Article
Creed
Romance
Wildness
4 min read

St Valentine and the great mystery of romance

Saints were martyrs for more than love.
A cupid statue fires an arrow of love.
Volodymyr Tokar on Unsplash.

Valentine’s Day is the great Western celebration of ‘romance’. On the day restaurants are filled with couples – new and nervously trying to be constantly adoring in their gaze, or longstanding, staring out of the window, comfortable in the silence which can only truly be inhabited by those who really know each other. On this day garage flowers become a precious commodity. It is undoubtedly kitsch and forced and performative…but most great and important festivals are. 

But who’s day is this?  

Valentine, or Valentinus, was a third century martyr. Some legends claim that his faith was put to the test by a local judge, who brought his blind daughter before Valentine, and demanded he heal her. He did. The judge and his entire household renounced pagan idols and were baptised. This scandalous incident, and further bothersome evangelism, led to the Emperor Claudius commanding that Valentine be executed. Another legend claims him as a Roman priest who defied imperial orders and secretly married Roman soldiers in the Christian rite, allowing the soldiers to escape further conscription. I assume it is this latter legend which led to Valentine being adopted as the patron saint of heart-shaped chocolates – that and the mediaeval folklore that the birds would couple in mid-February. Whatever the case, I’m not interested in the legends of Valentine, entertaining as they are. It doesn’t matter to me if he married couples in secret, or healed the blind, or was an early avian dating app. He is a martyr.  

Martyrdom is not a concept we are much familiar with in this country anymore. Yes, it is still a word in common parlance. We call people a ‘real martyr’ when they punish themselves doing work no is expecting or wanting them to do. We call someone a ‘martyr for the cause’ when they glue themselves to a set of railings, or get arrested vandalising a painting with soup. This isn’t martyrdom. True martyrdom is an act of romantic desire. True martyrdom is an act of love! 

One of the earliest accounts of Christian martyrdom come from St Ignatius, the Bishop of Antioch. At some point in the middle of the second century he was condemned to death and was transported to Rome under guard. As he travelled, he wrote letters to different Christian communities, including one to the Church in Rome. The account of martyrdom in this letter is both astoundingly beautiful, and the key to understanding martyrdom. He is writing, in part, to beg the Christians of Rome not to try and save him from his fate, either by violence of bribery.  

He wishes his martyrdom and explains why. He writes that in this suffering he is “…beginning to be a disciple.” He compares his unfortunate situation to ‘birth pains’ now coming upon him and then makes a remarkable claim: he is not about to die, but is about to truly live!  

“Grant this to me brothers: do not keep me from living; do not wish me to die…Allow me to receive the pure light; when I have arrived there, I will be a human.” 

It has been suggested by some who can only see the dreadful, painful, grabby nature of martyrdom – and it is a blessing we live in an age and a land where we do not kill each other on account of our faith – that Ignatius was either a showman or a madman. I disagree. Ignatius does not want to be martyred because he wants to make a name for himself, but because he understands that in martyrdom he is becoming a type of the one true martyr: Jesus Christ. Perhaps he was mad…madly in love with Christ! He desired to be united with Christ, he desired to be as close to Jesus Christ as possible: “I desire the bread of God, which is the flesh of Jesus Christ…and for drink I desire his blood, which is imperishable love.” He desired Jesus above all other goods, even his own life. 

In our little way, when we embark upon the great mystery of ‘romance’ we are seeking to be martyrs ourselves – martyrs for the one we love. 

Martyrdom, seen in this manner, is a truly ‘romantic’ act – an act of the one who is so desirous of, so truly, madly, deeply in love with Jesus, that they will give everything for Jesus’ sake. Martyrs show us the real pattern of love: the sacrifice, of ourselves for the sake of another. This is the lesson Jesus taught his disciples: “Greater love hath no man than this, that a man lay down his life for his friends.” In the life and death of the martyr we see this real love made manifest, and it is not unrequited but is entirely reciprocated. Jesus desires us and dies for us, and the martyr desires Jesus and dies for him. As Ignatius writes to the Romans: “Desire it, that you may also be desired.” 

This is the lesson that every couple, as they grow in their life and their love together, slowly learn. If we seek romance and love, we seek not to change, or control, or extract pleasure from the other person as an object; we seek to give ourselves to them freely and completely, in the joy of service and sacrifice. In our little way, when we embark upon the great mystery of ‘romance’ we are seeking to be martyrs ourselves – martyrs for the one we love.  

St Valentine was a man of genuine love, for he was a martyr. There is no greater reason to be a patron of passion, of matters of the heart, of romantic love. 

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Review
Culture
Film & TV
4 min read

The Zone of Interest’s peripheral vision of evil

Director Jonathan Glazer bests Spielberg thanks to a quality of attention.
in an immaculate garden a family play in and around a small swimming pool. Beyond the garden wall, a barracks is visble with crematorium smoke rising beyond it.
The Höss family at play at their Auschwitz home.

