Article
Culture
Freedom of Belief
Language
5 min read

Translating heart-languages

For two Iranian women, home and danger are often synonymous. Belle Tindall shares why they translate a defiant message.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An illustration of a woman with dark long hair looking to the right.
'Miriam'
Open Doors.

This weekend (16th September) marked the first anniversary of the death of Mahsa Amini. Mahsa, also known as ‘Jina’, was a 22-year-old Iranian woman who was arrested by the Iranian ‘morality police’ and tragically died while being held in police custody. Her (alleged) crime was a violation of Iran’s strict dress code, as she was caught in the city of Tehran without her hair adequately covered.  

News of Mahsa’s unjust arrest and harrowing death quickly spread throughout the world, building a momentum of grief, shock, and defiance.  

Of course, we mourned the tragic loss of a precious life. A woman was lost; a daughter, a sister, a friend, a person. Mahsa’s life was taken away and we watched the world grieve as if she belonged to us all. Billions of hearts were breaking at the loss. However, accompanying such deep grief was a profound sense of rage. We were faced with the reality that women in Iran aren’t safe. On the contrary, they are in danger of arrest, violence and death – all at the hands of those who are supposed to protect, all under the guise of that which is meant to empower. In Iran, as in so many countries, a woman is simply a dangerous thing to be.  

Another people group who find themselves living in continual danger in Iran is its Christian population. In a population of 86 million, 1.2 million are believed to be Christians. With Christianity perceived as a threat to the State and an insult to Islam, Christians in Iran are often severely discriminated against. What’s more, the Human Rights charity, Open Doors, have observed that the tightening of the Penal Code in 2021, the force of which was keenly felt in the way in which protestors of Mahsa Amini’s death were so harshly dealt with, are making things increasingly difficult for Christians.  

So, to be an Iranian woman is hazardous. To be an Iranian Christin is hazardous. It therefore goes without saying that to be an Iranian woman who is also a Christian – well, such an identity comes with such difficulty, it can be hard to fathom. For such women, home and danger are often synonymous. Which is why the stories of Miriam and Stella, two Iranian women who are secretly translating the Bible into their own languages, is so astonishing.  

‘Miriam’  

Miriam is Iranian, but she also belongs to the fifty per-cent of the Iranian population who do not speak Farsi/Persian (the national language) as their first language. Azeri, Kurdish, Baluchi, Armenian Gilaki, Luri, and Arabic are all spoken throughout the country. Therefore, despite Farsi being the official language of Iran, almost half of the population aren’t fluent, while millions of Iranians are visually illiterate in the Farsi script. 

Miram, who despite it not being her first language, has learnt to speak and read Farsi to a high level, became a Christian through secretly watching online classes on Christianity. Being married into a strict Muslim family, Miriam kept her Christianity a secret from her husband. That was, until he walked in on her watching one of her classes. Despite the immense dangers she faces as a result of the minimal rights that a Christian woman holds in Iran, Miriam decided that she would be honest with her husband about her new-found Christian faith. Miriam still marvels at the unexpected response from her husband, who said,  

‘I know you are a serious-minded woman and if this is important to you, it’s OK.’ 

Out of curiosity, Miriam’s husband joined her in watching the online classes, until he too became a Christian.  

For the past three years Miriam has been secretly working on translating the Bible from Farsi into her ‘heart-language’ (for the sake of Miriam’s anonymity, she has kept her ‘heart-language’ confidential). She tells us that she is willing to take the profound risk of doing this work because, 

‘We are not allowed to study our heart languages in Iranian public schools. This is a limitation for our people. Iranian leaders use my people as political tools. I wanted to do something good for my people. I have this language specialty and experience, this expertise, so I can help my own people. People like my mother can read this book.’ 

Being the first person from her community to do such work, Miriam states that,  

‘Despite having two children and knowing that my life is at risk for believing in Jesus in Iran, I cannot even imagine leaving this work unfinished. I must complete this work and see the result.’ 

'Stella'

A woman with dark hair looks straight at us.

'Stella'

Stella is also Iranian, and also speaks a ‘heart-language’, one that is shared with even fewer people than Miriam’s.  

After tragically losing her husband in 2013, Stella had to battle her late husband’s family to keep custody of her then seven-year-old son. As the battle continued to rage on, Stella fled Iran with her son, leaving behind her entire life in order to keep hold of her child. As a refugee, Stella’s life is not without its ever-present difficulties as she is continually fighting to stay in the country that she and her son have now called home for ten years.  

Stella became a Christian twelve years ago, while she was in the middle of the fierce battle to keep hold of her son while mourning the loss of her husband. As sorrow and desperation raged around her, Stella simply knelt on her floor and spoke into the silence ‘if you are God, save me’. She has been a Christian ever since.  

Just like Miriam, Stella is secretly working to translate the Bible from Farsi into the language of her community. With tears in her eyes, she says,  

‘There is no other job that your boss is God. I love my mother language. I'm telling the poetry; I write the context. I write the sentence, I record it… I am thinking about my mum, my father, my childhood. And everyone that doesn’t have it (the Bible) right now. I really want to bring God to my town and my people.’ 

Stella can’t return home, but she is nevertheless determined to work for the spiritual well-being of those whom she was forced to leave, regardless of the immense risk. 

The heart language that both Miriam and Stella speak of, and are translating the Bible into, is the vernacular that binds their communities together in their home country of Iran. But to me, hearing these stories; the term that Miriam coined feels loaded with depth of multifaceted meaning.  

The language with which they speak of their faith is unfused with resilient hope and faith-fueled boldness. 

Their words when they speak of their home are dripping with resilient affection, obvious frustration and forgiveness.  

