Article
Belief
Care
Creed
4 min read

Understand what we thirst for

Whether for water or meaning, it’s a primal force.

Helen is a registered nurse and freelance writer, writing for audiences ranging from the general public to practitioners and scientists.

A child wearing a wool hat holds a glass and drink water from it.
Johnny McClung on Unsplash

Quenching thirst is a global problem. It can also be profoundly personal, impaired by illness. For nurses, it can be ethically and emotionally difficult, when treating dying patients. But is there ultimate relief? 

Thirst is the subjective sensation of a desire to drink something that cannot be ignored. The world is thirsty; globally, 703 million people lack access to clean water. That’s 1 in 10 people on the planet. 

Thirst is a life-saving warning system that tells your body to seek satisfaction through swallowing fluid. It works in partnership with other body processes - such as changes in blood pressure, heart rate and kidney function - to restore fluid, and salt, levels back to where they belong. Failure of any part of this beautifully balanced system leads to dehydration (or water intoxication), and perhaps to seizures, swelling of the brain, kidney failure, shock, coma and even death. 

Sometimes it’s difficult to quench thirst, because of problems with supply. According to the World Health Organization, at least 1.7 billion people used a drinking water source contaminated with faeces in 2022. Sometimes in war, water is weaponised, with systematic destruction of water sources and pipes. Water laced with rat fur, arsenic and copper has meanwhile been reported in prisons across the USA.  

At other times, there may be “water everywhere, but not a drop to drink” because of individual problems with swallowing. As a nurse, some of my most heartbreaking moments have been when I have been unable to fulfil a need as basic as a patient’s thirst; when even thickened fluids have led to intense coughing and distress, and a realisation that I can only moisten mouths and give so-called “taste for pleasure”: very small amounts of a favourite liquid or taste using a soft toothbrush, or a circular brush gently sweeping around the mouth and lips to release some of the liquid - even, and especially, at the end of life when the patient is unconscious. 

Difficulties in drinking are common in dementia when fluid can seem foreign and swallowing a surprise to the system. It’s thought that over 50 per cent of people in care homes have an impaired ability to eat or drink safely; 30 to 60 per cent  of people who have had a stroke and 50 per cent of those living with Parkinson’s may struggle to swallow. 

Other conditions that may affect swallowing include multiple sclerosis, cerebral palsy, and head and neck cancers. Diabetes is characterised by a raging thirst owing to problems with insulin (diabetes mellitus) or an imbalance in antidiuretic hormone levels (diabetes insipidus). In intensive care, patients are predisposed to thirst through mechanical ventilation, receiving nothing by mouth, and as a side effect of some medications. But thirst is a “neglected area” in healthcare, writes palliative care researcher Dr Maria Friedrichsen.  

“Knowledge of thirst and thirst relief are not expressed, seldom discussed, there are no policy documents nor is thirst documented in the patient’s record. There is a need for nurses to take the lead in changing nursing practice regarding thirst.” 

Is there another thirst that is also being missed in nursing, and in life in general – a spiritual thirst, beyond the physical desire to drink? In his book, Living in Wonder, writer Rod Dreher argues that humans are made to be spiritual, and that a critical sixth sense has been lost in a “society so hooked on science and reason”. We humans crave love in our deepest selves; we have an insatiable thirst for everything which lies within – and beyond – ourselves. Auschwitz survivor Viktor Frankl, who was later appointed professor of psychiatry at the University of Vienna, became convinced that human beings have a basic “will for meaning.” “The striving to find a meaning in one’s life,” he wrote, “is the primary motivational force in man.”  

In the harsh sun of a Middle East day, an ancient story of a man and a woman encountering each other at a water well illustrates this dual thirst for water and meaning. The man, Jesus, thankful for a drink of water given to him at the well by an outcast Samaritan woman, said that “Everyone who drinks this water will be thirsty again, but whoever drinks the water I give them will never thirst. Indeed, the water I give them will become in them a spring of water welling up to eternal life.” In that midday sun, such imagery made a powerful statement.  

Being mindful of spiritual thirst when drinking water is something also captured in a Ghanaian proverb and pictured perfectly in the many birds that drink by gravity, so tipping their heads back when they swallow.  

“Even the chicken, when it drinks, 

Lifts its head to heaven to thank God for the water”. 

Unsatisfied thirst is part of the human condition, we long for something more; it’s living proof of our immortality, says French poet Charles Baudelaire. Despite his Olympic success, athlete Adam Peaty said that society didn’t have the answers he was seeking, and that a gold medal was the coldest thing to wear. He “discovered something that was missing” when attending church for the first time, and now has a cross with the words “Into the Light” tattooed across his abdomen, symbolizing his spiritual awakening. We are more than mechanical machines with physical needs. We are rather gardens to tend in a dry and thirsty land, with souls in need of intensive care.   

Article
Belief
Culture
Film & TV
Identity
5 min read

Wednesday works wonders bringing the outsiders in

Tim Burton’s echoes of C.S. Lewis

Lauren Westwood works in faith engagement communications for The Salvation Army.

