Article
Comment
Easter
Politics
3 min read

Raw politics: any room for hope?

The high stakes of Easter can confront the natural order.

Owen is a Pastor to Postgraduate Students at St Aldates Church, Oxford.

Preisdent Putin stands behind a lectern with a gold door and Russian flag behind him.

They say Putin is not in touch with reality. But when it comes to raw fundamental political reality, maybe he is? It could well be true that all our chat about goodness and beauty and love and faith is mere decoration. That it’s just a layer of fake grass that we use to cover over the harsher, concrete facts of our existence.  

Things like the basic violence of the natural ‘order’ and the raw power politics inherent in our competing systems. We even have a habit of bestowing the prefix ‘real’ on such politics.  

So is this ‘real’ stuff the concrete base layer of our existence? Is it the deepest truth? Is it the uncompromising reality that is always there, even as we prefer to cover it over with the fake grass of our stories of the beautiful and sweet songs of love?  

Most of the evidence points that way: The stockpiles of nukes, the cutthroat colleagues, the succession of bullies intent on becoming the next big dog in the raw struggle for power.  

I remember witnessing a violent assault at the tender age of eight. And the impact of encountering this ugliness on my young heart was a new shadow of fear. Suddenly the world was a colder and darker place. Then I grew up and became a priest. Which raises the question of whether I am spending my life just “whistling in the dark” to feel better? Am I just tending to the fake grass? 

The celebration of Easter does not deny the darkness. It does not cover over the concrete. It claims, instead, that the ugly concrete base has in fact been cracked open to reveal a deeper subsoil, that there is something even more ‘real’, more true, more fundamental than the brutal struggle for power we currently all suffer within.  

This is the high stakes of Easter.  

it could be that our intuitions of beauty and experiences of love are, gloriously, not the stuff of fake grass and psychological coping mechanism

And here lies the deep and central significance of an obscure death on a Roman cross. It is the moment in which God, who is primordial love, faces up to the violent worst of murderous evil. Not with angel -armies to crush our sorry war-torn mess under a new almighty domination, which would only serve to confirm the lasting truth of the dark concrete layer, but by contradicting it, undermining it, through a humble death followed by resurrection.  

I write it out and, to be honest, it is kind of surprising to me just how many people keep believing this unlikely story to be literally and deeply and seriously true.  

It could be because most of us are not prepared to be as clear sighted as Putin (and all the others). That for some reason, we remain relatively unable to cope with being so brutally in touch with the cold, dark facts of the ugly concrete.  

Or it could be that our intuitions of beauty and experiences of love are, gloriously, not the stuff of fake grass and psychological coping mechanism, but actually have their roots down deep into the subsoil of an infinite beauty and an ultimate love? 

If so, it could also be that the strongest counter evidence available to us, countering all the nukes and bullies and violent domination, is noticing what lifts our hearts and moves us to tears? Beauty can do that. Violence cannot.  

And so I keep whistling.  

Article
Art
Awe and wonder
Belief
Creed
4 min read

The art of astonishment

Why I am still bowled over by Easter’s implications.

Jamie is Vicar of St Michael's Chester Square, London.

A painting depicts Jesus talking to disciples at a meal.
Caravaggio's The Supper at Emmaus.
The National Gallery.

Recently I wrote about how it would be helpful for those of us in the church to be honest about what we don't know.  

Mary Oliver wrote: 

'Truly, we live with mysteries too marvellous 

to be understood… 

 

Let me keep my distance, always, from those 

who think they have the answers. 

Let me keep company always with those who say 

"Look!" and laugh in astonishment, 

and bow their heads.' 

We begin life by thinking we know everything, and we end it by thinking we know nothing at all, or, very little. Easter confronts us with what we don't know, and what is too marvellous to be understood comprehensively. Sure, the evidence for the resurrection of Jesus is surprisingly staggering. Take Francis Collins, who was Director of the Human Genome project and led the US government's COVID-19 pandemic. He said that he grew up thinking faith was the result of emotionalism or indoctrination. Although his job was saturated in evidence-proving hypotheses, he hadn't taken the trouble to look at the evidence in arriving at his conclusion that God didn't exist, before doing so and giving his life to Christ. 

But even when you've surveyed the wondrous cross and its aftermath, the implications of Easter are unscientific and unsettling, as well as documented and liberating. Try as we might, we can't pin down Jesus. Rowan Williams offers that: 

 "One of the strangest features of the resurrection narratives is precisely this theme of otherness, the unrecognisability of the risen Jesus… For some at least, the encounter with the risen Jesus began as an encounter with a stranger".  

We see this as Mary Magdalene mistakes Jesus for the gardener at the tomb, and similarly with those on the road to Emmaus on the day of the resurrection. They had known Jesus up close, and yet here they travelled quite some way with him before realising it was him. 

This is most beautifully depicted by Caravaggio in his 'The Supper at Emmaus', hanging in the National Gallery in London. As Jesus breaks the bread, their eyes are opened to see what the breaking of his body meant for them. Jesus was hidden in plain sight all along. With the echoes of Christendom, or the Christ-haunted cultures many of us live in, Jesus is hidden in plain sight for us too. We hear echoes, but do not hear his voice. We see fingerprints, but do not see the scarred hands of the Almighty. And in the renaissance master's painting, we see dramatic light and shade, the freeze-frame burst of astonishment of the disciples. As the National Gallery description offers, 

 'he has shown the disciples as ordinary working men, with bearded, lined faces and ragged clothes, in contrast to the youthful beardless Christ, who seems to have come from a different world.’ 

Amidst the mystery, this revelation comes in relation to us. And this is what Caravaggio depicts: that which we find difficult to understand is the joy of a risen saviour who chooses to walk, talk, eat with fellow humans on the day of his resurrection. But, as Williams writes,  

'He eludes and questions our predictions and projections, recedes and hides before our attempts to arrive at adequate, definitive statements... A theology of the risen Jesus will always be, to a greater or lesser extent, a negative theology, obliged to confess its conceptual and imaginative poverty.'  

Perhaps Caravaggio's imagination is less impoverished than most of us!  

Intriguingly, Williams has also written a poem about how the resurrection changes the way those on the road to Emmaus viewed each other. Maybe the anonymity of one of them (the gospel writer, Luke, only names one) helps us to place ourselves in the middle of this mystery. And that is a good place to find ourselves, if we answer the invitation of the risen Jesus and the God who spoke to a captive people through the prophet Jeremiah  

'Call to me, and I will answer you and tell you great and unsearchable things you do not know.’ 

For the disciples, the penny drops, but there is still so much they don't know. This is not to say that they know nothing. Jesus is, in many ways, what Donald Rumsfeld would categorise as a 'known unknown'. Christians believe that Jesus revealed himself in the scriptures, but enough for us to know that there's a lot more to know that we don't know. For those with Christian faith, we don’t exchange the certainty of what we know for mystery, but one of the invitations of the resurrection is to incorporate mystery into faith. And this in itself is not difficult: for to encounter Jesus is to be met with wonder. Those on the road to Emmaus didn’t recognise Jesus at first but their hearts burned within them. For John Wesley, his 'heart was strangely warmed', which strikes me as a very British way of saying his heart was burning within him! 

But many of us will attest that to encounter the risen to Jesus is to shout 'look!' and laugh in astonishment, and to bow our heads. 

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