Article
Creed
Trauma
5 min read

The tale as old of time

There is no fairy tale that resolves the suffering of women but there is another side to their stories of violence and anonymity, Claire Williams reflects.

Claire Williams is a theologian investigating women’s spirituality and practice. She lecturers at Regents Theological College.

A woman stand beside a busy road with her back to the camera. There is a red sky behind her.
Florian Kurrasch on Unsplash.

From accusations of assault by celebrities to the murder of a teenage girl on her way to school, and the discussion on television about feminists and their lack of sexual appeal - we have had our fill recently of stories of trauma and violence done to women. These events are brutal interruptions to the lives of women whose futures have been changed, or even stopped, by these terrible acts. It is a story that we read in the news over and over again. It is also an ancient story, of women who are mistreated by men in power over them. It is the tale as old as time. When we tell these tales we anonymise women, for their own safety and privacy, but also lock them in their story. They are, to those of us who read or hear about it, only the tale of violence, we see nothing else about them. 

We feel our past in our bodies, we know ourselves in our bodies and these feelings and knowings are part of the story that remains untold, that isn’t understood by anyone.

In one ancient telling in the bible, there is a story of a woman who is cast out, loses position, hope for the future, agency and bodily autonomy. Hagar was a servant in the household of Abraham. She was an Egyptian and therefore of a different ethnicity to her master and his wife, Sarah. Hagar, as a servant, had no choices in life and would do what she was told and when she was told. So, when she was commanded to become Abraham’s wife in order that he might have a child with him, she had no choice at all. In the bible there are stories of   Abraham and his quest to have a son and heir when Sarah had been unable to conceive. It was indeed Sarah’s idea. Hagar underwent what could be described as a rape and a forced pregnancy. Perhaps unsurprisingly, Sarah and Hagar fell out. Hagar ran, she ran away from the cruel treatment of her mistress and the violence perpetrated unto her and into the wilderness. Hagar’s story is out of time with our own stories yet has resonance none the less because of her subjugation, the violence done to her and the consequential fear and fleeing. I wonder as I read about Hagar, what she looked like, or what her other stories are. What did she like to do? What had her hopes been for the future? But Hagar, is unseen by us, apart from the stories of violence done to her. She is unseen like the women who are raped, stabbed, assaulted, followed, catcalled, touched and upskirted. For these unseen women, stories are all that remain. 

Telling of the stories isn’t enough. With violent, or emotional, trauma, words are only some of the message. We feel our past in our bodies, we know ourselves in our bodies and these feelings and knowings are part of the story that remains untold, that isn’t understood by anyone. The loneliness from being unknown is bone deep. That nobody understands is part of the horror of the traumatic injury. Hagar’s story does help us here. Twice Hagar runs into the wilderness to escape from Sarah and Abraham. When she is there, she expects to die. After her child is born, she puts him away, under a bush, so that she doesn’t have to watch him die. Both times in the wilderness, where she is away and hidden there is one who sees her and acts. The first time, so the bible tells us, Hagar is met by an angel in the wilderness who speaks to her and promises her the future we assume she has lost, Hagar identifies her visitor as from God – the first person to do so. In response to God seeing her, she sees God. She is not anonymous to God. The second time, as she lays down to die, God provides not only hope but water and we learn that she has a future with her son.  

The story of Hagar is told still, as a reminder that God sees. This does not mitigate the harm that is done to women, nor use it for higher purposes. However, we only know a small part of these stories, these terrible accounts of horrors, God holds their entire stories together.  

There is no fairy tale that resolves the suffering of these women in the stories, either the ancient story or the most recent ones. Male violence against women is repetitive and so far, little abating it. I do not offer a solution to why these terrible things happen to women, why they continue to happen even though millennia separate Hagar from today. Nonetheless, despite the uncertainty that surrounds the traumas wrought upon women in situations such as above there is another side to the story of violence and anonymity, that is of a hope in God who sees the women and offers a future.  

That future we discover does not retreat from the misery of the past but moves on through it. 

These women are not unknown, their stories, which are acts of resistance to the violence that was perpetrated upon them, are known to God. With telling and retelling of the stories of women we testify to their story and acknowledge it. There is hope in this situation, a promise that those who come to Jesus can find rest, that they will not feel condemned or ashamed in his presence and that there is the possibility of hope and wholeness in the face of such devastating actions of humanity. This can seem trite and it does not offer a sticking plaster solution to the problems of great trauma, but rather a God who, in Jesus, is a witness to the pain and the hurt and one who offers peace, who sees the women at the heart of these stories of terrible violence and who knows them. The promise of the future is that every tear will be wiped away, that when the final plans of God are enacted on earth there will be a world where there is no longer violence and the long-lasting pain, injury and horror will be removed.  

