Understand what we thirst for

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

Helen Cowan

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

Christmas culture

Creed

18 December 2023

4 min read

For the knowing of the how: creating at Christmas

Learning a new craft unfolds the layers of meaning Christmas is clothed in.

Andrew Davison

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

A white crocheted angel decoration against a dark background.

Kelly Sikkema via Unsplash.

Childhood Christmas was for me a time of craft and productivity, of baking and decorating, of paper chains and printing cards with dissected potatoes. Christmas was all about making, so homemade presents outshone everything else.

That was fine if you were a painter, knitter, sculptor, seamstress, or woodworker, and each member of my family was at least one of those things. I was the odd one out: at least until the autumn before last, when I took up crochet.

My inspiration came from John Milbank: theologian, philosopher, political theorist, poet, and general ruffler of feathers. Not, I have to say, because he sets example with hook and yarn. Rather, he’d written an essay, an essay that spoke to me, as someone often in art galleries but rarely making. We get so invested in fine art, he wrote, that we forget the priority of applied art, of craft and decoration. That’s the foundation. The art we go to see in museums is great only if it succeeds in ‘intensifying this art which is proper to humanity as such.’ So, I took up crochet.

Crochet, as I hoped, is rather like playing the recorder. It’s not too difficult, even at the beginning, but has plenty of scope for complexity and skill. I’m now three blankets in, plus six cushion covers and a hat. Even my first efforts were gratefully received as presents, and I some of my recent work is much more intricate, and not half bad.

I’ve finally joined the ‘Christmas is about making’ project: and Christmas really is about making. John Donne put it like this, addressing the Virgin Mary:

… yea thou art now
Thy Maker’s maker, and thy Father’s mother;
Thou hast light in dark, and shutst in little room,
Immensity cloistered in thy dear womb.

Mary becomes her ‘Maker’s maker’. In a further twist, which Donne would appreciate, Mary’s child grew up to be a carpenter, or – as the Greek would better be translated – an all-round, general purpose village maker: from hearths to homes, from shelves to structures.

In thinking about how God took up a human life, writers have often turned to the language of making. In the same poem, Donne has God weaving himself a kind of garment in Mary’s womb: ‘He will wear, / Taken from thence, flesh’. Thomas Pestel (1586–1667) opens an unjustly forgotten Christmas hymn like this:

Behold, the great Creator makes
Himself a house of clay,
a robe of virgin flesh He takes
which He will wear for aye.

More familiar still is Charles Wesley’s ‘Hark the Herald Angels Sing’, with its lines:

‘Veiled in flesh the Godhead see, / Hail the incarnate Deity!’

The language of wearing, of robes and veils, hasn’t always fared well among theologians. I heard of one stern tutor in doctrine who would look round the chapel whenever Wesley’s carol was sung, reserving a stern word for any student who failed to fall silent at that line. He didn’t like the implication that God was merely draped in humanity, making only an outward show of being human.

Thomas Aquinas saw that worry, writing in the thirteenth century, but argued for charity. The language of clothing isn’t perfect, but we shouldn’t expect it to be. Illustrations gesture towards the truth, they aren’t identical with it, and all the more when we’re talking about God. As long as we don’t think expect the clothing image to say all that needs to be said, there’s mileage to it. For one thing, clothing can make someone visible (as the late Queen knew very well): ‘veiled in flesh, the Godhead see’. Moreover, Christ’s humanity was shaped by his divinity, like a garment is shaped by the body of the one who wears it, yet the body remains unchanged (and so does the garment), just as God became human without becoming any less divine.

Alongside clothing, Pestel also suggested God working with clay:

‘Behold, the great Creator makes / Himself a house of clay’.

That takes up, and reworks, another textile image. John’s Gospel gets to the heart of the Christmas message with a line so solemn that Christians have been accustomed to drop to their right knee on hearing it read: ‘And the Word was made flesh, and dwelt among us’. That’s how we know it, but a more accurate translation is that the Divine Word ‘pitched his tent among us’. The houses that Pestel knew, however, were made of bricks not cloth, which is to say of clay, so he adapted the image. Or, just as likely, with that clay, he had the ‘house’ of the human body in mind. That would recall lines in Genesis, where God makes Adam out of clay, or ‘the dust of the ground’. In fact, the Hebrew word ‘Adam’ means just that – something like ‘earthling’ – just as ‘human’ is related to the Latin ‘humus’, meaning soil.

Whether weaving and wearing, or building, or sculpting, or potato printing, this is the message to stop us in our tracks at Christmas: that the Maker made himself human. There is something beautiful that we greet that with homemade presents, with printing cards, with decorating and baking, with craft and productivity, with paint and cloth, paper, wood, and yarn, and with that sublime sort of making that is music. As Pestel puts it, in closing ‘Behold, the great Creator makes’