Article
Community
Culture
7 min read

Think little: what villages teach about coming together

Elizabeth Wainwright explores the frustrations and encouragements of village life, real and virtual, and finds a need for communion.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A miniature tableau depicts a band performing at a concert as people dance and others watch from a marque.
A miniature village fete, Élancourt, France.
Frédéric Bisson, via Wikimedia Commons.

Since the birth of our daughter in May, I’ve been thinking about the village that it will supposedly take to raise her. I’m curious about where - or what - that village is today.  

A meme I saw on social media depicted Tom Hanks in his role in the film Castaway, edited so that instead of being alone on a desert island, he was walking through an empty city shouting:  

“IS ANYONE OUT THERE?”.  

The creator, a mother, had added a caption:  

“Me trying to find the village that was supposed to help me raise my children”.  

I clicked on the comments - there were hundreds of responses of all kinds:  

“Hyper independence is a narrative that is pushed on mothers” / “the world our grandparents and parents grew up in no longer exists” / “our lives are too busy” / “there is no village” / “the village is there but it takes work / “I struggle with ‘it takes a village, because for those of us who don’t have one, it highlights feelings of isolation” / “loneliness and isolation are a reality of our modern way of living, mothers especially feel this”. 

It seemed that other mothers were thinking about their village – or lack of it - too.  

My husband and daughter and I live in an actual village in rural Devon. In the summer, we went out into the garden, and - hearing a noise from the back of the house - turned to see one of our neighbours at the top of a ladder fixing a broken roof tile. Another neighbour was standing at the bottom of the ladder holding it in place. We hadn’t asked them to fix it - we’d only mentioned needing a new roof tile in passing. My heart swelled. Though not directly caring for our young daughter, they were easing the load by caring in the way they knew how. 

Online community is vital for me, and it is also lacking. Physical local community is vital for me, and it is also lacking. 

That act of neighbourliness made me wonder whether the village that will help raise our daughter is the literal village we live in. Here, there are people who care for this place and the people in it. Here, there is soil into which I can plunge my hands, anchoring me in this time, this place, amongst these people, all of it working to create a web of interdependence and care which I hope will steady us all in the face of a burning and unknowable future. But we’ve only been here a couple of years, and our stories don’t yet intertwine with the roots of the place. That takes time, and interdependence takes my little family being the village for others as well as benefitting from it. And there are days when I feel I have little capacity to reach out to others.  

Living in a small rural village can also be hard. A welcome is not guaranteed, relationships often have to bridge real difference. And whilst historically the village was a physical place with clear edges, family roots, and familiar neighbours, that’s now not most people’s reality. My husband and I have lived in various places over the years, our scattered friends part of our journey still, even at a geographic distance. Whether or not a scattered village is possible, it knows me in a way that our local village does not and perhaps cannot. It is part of a social fabric that will weave around our daughter, despite not being immediately accessible day to day.  

Or perhaps the village is increasingly virtual, made up of likeminded connections we draw near to online. Here I find not hands-on help, but understanding, ideas, encouragement, and a sense of possibility, even amongst people that don’t know me especially well. I find sustenance here, but I also know I close off real life encounters - and a more nuanced and unfiltered understanding of the world, of difference, of community - by investing in self-selecting online communities. And I want my daughter to encounter difference, to know that people can love and be loved even when they are nothing like her.  

Online community is vital for me, and it is also lacking. Physical local community is vital for me, and it is also lacking.  

They invite me to wonder but also to ‘think little’ as farmer and author Wendell Berry advocates, at the scale of this person, this relationship, this place.

And so I wonder what the village is, what it is becoming, and how we find it. Because whilst we’re told it takes a village to raise a child, in practice we often move to follow jobs, we live in isolated units and hear messaging that praises individualism and self-sufficiency and being able to do and have it all. And it can be as hard to call on the village as to find it in the first place - it can even be hard to accept the help of the village when it’s right there offering itself to us, so strong is the pull to look like we’re holding it all together, or to not burden others (I say this from experience). So we carry on trying to do it all ourselves.  

I find myself turning to ancient things for guidance. The Christian idea of communion – a table, bread, and wine shared in community – is beautiful to me, both in how it is practiced and what it represents. Bread and wine grow and are consumed in a particular place, at a particular time. The community that shares it is knowable, together at this particular time in the world. That this entrance into faith depends so much on place and time feels significant. Communion could easily be a mystical, cerebral, hard-to-grasp idea. But crucially it’s also personal, accessible, locatable. And church - not the idea or the institution but the local gathering place - can be a place where we find this access too, as can gardens and fields and food; tethers that remind us of this created earthy peopled world. To me, these things call me back to living here and now. They invite me to wonder but also to ‘think little’ as farmer and author Wendell Berry advocates, at the scale of this person, this relationship, this place. There is a tendency to think big when it comes to solutions to world crises when perhaps thinking little - at the scale of the ‘village’ - is more actionable, more sustainable, more appropriate – a solution that works here might not work there, and that’s ok. Berry says in multiple thoughtful ways that ‘what we stand on is what we stand for’. His is a call to know place, to invest in place, to be in place, despite (and perhaps because of) the challenges that come with doing so.  

I think the local is going to become more important - calling us to find our way back to community in a time of division and overwhelming global challenges. 

