Article
Community
Creed
Loneliness
6 min read

Of singular value

A new report on relationships caught the media headlines. Lauren WIndle is inspired by its take on being single.

Lauren Windle is an author, journalist, presenter and public speaker.

A man walks along a street past a orange wall with a huge 'Good' written in cursive script on it.
Photo by Volkan Olmez on Unsplash.

A friend of mine used to work at Lambeth Palace. She had a sister and brother-in-law who were based abroad and one of their visits happily coincided with fireworks night. As a treat, she decided to take her relatives to Lambeth Palace’s display – apparently the gardens are beautiful, and the glistening bursts of colourful light only served to illuminate and enhance its horticultural charm. The evening was perfect, aside from one snag; her brother-in-law, from Uganda, was struggling to cope with the bitter cold of a crisp November evening in the UK. But he needn’t have worried for long. Noticing his distress, Archbishop of Canterbury Justin Welby, nipped upstairs to his living quarters and descended with a woolly hat to keep the chill away from the shivering visitor.  

This is when I moved from the casual indifference, that I have towards all public figures that I don’t know personally, to really liking Justin Welby. The story endured so much in fact, that even when he politely declined to endorse my book – citing time constraints, it didn’t shake my resolve that he was a man with a good heart, albeit a busy schedule. 

I was left with the overwhelming feeling that Justin Welby was telling me to love and care for my fellow man. To hand out woolly hats, if you will.

He has once more come up trumps in my eyes with last week’s publication of Love Matters, a 236-page report on examining relationships and families. It is the third of a trilogy of commissions from the archbishops of Canterbury and York, with the first two focusing on housing and social care. 

The report is broadly aimed at informing the actions of the government and Church of England but offers a message to us all. The five key messages are; we need to put more value on families – whatever set-up they have, we need to support relationships and manage conflict well, we need to honour single people and not place such emphasis on romantic love, we need to invest in our children and young people and we all need to work towards a kinder, fairer and more forgiving society.  

These, we can all agree, are noble aims. As I read through the detailed communiqué, I was left with the overwhelming feeling that Justin Welby was telling me to love and care for my fellow man. To hand out woolly hats, if you will.

The mainstream media also made noises of approval as the passages on the value of single people gained a huge amount of traction in the press – including a front-page article in The Times.

As the author of a book that directly challenges the Church’s response and treatment of single people, I felt a warm glow. I felt hopeful for change and that a glaring problem had been given the recognition it deserved. The mainstream media also made noises of approval as the passages on the value of single people gained a huge amount of traction in the press – including a front-page article in The Times. The publicity was so far reaching that I even got a message from a friend and features editor at The Sun saying she thought it was a “very Windle sounding message from the Church”. But not everyone in the Christian community shared my (and her) enthusiasm.  

This isn’t due to the content of the report, but rather its omissions. The grumbles I’ve heard have accused it of being “weak” and “waffling” in its message and people have been disappointed that it isn’t more forthright in its promotion of marriage. But I would argue that, in church circles, marriage gets enough airtime.  

There’s no question in the Church that marriage is important. There is implicit beauty in committing to combine your life with another person – prioritizing someone over everyone else (including yourself), loving, caring for, supporting and encouraging that person. Through the Bible God says it is not good for anyone to be alone. God blesses marriage. God encourages people to go forth and multiply). But somewhere in the mix, Christians stopped celebrating marriage and started idolising it.  

I’ve heard of... people being relegated to “all-singles groups” (the equivalent of the kids’ table at Christmas). 

Researcher David Voas conducted a quantitative analysis of Church life with a survey and found the majority of English church attendees are married. He said:

“It’s hardly an exaggeration to say that in England individuals don’t go to church, couples do.”

People who run churches are usually married men and their partners take up a first-lady position in doting support. Single Friendly Church’s survey (2012) found 43 per cent of single people felt their church didn’t know what to do with them. 

Ministry for single people, if it exists, is often an afterthought and not engineered in a way that makes it appealing to potential attendees. Two thirds of people in the single friendly church’s survey said they felt being married is the expected and accepted lifestyle in the Church. So much so that the Church is based around the school calendar with everything effectively shutting down over August. 

I’ve heard of people trying to set up initiatives for single people but being told by church leaders that, as they themselves were single, they probably weren’t best placed. I’ve heard of “pairs and spares” dinners and people being relegated to “all-singles groups” (the equivalent of the kids’ table at Christmas).  

It’s high time we recognised that being single isn’t a state to progress out of, or level up from. It is not a waiting room for the as yet unchosen. 

To add insult to injury, there are churches that won’t allow unmarried people into positions of leadership. One study found that half the American churches quizzed wouldn’t allow a single person to run a house group. To be clear, this means that Jesus would not be qualified. This hypocrisy received acknowledgement in the Love Matters report. It said:

“The Commission believes strongly that single people must be valued at the heart of our society. Jesus’ own singleness should ensure that the C of E celebrates singleness and does not regard it as lesser than living in a couple relationship. Loving relationships and being able to give and receive love matter to everyone.” 

Given this climate in the Church and the fact that outside of it, more and more people are remaining single, the report’s emphasis on the equality of singleness isn’t “weak” but vital. It’s high time we recognised that being single isn’t a state to progress out of, or level up from. It is not a waiting room for the as yet unchosen. It is a valid and valuable life stage that is equal but different to marriage. 

For too long Christians have tried to “solve” singleness with marriage. Rather than solving the problems associated with singleness, i.e. loneliness, absence of deep and intimate love, with community and family (in whatever form it takes). I don’t believe that by platforming the value of singleness, that we detract from the value of marriage. It’s not a seesaw whereby one must fall for the other to rise. 

Another blow that hits me hard, is that this report is highlighting what the world outside the Church has been aware of for years. Books like The Unexpected Joy of Being Single and What a Time To Be Alone confirm the inherent value of both single people and the time a person spends single (whether for now or for life). This is recognised by the Bible, particularly by Paul in his letters, but rarely highlighted in the Church. It seems like a shame that Carrie Bradshaw and the Sex And The City ladies did more for affirming singleness than our spiritual leaders. 

But not anymore. Justin Welby has thrown his woolly hat in the ring. He’s standing up for the value of each person, married or single, each relationship, romantic or platonic, and each family, genetic or otherwise. And you won’t catch any grumbling from me. 

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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