Article
America
Conspiracy theory
Culture
Politics
6 min read

When America presses in on you

A returning American feels the heat generated by contesting ‘realities'.

Jared holds a Theological Ethics PhD from the University of Aberdeen. His research focuses conspiracy theory, politics, and evangelicalism.

A runner passes a church and a flag in an America suburb, under billowing clouds.
Nick Jones/Midjourney.ai.

There’s a man. Running. My eyes snap into focus. Time slows - I catch his pace. Then, my eyes start widening. An odd feeling. Being forced into it. Seconds stretched out into minutes. Taking in more, looking for more, looking down that sidewalk, on a street corner in New Jersey. 

Before? I was sitting there. In the backseat of my Uber. Winding our way through New Jersey. And I’m sitting there, tired, mindlessly scrolling my phone until that moment. He’s there running.  

And I see him. T-shirt. Running shorts. And I’m sitting. And—a nervous flash—he’s running. Why?  

And my eyes adjust, widening, scanning, checking detail, and I’m almost seized. My mind shaking itself, coming online, no more automation. My consciousness catches up: “you’re in America,” I tell myself. 

Right. I’m not in Scotland. And that man is running. Here in New Jersey. In America. And I’m talking back to myself in this silent car. I’m watching him run. I’m asking why am I slowing this down? And—it flashes—“running from what?” 

And I catch up to myself. To what I was trying to say, that people in America run from shooters, too. A wave crashing, sitting in the back of the Uber, and look. Now I’m really looking. Not forced. But naming. There’s other pedestrians passing him, walking. Slowing. On the other side of the street— no fast movement. No screaming. No pops. 

I start breathing. I didn’t know I stopped. He’s out jogging. The automated safety check ends. The tranquility of tyranny resumes. I’m sitting in the back of an Uber. I make a note. Be more alert at the train station.  

— 

People ask me how the relocation back to America has been. And I don’t know what to tell them. There’s a wide gap between the visceral sense of it all pressing in on you, and more common—but also abstract—analysis.  

The experience of coming back has been oddly particular. I lived in Scotland for three years, and most of it was spent studying America. From that distance, the broad strokes of American life, the larger trajectories and dangers of our shared political decisions and religious extremism, well, they’re a bit clearer. 

But coming back, America presses in on you. And the only way of talking about that, maybe, is specificity. Kerouac was always good at articulating this. His America wasn’t the rise of the military industrial complex in the 50s. It was the road, the gas station on the way from Denver, it was jazz, the dim doorways of San Francisco bars. I’m thinking of Kerouac, but also Langston Hughes. Poets and artists who in their own time, held a mirror up to America, helped us move from the “I” to the “we” as Steinbeck said. 

We’re all asking a version of “what’s wrong in America?” (And, do keep asking.) But to ask that question often assumes the broadest strokes, the ones that are most clear from a distance. Which means they are, in one at the same time, the most abstract.  

These realities are everywhere, and no where. They are the air we breathe. They appear to the privileged as “logical” and to the powerless as “inevitable.” 

Asking after democracy, after the election, and the increasingly nebulous “the church” — I’m convinced that answering “what’s wrong in America?” in the biggest of terms is leading me to (wrongly) believe that responsibility lies among the gargantuan free-floating concepts which we use to narrate our world. As if solving the “crisis of democracy” is a conceptual problem. When in reality, it is concrete, and involves more than coalition building or political activism.  

Why more? Because the choices Americans have made over the last 10 years originate from imaginations which limits the scope and scale of what is possible. This is what I mean by “America presses in on you.” 

Coming back to America has made this clear. I’m more aware than ever that we can produce good answers and generate compelling analysis about America without ever asking in what way these answers or analysis are sharp enough, concrete enough to puncture the bubbles of social reality in which people choose to live and in some cases are forced to live. 

These realities are everywhere, and no where. They are the air we breathe. They appear to the privileged as “logical” and to the powerless as “inevitable.” They press in on us all in their own way. 

In some cases, they dull our senses. We say, “as long as our Amazon deliveries continue, as long as the streaming services work.” In some cases, they don’t just press in on us, but press down and perpetuate injustice. As Dietrich Bonhoeffer asked, “where are the responsible ones?” 

The visceral shock of return is ongoing. And it hits me in strange ways, on Uber rides and in worship. American life is everywhere and I’m seeing it with different eyes.

Do I care about democratic machinery? Yes. Am I concerned about whether or not the church is, in fact, the church, and not a gear in a partisan machine? Yes. But I’m increasingly convinced that responsible living in the American situation becomes most clear, most evident as we consider the large in terms of the small. 

Responsibility emerges with attention paid to the concrete and intimate. January 6 is the subject of my dissertation. But before that, in the months leading up to January 6, I was a pastor just 40 miles from DC. For me, January 6 was a local event. That particularity, that specificity, is a window into a concrete responsibility.  

And now, back in this same community, I found myself distracted in a church this weekend. The man in front of me raised his hands in worship, revealing a revolver hanging on his belt. What America is this? But also, what Christianity is this? 

The visceral shock of return is ongoing. And it hits me in strange ways, on Uber rides and in worship. American life is everywhere and I’m seeing it with different eyes. And I wonder what it will take to break the spell of our most cherished illusions, of a certain type of freedom — one that tells us it is Christian to raise our hand in surrender to a god who we say is loving enough to save the world, but seemingly not strong enough to deliver us from our evil. 