‘Thinking little’ might happen in a street, a church, a garden, a neighbourhood. A place where we can root into literal or metaphorical soil, where isolation can turn to relation, where interdependence becomes easier to live out. It need not be an either/or between this and geographically distant or online communities though - I think online spaces offer their own care in the world as it is. But the communion table shows me hospitality as well as mystery, and Jesus – whose body communion draws us closer to – shows us a truth built locally, relationship-by-relationship. It calls us to the challenge and beauty of caring and being cared for in our own here and now. 

Perhaps the early Christians had it right by being deeply invested in place, and in something beyond place too. They lived locally whilst acting globally and spiritually, ready to leave if the call should come. They were ready to build the church, person by person into something whole. God, after all, calls us to be a collective, to love our neighbours and in return, to feel love. I think the local is going to become more important - calling us to find our way back to community in a time of division and overwhelming global challenges, when faceless corporations would rather we relied on them than each other. As part of that, I think it’ll become important to engage with local civic bodies too, to all feel able to take part in placemaking and decision-making, especially when national government seems increasingly out of touch (my time as a District Councillor has given me a whole new lens on what living locally means). 

Working out what the village might mean – as a mother, a citizen, a neighbour – as our daughter grows is an ongoing journey and it’s a theme I’ll return to here. But what I know is this: that I want us to be part of an ecology of care. I want us to offer and more graciously receive that care. I want us to be like the trees outside my window: linked together, rooted in place whilst reaching upwards and outwards to the light that is sometimes hard to see, but is always there.   

Review
Culture
Film & TV
Hospitality
Romance
4 min read

From wheatfield to vineyard, can an ancient love story survive a replanting?

Ruth & Boaz finds new soil in rural Tennessee but struggles to grow

Giles is a writer and creative who hosts the God in Film podcast.

A couple hold each others hands as they face each other.
Tyler Lepley and Serayah.

Ruth & Boaz is a contemporary version of the most memorable love story in the Bible. The film tells the story of Ruth, a young woman who escapes the Atlanta music scene to care for an elderly widowed woman. Not only does Ruth gain the mother she never had, she also finds the love of her life in the process. 

The story of Ruth and Boaz is a straight up love story, and it serves as a much-needed respite from the biblical levels of violence in the books that precede and follow it in the Bible. So a modern update of the Ruth and Boaz story serves as good material for a heartfelt, sincere romance.

As part of Atlanta pop duo 404, Ruth Moabley (Serayah) is a talented singer who, after the death of her boyfriend and his father, is desperate to escape her menacing manager.  Ruth makes the impulsive decision to join her late boyfriend's mother Naomi, (Phylicia Rashad) as they both leave Atlanta for a small town in Tennessee to start over from scratch. The only job she can find involves labouring at a local vineyard, leading her to owner Bo "Boaz" Azra, (Tyler Lepley) who falls for Ruth the moment he lays eyes on her. Ruth holds tight to her faith and slowly begins to accept love, but her past is soon to catch up with her.

One of the joys of adapting a Bible story is often the characterisation. Phylicia Rashad’s Naomi is a complex, contradictory figure whose manifestations of grief are not always that sympathetic, pushing away all but the most insistent of helpers like Ruth. As the titular character, we spend a lot of time with Serayah’s Ruth. Making her a singer helps to flesh out the character to an extent, but the scenes where her individuality gets to shine are notable by their infrequency.  

Tyler Lepley’s turn as Bo Azra is perfectly serviceable. He’s essentially an idealised, handsome and muscled 40-year-old. Bo has a wealth of backstory; we’re told he served two tours in Afghanistan, then worked on Wall Street, and finally returned to his family business of the Azra Vineyard & Winery. Despite this, none of it really shows up in his characterisation. He spends his time being a generous boss, and an all-round basic good guy. All of which is great in real-life but can be a little staid in fiction. There’s very little about him to intrigue us, although questions have to be asked about how, if he’s so dedicated to making his business succeed, he managed to find the time to work on a truly magnificent set of abs. 

In a departure from the original Bible story, Ruth begins as a casual worker on Boaz’s vineyard. This is a reasonable change, as the practice of leaving grain after the harvest for widows and orphans to collect just doesn’t fit in a modern context. But in a post #MeToo world, this does create a power imbalance. They attempt to address this power imbalance of employer and employee when Ruth refuses to let Boaz buy her a drink. However, Ruth’s resistance quickly recedes when Boaz introduces her to Rn’B legend, Babyface. In this world, if you want to date one of your employees, all you have to do is introduce her to a Grammy-winning super producer to break down her inhibitions.

All of these shortcomings suggest that the script needed a few more passes, and the saccharine voiceover feels like it’s trying to make up for that. Credibility at times takes a back seat to the gloss of the high production value as almost every other shot looks like it’s promoting a tourist destination. There are moments where it feels like the story is contorting itself in order to be a vehicle for Serayah’s singing talents; which, to be fair, are considerable. Nonetheless, a lot of the tension in the plot hinges on characters not telling each other incredibly important details because of convoluted reasons. It’s a trope that feels a little bit tired. On top of that, the pacing drags until it remembers it has to have a dramatic resolution, which it awkwardly rushes, making the ending feel somewhat unfulfilling.

Ultimately, Ruth & Boaz feels like a romance film made by committee, a Hallmark film with added Bible references and RnB cameos. One could argue that it shines a spotlight on African-American communities in rural America, but the brisk run-time prevents it from revealing anything new, and the light touch characterisation means we don’t really get anything original.

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