transcend our suffering, which so often seems all pervasive, and can lead us into a strange new world of God’s providence. 

In the soil that the broken concrete had revealed were little green, sprouting shoots. Hope had begotten hope. 

So, Christians hold onto the hope of the “not yet”, confident in the hope of life after death. But, as the old Christian Aid advert put it, we also believe in life before death. However dark and long our journey seems, hope is birthed when we take time and space to notice strange and uplifting moments of beauty, grace, and guidance breaking through our daily lives now. In these, Christians find, in the words of theologian Karl Barth, “indications, intimations and parables” of the coming reign of God. 

After 20 years of daily struggle, I have made peace with the fact that I am likely to battle chronic pain for the rest of my life. However, I have also come to recognise that hope is not all about smiles, sunshine, and flowers. Hope is often difficult and demanding. It is about delicately holding the joy and challenge of life in a wonderful balance. For the Christian, it’s about both recognising God’s kingdom in the beauty, awe, and wonder of his created world and glimpsing it in our very earthly, wearisome, and draining lives. 

But there was also something else about that small, resilient tree that was breaking through the hard and unforgiving concrete. On another walk, a few weeks later, I noticed foliage growing around the base of the tree. In the soil that the broken concrete had revealed were little green, sprouting shoots. Hope had begotten hope. And it is certainly true that the more we open our lives to recognising hope, however brief it may be in our struggles, the more it can inspire us to bring moments of light and comfort to others. And thus we live out, in the words of Karl Barth, so many “little hopes”, and, by doing so, we scatter seeds of new life and resurrection as we go, trusting that God will water them and bring his “hope, faith, and love” to fruition in the world around us. 

Interview
Books
Creed
S&U interviews
9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

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

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan. 

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.” 

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography” 
 

C.S. Lewis. 

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ. 

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”. 

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.  

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”  

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.  

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”. 

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.” 

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith. 

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”  

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”  

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.” 

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.” 

 

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.