The God who knew Hagar and the anonymous women who report sexual violence today, also knows the end of their story, and that end is hopeful, even if it doesn’t feel that way yet. Ultimately, God intervenes for Hagar. She is cast out, she expects she will die and potentially see her son lost too. Hagar, who names God is in return named by God, ‘Hagar’ he says as he ushers her into a future,  

‘get up, hold your boy, I will make him into a great nation’.  

That future we discover does not retreat from the misery of the past but moves on through it. We leave Hagar with her fully grown son, both thriving in the wilderness with Hagar arranging his marriage. I picture her, a matriarch in her own right, with her son, not overcome by violence anymore. 

 

This reading of Hagar is from the work of Dr Eve R Parker in her forthcoming contribution to ‘Theologies from the Inside Out: Critical Conceptions of Pregnancy and Birth’ ed. Karen O’Donnell and Claire Williams, SCM forthcoming 2024. 

Essay
Art
Culture
Trauma
7 min read

From egalitarian to elite: 100 years of Art Deco

Birthed by a lost generation, its legacy is not what its creators sought

Sarah Basemera is a circular economy enthusiast and a founder of Canopi, a boutique for recrafted furniture.

An art deco poster shows the heads of three woman against a beach background.
McGill Library on Unsplash.

Agatha Christie, The Savoy Hotel, Cartier, The Great Gatsby, and All That Jazz sit under the gilt-edge umbrella that is Art Deco. This design movement blossomed for two decades. In 2025, Art Deco turns 100 years old. Today, it's a celebrated era for its gift to design, but what can we learn from this period, and how have the ideologies of this period stood the test of time? 

Art Deco saw  geometric patterns with rectilinear lines, rich jewel contrasting colours with luxury exotic materials, virtuosic craftsmanship, and streamlined expression in architecture, furniture, fashion, art, and jewelry.  

On the surface, this style had many muses, from traditional African art to Cubism. It linked the discovery of Tutankhamen in 1926 with the ceramics of Japan. The bold theatrical colours of the costumes and stage designs of the Ballet Russes, also made a huge impression on Deco creatives. It infused their work with the first vibrant, intense strokes of modern design.  

Over the past 100 years, we have applied Art Deco ideas in different ways, taking what we want from it when we needed to. 

It was the first truly international style, yet it had distinct local expressions. American Art Deco – such as the ornate topped skyscrapers like the Empire State building, had a different expression from opulent Parisian objects such as Cartier alabaster cigar boxes. 

The original Art Deco creatives sought to capture the essence of beauty refined to its simplest form. There was a focus on geometric shapes, symmetry and measured ornamentation.  They wanted to remove the excess frills of previous generations and refine the design.   

Under the gilt-edged Art Deco umbrella were two somewhat opposing arms – the decadent strand vs the essentialist. Today, in popular culture, we remember this period for the Roaring Twenties, excess and hedonism. The decadent strand favoured luxurious, opulent craftsmanship. Its products were attainable only by a small pool of wealthy patrons. 

The essentialist strand – "Art Deco de Moderne" began with noble intentions. They prized efficiency and simplicity, characterised by geometric rectilinear designs. These creatives wanted design to respond to the changing needs of the age. They wanted great design to be accessible to more people. Both strands recognised the power of design to elevate the human experience. They invested in the endeavour to craft beauty across the entire sphere of life, from elevated factories to generous streamlined apartments. 

Vogue Cup and Saucer, 1930, V&A Museum.

An art deco cup and saucer on display.
Vogue cup and saucer, 1930.

100 years later, the problem of accessibility of good design hasn't been fixed. Craftspeople still need to find ways to sustain a living. Handmade design from natural materials is still mainly attainable by the wealthiest. Local craftsmanship is in crisis, and many of us do not know and cannot afford artisans to make things for us from natural materials. Many skilled artisans cannot maintain workshops in our cities. 

Art Deco designers may not have described themselves as hedonists, but they certainly produced goods with this dazzling class in mind. These designers had to be at ease with this world and knew how to play its game to remain commercially viable. So why did the Art Deco Age gush with an ideology of hedonism?  

