Snippet
Belief
Creed
Leading
2 min read

Pope Francis leaves a complex world

He was loved for all the same reasons he was ardently criticised.
The Pope kisses a foot he has just washed.
Pope Francis kisses the foot of a woman inmate of the Rebibbia prison.
The Holy See.

The Holy Father, Pope Francis, died this morning, at the age of 88. Fittingly, he went to life after witnessing one last Easter fire. He had seemingly half-recovered from a month of hospitalisation due to pneumonia, and even blessed the crowds gathered at St Peter’s Square yesterday from the balcony. May he rest in peace.  

He was born Jorge Mario Bergoglio in Buenos Aires, in 1936, to two Italian immigrants seeking a life away from Mussolini’s fascist rule. Sadly, this would not spare their son from dictatorships - in the 1970s, Argentina’s government was seized by a military junta, violently opposed to socialism.  

But this bit of biography is vital for understanding the nuanced figure of Pope Francis.  

In 1958 he entered the Society of Jesus, a religious order founded with half an eye on responding to the Protestant Reformation. Their origins in apologetics and counter-dialogue have given the ‘Jesuits’ a reputation for softness on doctrine. Choosing the papal name ‘Francis’ when he was elected on 13th March 2013, some saw an indication that this Pope was a reformer. 

Many painted Francis with this brush during his pontificate, and with reasonable cause. In 2021, the Pope restricted the use of the Traditional Latin Mass, a move which gravely offended communities who regretted the move to vernacular language services in the 1960s. In 2023, he confirmed that priests may bless people in “irregular unions”, such as same-sex and remarried couples, though not as a blessing of the union. He has been seen as a wind of change - open-hearted, popular, and genuinely humble in his servant leadership.  

But during his time as the head of the Argentinian Jesuits, the young Fr Bergoglio was outwardly a conservative, opposed to the left-aligned Liberation Theology that swept through the Latin American conferences and seminaries of the era. As Pope, he could be as gruff and traditional as they come. His answer to an interviewer's question about whether women can be admitted to Holy Orders in 2024 began with a blunt “no”. He found himself in hot water when using negative slur for gay people in a frank talk about the atmosphere of some Catholic seminaries.  

Too liberal for the trads, and too traditional for the libs. Who was Pope Francis? What I think he learnt from the military takeover of the 1970s was the cost of idealism, at either end of the political spectrum. He was, it seems to me, a pragmatist. Not an academic like his predecessor, Pope Benedict XVI, and, unlike Pope St John Paul II, there was no clear-cut political object in the form of the dissolving USSR. Francis was Pope within a far more complex world, increasingly lacking a clear moral bedrock, and finding it increasingly hard to respond to massive technological and social change. 

Francis will be known for his attempts to strike balances in all of it - to plead for change, but stay closed elsewhere. He was loved for all the same reasons he was ardently criticised. Such is our polarised time. As a Catholic, I happily do not have to worry all that much about whether his successor will follow, or depart, from his mould. With a conclave imminent, it is the Holy Spirit’s work now. 

Review
Belief
Culture
Music
Romance
3 min read

Is Alex Warren singing a love song, or a worship song?

Ordinary's lyrics speak to a fundamental human desire, even when we don’t realise.

Ed is a Research Fellow at the Faculty of Theology and Religion at Oxford University.

A singer holding a guitar raises his head with closed eyes.
Warren on stage.
Mike M. Cohen, CC BY 3.0, via Wikimedia Commons.

Alex Warren’s Ordinary is number one in the UK charts. At first glance the song appears to be a love song, and I would guess this is how it’s been heard during its 400million streams.

Spend more time with the song, though, and it becomes hard to ignore the theological imagery. “stayin’ drunk on your vine,” sings Warren – a conscious (he’s a Catholic) borrowing of St John’s image of the human person as united to God like a branch to a vine. “You’re the sculptor, I’m the clay,” is a direct reference to St Paul. Warren adds to these biblical allusions images primarily associated with Christian worship, including references to ‘holy water’ and ‘kissing the sanctuary.  

So, Ordinary is certainly a love song, it’s just not clear who Warren is singing to. A human lover? Or a song to the Triune God, the One revealed in Jesus Christ? 

I’m not really interested in the meaning Warren intended to convey. But I am interested in what the popularity of the song might say about the human heart. 

As St Paul stood before the Athenians he told them he came with news of the ‘Unknown God’; one whom the Athenians did not know but who they deeply desired to know. Might the popularity of songs like Ordinary reveal the deep desire that human beings have for a God they do not yet know? To my mind, the 400,000,000 streams of Ordinary speak of a desire to meet with the God who is Love, the God who invites us into a union, a love, more intimate than the branch and the vine.  

In one of my favourite songs, Florence + the Machine insightfully explores what it might mean to love someone without knowing it. In South London Forever, she tells us about a time when she was ‘young and drunk and stumbling in the street’. The tone is light, and the regular refrains of ‘it doesn't get better than this’ capture the (sometimes literal) ecstasy which often accompanies youth.  

Yet the song also captures a real sense of loss. Florence describes how ‘I forgot my name, And the way back to my mother's house’. As the song builds, the refrain becomes deeply melancholy, with Florence moving from belting out that life had never been better to describing how: 

 ‘Everything I ever did, was just another way to scream your name, over and over and over and over again’. 

 It is with these words that the song finishes. 

But whose name is Florence screaming?  

The song does not say. But, might it be God’s name? Indeed, Florence hints at this with a singular reference to God at the heart of the song. On this reading, South London Forever becomes a story about recognising one’s own failed attempts to find happiness as an attempt to find God. It becomes a story about seeking God without even knowing it. 

Intriguingly, the great North African Bishop, St Augustine of Hippo tells a similar story in his Confessions. Augustine’s spiritual autobiography is, at least in part, a story of his deep struggle with a desire for sexual intimacy. It is a story of seeking out fulfilment in strange places such that Augustine slowly becomes a stranger to himself, and as Florence puts it, loses the way back to his mother’s house. Looking back over these attempts to find happiness, Augustine comes to recognise that it was God all along that he was looking for ‘how deeply even then, the depths of my heart were sighing for you’.  

The story of songs like Ordinary and South London Forever is that the human heart always desires God, even when the heart is looking for God in strange places. 

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