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
Culture
Film & TV
Mental Health
5 min read

The C-list villains reviving Marvel's Cinematic Universe

A thunderbolt of sincerity shows the franchise can still thrill.

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

Four characters from a film loop warily to the side.
Anticipating the reviews.
Marvel Studios.

This article will contain spoilers for Thunderbolts* 

It’s not unreasonable to say that fan expectations for the Thunderbolts* was tepid at best.  Even the most diehard of them had to admit that the output for phase five of the Marvel Cinematic Universe has been a mixed bag. Guardians of the Galaxy Vol. 3 was deeply heartfelt, the Marvels was an enjoyable watch, but Antman and the Wasp: Quantumania definitely felt like a misstep, and the last Captain America: Brave New World certainly didn’t feel like it had exploited all the opportunities available. So, when Thunderbolts* arrived to round off this phase, featuring a team comprised of C-list villains, it was hard to generate a lot of enthusiasm. Thankfully, this film showed that Marvel still has what it takes to thrill and inspire us in equal measure. 

Loosely inspired by a group created from the comics, the Thunderbolts were a team of villains masquerading as heroes who in some cases, ended up genuinely reforming. If that premise sounds familiar, that’s because it’s essentially the idea behind Suicide Squad, (a film so bad that D.C. had another go at making a Suicide Squad film and we the audience, were more than happy to just let them).  

The original Avenger line up, whilst compelling, always had some distance between themselves and the core audience. A super soldier, a billionaire genius, a rage monster, a literal Norse god and a super spy carried the bulk of the story. That level of brilliance in a set of characters can be inspiring but also alienating. How for example, can a person relate to Steve Rogers? A character whose main defining trait is to always make the right moral choices and be universally respected for it? 

The Thunderbolt team is not so respectable. U.S. Agent, (Wyatt Russell) the Red Guardian (David Harbour) Bucky Barnes, (Sebastian Stan) and Ghost (Hannah John-Kamen) have all at some point been trained assassins. The film goes to great lengths to show all of these characters being broken in some way or other. None more so than the character of Yelena. 

Whilst this film is definitely an ensemble picture, they make no qualms about putting Florence Pugh‘s Yelena Belova front and centre of the story. Pugh’s star power showed that it could hold up alongside Marvel veterans like Scarlett Johansson and Jeremy Renner, and it’s put to good use here. The film opens with Yelena having something of an existential crisis. “There is something wrong with me” her internal monologue says; “An emptiness. I’m just…drifting. And I don’t have purpose.” Granted having a job where most of the individuals you meet are people you are either going to kill or incapacitate would indeed make loneliness an occupational hazard. But despite the fantastical circumstances, many viewers will be able to relate to the feelings presented.  

It's this awareness of her own struggles then, that perhaps makes Yelena best placed to help ‘Bob’, an affable, self-deprecating young man. Bob (played pitch perfect by Lewis Pullman, son of the great Bill Pullman) is given god-like powers by Julie Dreyfuss’s Valentina Allegra de Fontaine, in the hopes of making him a protector for the earth against any inter-galactic threats. With his new powers, Bob is virtually unstoppable. There’s just one problem; Bob clearly suffers from some type of crippling depression, which when amped up with super-powers makes him ‘The Void.’ His appearance; a black outline sucking in all detail save for two pin pricks of light where his eyes should be, combined with the ability to effortlessly turn people into black scorch marks, is the stuff of nightmares. Move over Churchill’s ‘black dog’, we now have a new metaphor for depression and its all-consuming power.  

Battling depression is an area where the church is still lagging behind the world at large. “A depressed Christian has a double burden” writes Dr John Lockley in his book A Practical Workbook for the Depressed Christian, “Not only is he depressed but he also feels guilty because, as a Christian, he feels he is supposed to be full of joy.” 

In some evangelical circles, depression is either treated as something that doesn’t exist, is minimised, or mistakenly believed to be the result of unconfessed sin. Spiritual leaders who are ignorant of the nuance around mental health believe that depression can simply be prayed away. When that doesn’t work, they can often blame the sufferer for their lack of healing, putting them in a very lonely place. “One of the most painful elements of mental illness is that it’s marked by isolation, which is exactly the opposite of what people need” writer Amy Simpson said in a 2014 interview; “And one of the things people with mental illness most need is for this kind of loving community to tighten around them, not to loosen”. Why is this relevant to a superhero blockbuster? Well, the climax of the film does a great job of illustrating a positive approach to mental health.  

The finale of Thunderbolts* somehow manages to have its cake and eat it. Once again, New York is in need of saving, but also, it’s about trying to help a young person overcome their depression and not completely succumb to The Void. Being able to go into someone’s mind and see their core traumas writ large is the most comic book conceit in storytelling. Inside Bob’s psyche, we see him trying to fight The Void, and failing, and it’s only when he has help from the rest of the Thunderbolts* is he able to get a temporary release from The Void’s grip. It would be a mistake to over-state this scene as a full-on treatise on how to tackle mental health issues, but it might just have some clues as to how to go about it: 1) don’t expect that any battle with depression is decisive. It can always come back and it’s better to prepare for that possibility and 2) you don’t have to battle it alone, it would be madness to even try.  

It's a surprisingly sincere place for a seemingly wry film to end, but it really, really works. It could be that expectations may have been lowered, or that we were expecting a film with the emotional depth of a puddle. But Thunderbolts* wildly exceeded expectations, and as the best post-credits scenes often do, there’s a promise that the best is yet to come.  

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