The philosophy of hedonism from the interwar period reflected the worldview of the so-called 'Lost Generation'. American author Gertrude Stein famously said to a young Ernest Hemingway years after World War I: 

"All of you young people who served in the war... You are all a lost generation . . . You have no respect for anything. You drink yourself to death ...". 

This mood was the backdrop to the literary and creative landscape of the 1920s. 

 When the Great War ended, people wanted to celebrate - play, party and travel, but euphoria for some turned to excess. The simple joys of living here and now became an absolute value. They had witnessed the horrors of war, the fragility of life and were jubilant, wishing to live life to the full. Knowing life could be cut short, the doyennes of the age swung into excess, supposedly breaking free of Christian values, only to find they became trapped in cycles of gratification that didn't deliver. "Let us eat and drink, for tomorrow we die!" 

This unbridled hedonism was their feast after the plague - it was a coping mechanism. They couldn't think about the future – living here and now was a maxim underpinning this period.  

The Lost Generation grasped the concept of being present in the moment, but they also discovered numbing pain was a deeply unsatisfying solution. 

Fast forward a hundred years, and hedonism is still elusive and utterly unhelpful. It still has a numbing rather than a healing effect. Perhaps its modern relative is bingeing. You know what your binge is, and so does Netflix and our NHS.  

What can the hedonists hijack of Art Deco teach us? Looking sympathetically on this era – hedonism appears to be a coping mechanism. Something humans have needed for aeons. "Do not worry about tomorrow for tomorrow will worry about itself. Each day has enough trouble of its own",said Jesus. The Lost Generation grasped the concept of being present in the moment, but they also discovered numbing pain was a deeply unsatisfying solution. 

Ideally, the weight of grief and loss must be wrestled with, carried, shared and not buried. In great pain, it is still wiser to face it, wrestle, get help and cry out to God. In our age, we have the benefit of hindsight to know that burying trauma produces unhealthy outcomes in the long term. We have the privilege of being able to access counsellors, therapists and psychologists.  

The fragility of being in the shadow of death doesn't hang over us today in the West, because we haven't had a recent World War. The closest reminder came through the COVID-19 pandemic. For a moment, we were all forced to focus on simpler things and live less frenetically.  

Another ideology underpinning the age of Art Deco was the belief in the transformative power of the machine age. In this era, confidence rose in the ability of machines.  Steamships, aeroplanes, automobiles, electrification and telecommunications were transformative innovations.  

The rise of machines represented a break from the failed past and the move into modernity into the future. Some of the more modern leaning Art Deco designers took inspiration from the shapes of the new machines and hoped that mass production would lead to more democratic outcomes, with good design being available to all. From Art Deco de Moderne, we began to learn the beauty of simplicity. Efficiency and essentialism were prized. It was the forerunner to Modernism proper. Sadly, this aspect has been butchered over the decades and reproduced unfaithfully in architecture and consumer products. The principle of celebrating the inventiveness of man slowly evolved into something less noble. The desire to return to the essence of good design was galvanised by the need to rebuild fast after World War Two, both as a sign of triumphalism but also to give the nation decent homes. Council house homes were built quickly to rehouse the nation using cheap materials. 

Today, mass production has indeed made design more accessible. More of us have access to contemporary-designed objects and clothes because they are manufactured quickly out of cheap, synthetic, non-biodegradable, toxic materials, at the sweat and tears of workers who are trapped in inhumane conditions, rarely seeing sunlight or fair wages. 

Nevertheless, 100 Years of Art Deco design has shown us that quality still endures over quantity. The Art Deco legacy of brilliant buildings made of robust materials, with subtle virtuoso ornamentation, has survived the test of time. Though more of us can enjoy contemporary design at affordable prices, I doubt we will cherish most of what we own today even 20 years from now. It is mass-produced, less durable and made from low-grade materials and built to pass. 

Art Deco teaches us, our legacy is not in our hands but in those who remember us. Today, we look back at Art Deco not as egalitarian or hopeful but as opulent and lavish. The intellectuals of that age openly lived torn by their excesses, some even dying by suicide. Yet it was meant to be designed for the ordinary person and to elevate all. By simplifying design to its essence, it was supposed to democratise design. 

From Wall Street Deco to the frivolous woos and woes of Wodehousian characters and music in the keys of Jazz, this era has made its distinguished, enduring mark on the arts. Beneath the sparkle, what has developed an enduring patina with age, is the high quality of craftsmanship across all fields. 

Looking beyond the arts, the Lost Generation has taught us that escapism is elusive and to be cautious but not charmed by machines. We can delight in excellent craftsmanship and cherish the beauty of essence. 

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