Article
Belief
Creed
6 min read

This pub chat brought us to tears

In the debris of the Enlightenment there’s a rising warmth to the mystical.

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

Four people sit round a pub table, some look animated, others pensive.
gaspar zaldo on Unsplash

I recently found myself sitting in an Oxford pub, crying with a man I barely know. And I wanted to tell you about it.  

How did we, two almost-strangers, find ourselves crying opposite each other?  

Well…  

Oh, gosh. How do I say this? We were crying because we were talking about Jesus. 

We’d both been spending the week at a gathering of academics in Oxford and one sunny afternoon, we, along with the other attendees, had wandered to one of Oxford’s effortlessly enchanting pubs. We ordered a couple of their finest IPAs and found ourselves perched next to each other. I quickly gauged that this guy doesn’t dabble in small talk, so, right there - sat in battered leather armchairs and surrounded by people - we spoke to each other about Jesus. Not in any kind of academic or philosophic manner; we just sort of shared what we think of him, what we feel about him, what we wonder about him.  

Ten minutes later, we had demonstrably leaky eyes.  

You see, my comrade in tears and I, we’re both Christians. Over the past two-thousand-ish years, that term has come to mean a number of things – it’s become a weighted word. But what I mean when I say that we’re both Christians, is that we love Jesus.  

That’s so weird to say, isn’t it? I’m resisting the urge to polish that definition up, to mop up the whimsy and make it more palatable for you. My instinct is to reach for an academic reasoning, a profound way to make what I just said sound less weird. But I’m going to resist. I’m just going to let that seemingly absurd truth blow in the wind.  

Can I let you in on something, though? Something a little vulnerable? I love Jesus, but I find him hard to talk to you about. One of two things tends to happen when I try, I get emotional, or I get embarrassed. Neither feels helpful. 

Let’s start with the embarrassment, because it’s easier to explain.  

We live in the debris of the Enlightenment. We’re materialists, rationalists, all that we see is all that there is-ists. We want certainty, we want prove-ability, we want to stand upon the solid ground of reason. We’ve spent the last century or two valuing cold, hard, facts – not warm, soft, inklings. We’ve repeatedly traded mystery for mastery.  And, because of all those things, we’ve ushered in secularism. That’s what we call ourselves, isn’t it? Secular? Those who have outgrown their need of a cosmic saviour, those who have finally burst free of the God delusion.  

This story, this event, it teaches me that everything can be mended, including me. 

This is my context as much as it is yours, and so, with all of that swirling around me – with secularism acting as the societal stage upon which I stand - my belief in Jesus is odd. I have spent my life feeling deeply unintelligent for believing that Jesus was all that he said he was, I can’t deny that. Secular culture has often had me feeling as though I’ve pulled up a chair, ready and excited to play the game of life, only to find that I hold an old set of instructions. Secularism screams at me, points at me, makes me feel as though I’m wearing an outfit that went out of fashion two seasons ago. And so, much to my shame, I get embarrassed. I play its game, a game I wasn’t designed to play, and I lose.  

And then there’s the specificity of Jesus, right? 

Even in the corners of culture where secularism is losing its grip and there’s a rising warmth to the transcendent, mystical, unexplainable things – there’s still a guard up when it comes to religion. In many cases, rightly so. People tend to feel more comfortable in the ‘spiritual, not religious’ camp. There’s something self-preserving about allusivity, isn’t there? Saying that I believe in Jesus strips me of that luxury – my association with him means that I’m also associated with two billion other people, and that can be disconcerting. It means I have little control over how I’m perceived by you, nor how I’m represented by them. It also means that my experiential spirituality is housed within a specific story, a framework, a tradition – I don’t get to pick and choose. It’s an all-in kind of thing.   

So, every time someone who doesn’t know Jesus wants to talk to me about him – someone like you, perhaps - all of the above does its best to shut me up. It mostly wins and I mostly fail you. If – on occasion – I am able to rip the tape of self-consciousness from my mouth, I get frustratingly emotional. And that reaction is slightly harder to explain.

I don’t interact with Jesus as a metaphor, an archetype, or a symbol. You may think me delusional, but I’ve decided to take him at his word, to live as if he was everything that he said he was – fully God, fully human, the whole she-bang. And I take the same approach to Easter – the festival that celebrates the thing I believe to be the truest – Jesus’ resurrection. His death and subsequent un-death, what T.S. Eliot calls: ‘the still point of the turning world’. What Dr Martin Shaw regards as ‘the most extraordinary act of love, so catastrophic in its beauty, we’re still in shock two thousand years later’. 

The realness of it all moves me. It, just as Martin has diagnosed, shocks me. This story, this event, it teaches me that everything can be mended, including me. It brushes against my deepest longings, it silences my loudest fears. And Jesus, the God-Man at the centre of it all? I feel the truth of him in my bones, his love courses through my veins, his friendship makes my eyes sting.  

I feel silly saying all of that – knowing how such sentiments have no home in the secular world we’ve built up around ourselves. And so, I feel paralysed by the need to boil it all down to ‘five facts that prove the resurrection happened’. But I just can’t seem to master it.  

Instead, I wonder if it’s alright that the truth of the event is found in two near strangers inexplicably crying in a pub. Two near strangers being unspeakably moved by the real-ness, the here-ness of a man who was executed two-thousand years ago. Two near-strangers who – despite it going against their (or, at least, my) self-aware sensibilities - were forced to accept that their tears picked up where their words had left off.  

Is that kind of proof acceptable to you? After-all, I’ve never known of someone to weep over a good metaphor, an intelligent myth, or a profound philosophy.  