This has been a tremendously difficult review to write. I’ve written and re-written this review for two weeks now. You will see why. 

The Zone of Interest begins idyllically. A family is picnicking by a lake. The men swim, the women pick berries in the woods. It's a gorgeous sunny day. The family happily drive home down an evocatively headlamp-lit country road. The father walks through their palatial house, turning off every light. The next morning the family are gathered outside to give the father his birthday present: a canoe. Two boys lead their blindfolded father gently down the steps from the house to the garden. The garden is magnificent: filled with flowers and immaculately kempt. 

The father is wearing an SS uniform. The camera pans round the garden. Behind the garden wall you see glimpses of barbed wire, belching chimneys, rows of dormitories. You hear shouts, moans, cries, gunshots. This is no ordinary house, no ordinary garden, no ordinary family. This is the home of SS-Obersturmbannführer Rudolf Höss, his wife Hedwig, and their five children. This is Auschwitz. Höss runs it. Hedwig runs their beautiful home. The children run around. That is the next 100 minutes of film. It's a realist family drama from the 1940s. The children are children, the wife is house-proud to a fault, and the husband is hard-working, ambitious, and keen to do a good job. I don’t want to say much more. You simply need to go and see the film. 

When Hannah Arendt published Eichmann in Jerusalem: A Report on the Banality of Evil it was controversial. Many commentators misunderstood or misrepresented her point. Evil acts - especially an evil act as totemic as the Holocaust - are not ‘banal’. The people who commit evil on such a scale often can be. A genocidal machine of such scale and complexity needs a tremendous number of cogs… they can’t all be murderous sociopaths. Eichmann was banal in himself - he was of average intelligence, uncreative in his thinking, a follower of fads and joiner of organisations. 

This is exactly how Rudolf and Hedwig are presented. Christian Friedel plays Höss with an almost continual ambience of low-level boredom. Pillow-talk with his wife, reading to his children, a discussion about the most efficient way to incinerate the Jews in his camp, is all spoken with roughly the same expression and tone. He clearly wants to do well in his work, but it doesn’t matter what the work is. Sandra Hüller gives Hedwig a marvelous, slightly nervous energy. She always seems to be keeping a combination of grasping envy and slimy smugness just barely contained beneath the surface of her features. She can’t think of much beyond the order of her house, the beauty of her garden, and her status among other SS wives. Their quality of attention is essentially absent.  

Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it. 

Not to be flippant, but they would be dreadful dinner-party guests, and not just because they are Nazis: they seemingly have no capacity for a thought that goes beyond themselves, and their immediate environment, and their immediate needs and wants. They are banal. 

Between them Jonathan Glazer (director), Łukasz Żal (cinematographer), and Mica Levi (musician) give a remarkable demonstration of the power of restraint. The camerawork is naturalistic and almost never showy. The performers look like they were given the latitude simply to be in the scene: no over-direction. The soundscape is hauntingly bare. There is little music or sound beyond the ambient. The mood is, of course, set by the fact that the ambient sounds are roaring furnaces, gunshots, and desperate screaming. The film does not attempt to make a point or demand a response; Glazer simply gives you a slice of domestic life that just happens to be located next door to a death-camp. 

Steven Spielberg has suggested this is the best film tackling the dreadful subject of the Holocaust since Schindler's List. He is wrong. The Zone of Interest is a far superior film. I love Spielberg, but Schindler's List is offensively bad. It takes a subject of such abject depravity and then tries to emotionally manipulate you into feeling bad: the music, the speeches, the more-is-more approach to showing you the pinnacle of human cruelty. Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it.  As Augustine says, evil is nothing in itself. Evil is the corruption and annihilation of what is good and lovely. Evil isn’t some great monster that forever battles with God. God is good…no…God is Good. So evil is literally nothing - goodness in decay to nothingness.  

Glazer, whether intentionally or not, recognises this theological truth. Looking at the full abyssal nothingness of evil is beyond human comprehension. But if you see it in the periphery, then you see it. When you hear the screams of the innocent and at the same time see a woman cheerfully ignore them while she plays in a flowerbed with her infant daughter, then you recognise the potential for human depravity. You can’t truly encounter the nothingness of evil, and the dangers of letting its parasitical and destructive hunger spread, until you’ve watched others ignore it without missing a beat. I’ve never cried while watching Schindler's List. I cried while watching The Zone of Interest. Twice. 

Glazer et al have done the world a great service with this film. They’ve reminded us that the weapon against evil is the rejection of empty banality. Banality is loving yourself. To reject banality is to embrace a quality of attention that is truly outward looking. Rejecting banality is loving your neighbour as yourself.