In the end, perhaps it’s best to say that it’s been proof of a good ruining. After all, we’ve experienced nothing short of a conversion, a move closer towards peace, towards hope, that unsettles all our strategies of security and comfort underwritten by violence and oppression. This is the kingdom of Heaven. Something Jesus announced that continues to unsettle and disrupt the likes of T.S. Eliot who put it well in Journey of the Magi

We returned to our places, these 

Kingdoms, 

But no longer at ease here, in the old 

        dispensation, 

With an alien people clutching their gods 

I should be glad of another death. 

Review
Art
Awe and wonder
Culture
5 min read

Stanley Spencer’s seen and unseen world

The artist’s child-like sense of wonder saw heaven everywhere.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A woman dressed in dark Victorian clothes sits on a street among angels.
Detail: Sarah Tubb and the Heavenly Visitors.
Stanley Spencer Gallery

The seen and the unseen are keys to the work of Stanley Spencer but, while imagination is required to bring them together, they are not real and imaginary, rather they are real and real. 

The catalogue for Seeing the Unseen: Reality and Imagination in the Art of Stanley Spencer begins with a quote from Spencer’s writings:

“Everything has a sort of double meaning for me, there’s the ordinary, everyday meaning of things, and the imaginary meaning about it all, and I wanted to bring these things together.” 

Writing as he does, Spencer draws on the thinking of William Blake and Samuel Taylor Coleridge who, as Malcolm Guite has shown, viewed the imagination as not only shaping and putting things together, as Spencer describes, but also removing the dull film of familiarity that we put over everything, to see it with freshness once again. That freshness being primarily, the innocent view of a child.  

This exhibition brings together stunning examples of Spencer’s realistic works – his portraits and landscapes – which he often viewed as “potboilers” that merely paid the rent, and his biblical or symbolic works which had his heart and which, in his mind, formed a vast exhibition in a “church-house”. The curators, through their apt juxtapositions, compellingly demonstrate how Spencer brought together the seen and unseen in his work.  

View from Cookham Bridge (1936) is a realistic work that shows us beautifully a summer’s day in an area of great meaning to Spencer. He set his magnificent but unfinished Christ Preaching at Cookham Regatta, which is permanently on show at the Gallery and towers above everything else in the exhibition, just downstream of Cookham Bridge. Christ Preaching at Cookham Regatta teems with people and incident while, in View from Cookham Bridge, there are no people to be seen. Yet, in this painting, Spencer enables us to feel their presence – hearing the ducks and splash of oars, the chatter of people – thereby leading us to visualise the unseen. 

Spencer’s biblical and symbolic images are primarily set within Cookham, as the village itself suggested settings for specific scenes to him. The Betrayal is set at the end of Spencer’s own garden where the distinctive buildings of the maltings can be seen in the background. The Last Supper is then set in those same maltings, while Sarah Tubb and the Heavenly Visitors is set in the garden of Sarah Tubb’s home on Cookham High Street. Through this means Spencer emphasises both the universality and particularity of the Bible’s stories, in that they can be reimagined or reenacted anywhere and in the humblest of settings.  

Heaven in ordinary is a particular response to the incarnation – God moving into our neighbourhood – and is one that Spencer pushed to particular lengths, as is shown here through images from his Beatitudes of Love series. The Beatitudes are where Jesus turns our expectations of worldly success and achievement upside down by teaching that it is the meek and humble, the persecuted and those grieving who are blessed in God’s eyes and kingdom. In his Beatitudes of Love, Spencer demonstrates God’s acceptance of all by turning our expectations of beauty upside down and deliberately giving us characters who seem grotesque as those we are asked to admire and love. 

In doing so, he is also showing his retention of a child-like vision of the world as, from the perspective of a child, all adults are large, lumpy and disproportioned. Unlike a later great religious artist, Albert Herbert, who escaped from the limitations of adult vision by deliberately painting in a child-like manner, Spencer painted with a child-like vision. This can be seen in Christ Preaching at Cookham Regatta where his child-like Christ is both rotund but wonderfully energetic as he leans forcefully forwards from his wicker chair to engage with a group of children who are responding in the range of ways that children do, from attention and captivation to distraction and disinterest.  

His child-like vision and understanding are perhaps most clearly seen here in one of a series of pen and ink drawings undertaken for an almanack published by Chatto and Windus. These were domestic scenes illustrating the months of the year. The image for July is of his first wife Hilda smelling a flower. This is not an image of refined woman delicately savouring a pleasant odour, instead Hilda’s face is buried in the daisy, nose against pistil, as a child gaining the fullest experience possible.    

Blake was eight years old when he first saw angels in trees on Peckham Rye. Similarly, Spencer developed his sense of Cookham as a village in heaven in childhood. He never lost that child-like vision, although at times he questioned whether it had been successfully retained. Despite many poor choices and challenging life experiences, the works shown here reveal that Spencer carried a child-like sense of wonder through his life and work and, as a result, left as his legacy the deepest and broadest vision of heaven in ordinary that any artist has been able to gift to us.  

While his dream of a literal church-house in which to house his complete oeuvre was never a realisable aim, his works, taken as a whole, provide a key with which open a door allowing us to see what church and home, heaven and village, are together. Although small in size and therefore able to only show a minimal percentage of Spencer’s work at any one time, the Stanley Spencer Gallery, housed as it is in a former Wesleyan Chapel, creatively operates as a diminutive church-house for Stanley’s works, taking us deeper into his unique achievement one exhibition at a time. 

 

SEEING THE UNSEEN: Reality and Imagination in the Art of Stanley Spencer, Stanley Spencer Gallery, Cookham, 7 November 2024 – 30 March 2025 

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