Wednesday Adams scowls while Enid smiles.
Wednesday and Enid.

There’s something delightfully ironic about the mainstream success of Wednesday – Netflix’s Addams Family spin-off directed by Tim Burton. With its whimsy gothic aesthetic, star-studded cast and viral TikTok dance to boot, the first season was a highly bingeable hit in 2022. This summer, the split-release of season two scored over 50 million streams in its first five days. But beyond its cult-like reception lies something deeper: a collective reckoning with identity, acceptance and the desire to belong. 

Jenna Ortega’s Wednesday Addams is an outsider among outsiders. Upon returning to Nevermore Academy – a supernatural boarding school meant to be a haven for ‘freaks, monsters and outcasts’ – she finds herself more alienated than ever. Don’t feel sorry for her: she’s difficult, destructive and I’m not sure I’d want to share a dorm with her (or her pet disembodied hand, Thing.) But that’s why we love her so much. 

Wednesday ‘taps into that sense of not quite fitting in that everyone has,’ praised Marina Hyde on her The Rest is Entertainment podcast. ‘We all feel like we’re the kind of excluded weird mad kid from Burbank, as he [Burton] was growing up.’ 

C.S. Lewis termed the phenomena of not quite fitting in as the ‘Inner Ring’ – the unwritten systems of belonging that permeate all areas of life, from early youth into old age. It can neither be fully defined nor totally avoided. Lewis suggests that all people, at some point or another, experience this ‘desire to be inside the local Ring and the terror of being left outside.’ Ultimately, he warns, this pursuit of surface-level or self-furthering belonging ‘will break your hearts unless you break it.’ 

Lewis, one of Christianity’s most profound cultural influencers, was stirring a deeper call among his fellows Christians: to remember that the gospel is not just good news for those sitting comfortably in the pews – it’s good news for those outside. It’s good news for those searching for belonging in a world that prizes conformity and feasts on exclusivity. 

Tim Burton’s genius lies in his ability to reach out, subverting the mainstream and dismantling the Inner Ring, seemingly with ease. Everyone’s an outsider, so no one is an outsider. As in Edward Scissorhands or Jack Skellington from The Nightmare before Christmas, Burton’s decision to not only tolerate but to celebrate the outcast bridges the gap between the socially excluded and socially accepted. 

The sense of belonging that Burton creates doesn’t feel twee, manufactured or forced. It isn’t the sort of embrace that comes under strait-laced conditions, either. He cultivates spaces where the strange, the sad and the misunderstood become protagonists, empowered to tell their own story. He boldly platforms that which is different, unwilling to conform or compromise. Even the visual language of his work is distinct and unashamed, and his trademark scribbled twists and turns that creep into set designs, costumes and title sequences. 

In Wednesday, this contrast is emphasised by a window that is half-spiderweb, half-kaleidoscope, dividing the room that Wednesday shares with Enid, the optimistic and bubbly roommate. They’re an extreme black-cat, golden-retriever pairing who have little in common, except for feeling that they don’t fit in. 

Their desire for belonging and acceptance looks different. Enid cares very much about how others view her, whereas Wednesday’s cold defiance masks her vulnerability to be seen, known and accepted. This symbolic shared space, and the friendship that is imposed upon Wednesday by Enid, signals a deeper truth: belonging is not found in sameness, but in recognising what connects us and how we can honour one another in spite and because of our differences. 

The subversive nature of Burton’s imagined universe holds a dim mirror to the liberating reality of God’s Kingdom.

While Burton elevates the outsider, his worlds often remain solitary and cut-off. But the Church, at its best, offers not just visibility but the embrace of fellowship. Jesus consistently chose people on the margins – lepers, tax collectors, women – and invite them into relationship. The gospel accounts for him taking less efficient travelling routes seemingly to encounter the lonely, the sick and the despised, to share news of their belonging to God, whose love for them was so strong that he would dwell not only among them, but within them through his Spirit. 

The culture of the early church was informed by Jesus’ example, and their meetings were a mosaic of cultural, ethnic and social diversity, brimming with unlikely partnerships and clashes of custom. Paul reaffirmed the concept that all are ‘one in Jesus Christ’ in his letter to the church in Galatia, declaring that ‘there is neither Jew nor Gentile, neither slave nor free, nor is there male and female.’ This is not a call to erasure, but to radical inclusion. Rather than everyone being an outsider, as in Burton’s world, everyone is an insider in the Kingdom of God. 

Perhaps it isn’t about whether Tim Burton or the Church has done more for outsiders, outliers and outcasts, but to invite personal challenge: Am I willing to get used to different? To disturb my norms, routines and expectations in the name of mutual inconvenience? To embrace a little mess and chaos for the sake of greater unity? 

The subversive nature of Burton’s imagined universe holds a dim mirror to the liberating reality of God’s Kingdom, where the last are first, the poor receive a rich inheritance, and the margins become the centre. Where Burton’s audience may find solace in shared strangeness, the gospel offers something greater: a home not built on similarities and commonalities, but on divine welcome and spacious grace. And an unlimited set of keys to welcome others to their room, too. 

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