The way in which they speak of themselves, and their dangerous task, is undeniably defiant and astonishingly selfless. 

Review
Attention
Culture
5 min read

Seeing slowly takes time

In a culture of immediacy there’s a lesson to be found in the art of Georgia O’Keeffe. Alex Hughes reviews a recent exhibition of her work.

Alex Hughes is Archdeacon of Cambridge in the Diocese of Ely.

A corner of an art gallery displays three pictures to one side and one to the other.
The Museum of Modern Art New York's Georgia O'Keeffe exhibition.
MoMA.

Over the past few months, the Museum of Modern Art in New York hosted a gorgeous exhibition devoted to the work of Georgia O’Keeffe (1887-1986). The exhibition’s title, “To see takes time,” comes from an account O’Keeffe gave of her creative impulse: 

‘Nobody sees a flower — really — it is so small — we haven’t time — and to see takes time, like to have a friend takes time. If I could paint the flower exactly as I see it no one would see what I see because I would paint it small like the flower is small. … So I said to myself — I’ll paint what I see — what the flower is to me but I’ll paint it big and they will be surprised into taking time to look at it.’ 

Despite O’Keeffe’s hopes, studies have shown that the average attention visitors give to gallery exhibits is between 15 and 30 seconds. Veteran art dealer Michael Findlay laments this attention deficit and urges the discipline of ‘seeing slowly’. Findlay argues that the best way to look at art is to strip away much of what we think we know or have been taught to think about it, and then give time to our eyes to search and absorb what they can see, and to our hearts and minds to experience and assimilate its effect. This parallels O’Keeffe’s process of patient looking, returning to the same subject again and again, to discern and refine whatever qualities seem most significant and worthy of depiction. 

It isn’t necessary to enumerate the contemporary contextual pressures and tendencies that militate against seeing slowly; suffice to say that we are immersed in a culture of immediacy, which expects the payoff from any investment to be quick and obvious. Not only does this affect our ability to appreciate art, but it also goes against much spiritual wisdom from the world’s religious traditions. Certainly, the Christian tradition of prayer would agree that to see spiritually takes time, like to have a friend in God takes time.  

All seeing is a matter of relationship, as John Berger wrote in a groundbreaking study of visual art:  

‘We never look at just one thing; we are always looking at the relation between things and ourselves.’  

Berger was particularly concerned about the way in which the ‘male gaze’ views the female form - an insight of enduring, urgent importance, which can be broadened to highlight the different characters of relational looking. In this regard, Martin Buber made a helpful distinction between an ‘I-It' mode of seeing, in which individuals treat others as objects, reducing them to mere things or instruments for their own purposes, and an ‘I-Thou’ mode, wherein people engage with each other as unique and sacred beings, recognizing the other’s inherent worth and treating them with reverence and respect. 

Simone Weil offered an allied perspective on the dignifying quality of a certain kind of seeing - ‘Attention is the rarest and purest form of generosity’ - and went even further: 

‘Attention, taken to its highest degree, is the same thing as prayer. It presupposes faith and love. … Absolutely unmixed attention is prayer.’  

Weil’s writing is rich and seminal but also somewhat gnomic. What are the faith and love implied by attention, and how do they link to prayer? She doesn’t spell this out, but we might take a cue from Berger’s observation that,  

‘We only see what we look at. To look is an act of choice.’  

Choosing to look at one thing rather than another is part of the generosity of attention. Of course, people may choose to look at anything, for any number of reasons; but the kind of slow seeing advised by O’Keeffe and Findlay seems to presuppose a valorisation - a decision or intuition that the subject in view is worth giving time to. There is a determination in this kind of seeing to seek the kind of presence that gives space for a true and authentic encounter: an ‘I-Thou’ connection. The fulfilment of this hope cannot be known in advance, so it is like an act of faith, and the impulse seems much like the desire of a lover. 

In a discussion of the detailed painting of some flowers, which are a very minor element in a much larger canvas, Alain de Botton remarks on the artist’s great care and devotion to the depiction of every detail, as if he has asked each flower, ‘What is your unique character? I want to know you as you really are.’ For de Botton, ‘This attitude towards a flower is moving because it rehearses, in a minor but vivid way, the kind of attention that we long to receive from, and which we hope to be able to give to, another human being.’ 

Though de Botton is avowedly not religious, his account of a human longing for attention, which others have elucidated in terms of a dignifying and deeply satisfying form of connection, resonates with what is often said by people of prayer. 

There are different forms of Christian prayer. Patterns of speaking to God in words of praise, confession, petition and thanksgiving are fairly well known, but there are also practices that respond to the biblical summons: ‘Wait for the lord … and he shall comfort your heart’; ‘Be still and know that I am God’. These Christian practices overlap with the meditative and contemplative traditions of other religions, and also feed into the emerging areligious exercise of mindfulness. It would be false to say that the aims and ends of different traditions are identical, but they offer a collective invitation to try a different way of seeing – a way of seeing that can help us to transcend the ‘I-It’ perspective, characterised by a sense of detachment and a focus on utility, and to move towards the cultivation of meaningful, mutual connections and a sense of interconnectedness with the world and other people … and perhaps with God too. 

 

References 

Elizabeth Turner and Marjorie P. Balge-Crozier in Georgia O’Keefe: The Poetry of Things (1999) 

Michael Findlay, Seeing Slowly: Looking at Modern Art (2017) 

Peter Berger, Ways of Seeing (1972) 

Martin Buber, I and Thou (English translation, 1937) 

Simon Weil, First and Last Notebooks (English translation, 1970) and Gravity and Grace (English translation, 1952) 

Alain de Botton, Art as Therapy (2013)