Article
Creed
Sport
6 min read

Sweating the soul

A mantra-laden spin class generated more than sweat for Alianore Smith, it raised philosophical questions too.

Alianore  is a theologian, communicator and author. She works for a global charity based in London.

A spin class rider smiles and gives the thumbs up sign in front of other riders.
SoulCycle.

Last year, I learnt an important lesson: cycling and spin classes are not the same thing. 

Of course, they both take place on bikes – one moving, one stationary. And they are both exercise. But the similarities stop there. 

Let me explain. 

I’m a cyclist – and a smug one at that. My cycle commute to work, three times a week, comes to a round trip total of about 15 miles.  

So, when I was invited last summer to take part in a SoulCycle class in aid of a charity I care deeply about, I jumped at the chance. How hard could it be? I can ride a bike. My cardio-vascular fitness is above average. It’ll be an easy way to raise awareness of the charity, and maybe have some fun in the process. 

How wrong I was. 

My first clue that a SoulCycle class wouldn’t be like my normal commute was found on my visit to its website. The About Us page informed me that at a SoulCycle class – a ‘sanctuary’ – ‘tears will be shed’ and ‘breakthroughs happen’. The only time I ever cried whilst commuting was when I got my second puncture in a week, three miles from home, in the January rain. And, quite frankly, when you’re dodging taxis and swerving around pedestrians, breakthrough feels a long way off. 

And so, I headed off to my SoulCycle class, equipped with my padded shorts and my charity-branded cycling jersey. I arrived, hired my shoes, and headed into the changing rooms. And it was there that I was greeted by the SOUL Etiquette sign: 

SOUL Etiquette ‘To preserve soul sanctuary, we have a few simple requests’ 

  1. No text & chat 
    No cell phones or communication devices in the studio. If you are a doctor or your child is sick, kindly leave your phone with the front desk and we will get you if there is an emergency 

  1. Skip the cross talk 
    Talking during class is a major distraction for the spiritual folks around you 

  1. Laundry 
    We ride close together so we can feel each others’ energy. That being said, your neighbour does not want to feed off your odor. 

  1. Kindness is cool 
    Respect the rider on your left and your right. Treat the front desk the way you would like them to treat you. 

  1. The pack 
    There is a direct correlation between your energy and your neighbour’s ride. If you want to do your own thing, please don’t ride in the front row. 

I was fascinated. What lay ahead of me? 

Well, let me tell you: nothing could have prepared me for the class I took. 

A dark room, filled with mirrors, motivational quotes and – for some reason – grapefruit scented candles. About 30 stationary bikes, lined up in three rows. An instructor whose enthusiasm knew no bounds.  

I took a bike at the back.  

Within 10 minutes, I was sweatier than I have ever been, and questioning all my life choices up until that moment. Within 15 minutes, I had removed my charity-branded cycling jersey and drunk half of my bottle of water. There was still 30 minutes to go. I wasn’t sure I was going to make it. 

And yet by the end, I was buzzing. Whether it was the endorphins, the sense of community, or the relentless cheerleading of the instructor, I wanted more. It was… remarkable. I very nearly signed up for another class there and then. 

From the signs in the changing rooms to the instructors’ soundbites, I was continually told what I could achieve if I tried. 

The instructor – a bouncy brunette whose name I can’t remember – led the class with an exuberance that I am yet to see anywhere else. At one point, she got off her bike and danced up and down the aisle in front of the class. Quietly rasping for air at the back, I had no idea how she had the energy to speak whilst pedaling, let alone dance. 

The thing that I found most fascinating about my SoulCycle class, though, was the ‘spiritual’ aspect. From the signs in the changing rooms to the instructors’ soundbites, I was continually told what I could achieve if I tried. That the ability to breakthrough my problems, to succeed, to achieve my dreams, was all held within me – I just needed to dig a little deeper, peddle a little harder, put my mind to it. 

At one point, the instructor made us repeat after her: ‘I can do all things…’ it was there that she paused. As someone who grew up in the church, learning memory verses of Scripture week after week, I immediately wanted to yell ‘through Christ who strengthens me!’, but instead was encouraged to complete the sentence with something (I can’t remember exactly what) about my own abilities and force of will. 

The whole class was deeply motivating. I left feeling like, quite frankly, I could achieve anything.  

Thing is, though, I’m an able-bodied, middle class, professional, white woman. I come from a two-parent family, and I’m happily married to a non-abusive partner. I have a stable income. Although some of these things are because of the work that I’ve done or choices that I’ve made, many of them are an accident of birth. The odds are – for the most part – stacked in my favour. The very fact that I would have been able to afford to attend this class if I’d wanted to (new riders pay £16 for their first class, and £26 per class from then on) shows a level of privilege that was seemingly completely overlooked.  

When things are working in your favour, it’s easy to assume that it’s because you’re the one doing something right. That was the philosophy that was shouted in catch phrases from the front – you can do it, just try a little harder.  

Breakthrough is on the other side of this spin class. Mind over matter. That’s the message of SoulCycle. 

But every life philosophy, every ‘spiritual experience’, has a flip side to it. 

But the problem with that philosophy, of course, is its flip side: if things go wrong – if you’re in an accident, if you get made redundant, if you lose your house or your health fails you – then, logic dictates, it must be that you’ve done something wrong.  

If you can no longer afford a SoulCycle class, it’s because you didn’t try hard enough, or you didn’t peddle fast enough, or you didn’t put your mind to it. 

Of course, this was never said during the class – it was far too positive for that. But every life philosophy, every ‘spiritual experience’, has a flip side to it. If everything happens for a reason, then sudden seemingly random acts of cruelty – cancer, the death of children, natural disasters – must be there to teach us something. If we can control the good things in our lives – the promotions, the achievements, the relationships – then if stuff goes wrong then it must be our fault as well. 

Is that really true? 

Human beings are relentlessly fickle. And we have a deep and overwhelming desire to think that we’re in control, that life is in our hands. And it’s comforting – when things are going well. But what when they aren’t? 

In her book Everything Happens for a Reason: And Other Lies I’ve Loved, professor of the history of Christianity and Stage 4 cancer patient Kate Bowler writes that ‘control is a drug, and we’re all hooked’.  

I can see how SoulCycle could get addictive. In fact, the day I was there, someone was celebrating their 750th ride at SoulCycle London. The endorphins, the encouragement, the relentless pursuit of ‘breakthrough’ and ‘growth’ and ‘progress’ – it’s intoxicating.  

When you grow up in the church, you learn a different way of existing. It’s not that you can do all things through yourself, but – as aforementioned – through Christ who strengthens you. The idea of relying on something outside of yourself, something all-powerful, all-loving, is one of the ideas at the heart of Christianity. It’s less of an emotional crutch, and more of a ‘catch-all’ reality for those of us who have realised that we’re not as in control as we once thought, or as we would like to be. 

 

Interview
Books
Creed
S&U interviews
9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan. 

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.” 

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography” 
 

C.S. Lewis. 

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ. 

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”. 

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.  

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”  

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.  

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”. 

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.” 

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith. 

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”  

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”  

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.” 

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.” 

 

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.