I’m not opposed to placing the claims of Christianity under the microscope, indeed, I do it myself (when you’re not around, obviously). I’m simply opposed to it being the only means by which we can assess its truth. Afterall, I’m never more certain of its truth than when the only thing I have to show for it is an embarrassing display of tears.  

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Review
Belief
Culture
Music
5 min read

Mumford & Sons search for meaning

Wonder about which love they sing of - earthly or divine.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A band lounge around.
Pondering the reviews.
Mumford & Sons

My old RE teacher always liked to make the point that meaning can be found in anything, if you want to find it.  

“Do you find meaning in a sunset?” he’d ask. “Or only beauty?” 

From the outset of Mumford & Sons’ new record, ‘Rushmere’, the deeper things, as ever, are front and centre - at least for those of us who wish to find them. 

The folk band’s records have always been replete with religious undertones - lead man Marcus Mumford is the son of a preacher, don’t you know? - and they are apparent from the very start of the band’s fifth studio album and first since 2018. 

‘Rushmere’ kicks off with ‘Malibu’, which speaks of finding “peace beneath the shadow of your wings”, and an unnamed “you” being “all I want” and “all I need”. 

There’s even talk, right at the beginning of the song, of feeling “the spirit move in me again - the same spirit that moves in you”.  

Precisely which spirit is meant is never defined - these are song lyrics, after all, not a sermon - but for this listener at least, the reference to the third member of the Trinity appears clear. 

Not every song on the album hits such obvious religious notes, but the opening track is far from unique. Indeed, one needs only to flick through the names of the other songs to get a hint of the deeper meanings on offer, with titles such as ‘Truth’, ‘Anchor’ and ‘Surrender’. 

Meanwhile, in ‘Monochrome’, we’re told that even within a hyacinth can “life”, “restoration” - even “Christ” - be found.  

Could the “out of sight” monochrome “beyond reason” that we are called to contemplate represent the Christ - in theological terms, the “Word” of God - whose fingerprints can be seen across Creation? 

And what is meant when Mumford sings that “the kind of love that I’m always chasing is the kind of love that won’t be chased?”  

As with many of the band’s lyrics, there appears space for both a romantic and religious reading, though perhaps romance is harder to read into metaphors such as a “cup running dry”, as Mumford sings elsewhere in ‘Monochrome’.  

Is it only me for whom this evokes memories of the old Sunday school refrain: “Fill up my cup and let it overflow”? 

‘Truth’, meanwhile, begins with the fairly blunt statement: “I was born to believe the truth is all there is.”  

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

It isn’t made clear whether such belief remains intact today, nor even which truth is meant, given that we now live in times where such things seem occasionally grey. But ‘Surrender’ appears more black and white, speaking of being brought to one’s knees, “broken” then “put back together”, and “held in the promise of forever”.   

“I surrender, I surrender now,” Mumford cries - words Christian congregations have sung for centuries. 

And as ever with a Mumford & Sons record, ‘Rushmere’ doesn’t hold back from the trickier theological issues, touching upon the concepts of both hell and original sin. 

“Let your anger go to hell,” ‘Where It Belongs,’ Mumford sings in the track of the same name, which is sung like a lament, while in the final track, ‘Carry On’, those of us who believe in original sin are encouraged to consider that “there’s no evil in a child’s eye”. 

“It was made, and it was good,” Mumford sings in a nod to the Creation story, when the world was blemish-free. 

Meanwhile, in ‘Anchor’, Mumford sings that he “can’t say he’s sorry if he’s always on the run from the Anchor”. Which for some of us, at least, will conjure recollection of part of the Bible’s Book of Hebrews that speaks of our “hope” - Jesus - being “an anchor for the soul, firm and secure”. 

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

Fans of Mumford & Sons - and yes, you’ve guess it, I count myself among them - will recognise that particular phrase from a previous hit, ‘Hopeless Wanderer’, which again seemed to speak to a life of faith; of pilgrims “called by name” trying “so hard to live in the truth”, but being “prone to wander”, as it says in the hymn ‘Come Thou Fount’, which Mumford has also been known to perform. 

So this is not the first Mumford & Sons album to have contained such imagery. Far from it. For those of us who’ve followed the band since their debut album, ‘Sigh No More’, in 2009, there have always been calls to ‘Awake My Soul’ or to find comfort in a future day in which there will be “no more tears.”  

In the years since, we have been encouraged to be ‘Lover[s] of the Light’, or to find hope in a ‘Guiding Light’ who won’t ‘Slip Away’ in the night. 

Perhaps, then, there’s nothing very different about ‘Rushmere’ - it represents just another chapter on a journey of faith - but this particular fan continues to appreciate, deeply, the depth that Mumford and his bandmates continue to bring to our ears.  

And as for the music, well I suppose by now that most readers will probably be familiar with what one can expect from a Mumford & Sons album, and ‘Rushmere’ certainly doesn’t disappoint those of us who like that kind of thing. 

It’s notably shorter than the previous album - nearly half the length - but is probably no worse for it. It’s hard to think of a weak song on the album, while there is something for everyone: from the country feel of ‘Caroline’ (think Counting Crows/Ryan Adams) and rock and roll of ‘Truth’, to the gentle fingerpicking and harmonies of ‘Monochrome’. Heck, the banjos even make a comeback on the self-titled ‘Rushmere’, so truly something for everyone - or at least for all of us fans.   

By the way, my old RE teacher never told us what he believed, but I later found out that he’d once been ordained, so I suppose that he, like me, might still find meaning in a sunset or even, perhaps, a Mumford & Sons record.

Celebrate our 2nd birthday!

Since March 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