Interview
Creed
Mental Health
Trauma
17 min read

When the answers run out: Kate Bowler on faith, fragility, and the beauty of uncertainty

Kate Bowler in conversation with Graham Tomlin.

Nick is the senior editor of Seen & Unseen.

A woman sits and smiles in front of her bookcase.

This interview is an edited transcript of the Seen & Unseen Live event.

Graham 

Kate Bowler is a four-time New York Times bestselling author. She's an award-winning podcast host and also an associate professor of American religious history at Duke University. She's the author of a number of books, including Blessed, a history of the American Prosperity Gospel. And they're wonderfully titled - The Preacher's Wife; The Precarious Power of Evangelical Women Celebrities.  

And you may know something of Kate's story, she was unexpectedly diagnosed with stage 4 cancer at the age of 35. And then out of that, wrote the New York Times, bestselling memoir. Everything Happens for a Reason and Other Lies That I've Loved, and her latest book, Have A Beautiful, Terrible Day. Daily Meditations for the Ups, Downs, And in Betweens. Kate hosts, the award-winning podcast Everything Happens.  

We were just talking about students and teaching. What do you teach your students? You say American religious history? Is there a kind of theme? And how do you go about teaching your students? How does that work in your setting? 

Kate 
Sometimes they make me do the Puritans to Trump sort of lectures which I enjoy, but I think the heart of what I love is to talk about American religious myth making. What stories animate their accounts of how to live a good life. Most American stories end up being iterations of that and some pretty classic themes of righteous individualism, of wanting only good things because God is good, a sense that all things can be conquerable. So, it's got this intense agency to it.   

I end up doing a history of American theodicies, explanations of evil. It mostly ends up being storytelling about whether people believe that they deserve the lives they got. It's a privilege to do it, especially at a divinity school. These are going to be people who are in the forefront of helping people interpret and explain their pain. 

And I guess that's something about America, isn't it? Because America was born out of this hopeful sense of people leaving the terrible strictures of Europe, and going off to this free new land, and so on. So, I suppose it had sort of hopefulness and positivity built right into the beginning, didn't it?  

It does. I also really just enjoy civic virtues, in general Canadian civic virtues. The Americans ones are, of course, the pursuit of happiness. Canadians have peace, order, and good governance as their primary civic virtues, which always makes me laugh. It's just so polite and so reasonable. But Americans are hoping fundamentally that they can become. The kinds of people that can conquer a fickle market, who can overcome any sort of structural evil, can be winners in a culture that doesn't ever really try to explain away inequality. It attempts to create the kind of people who can navigate it. 

And you started out by studying the prosperity gospel, didn't you? And particularly within the United States. Is that right? The kind of idea that God wanted good things for you. You've been talking about that already, and when you did that study, what did you expect to find? And what did you find when you did that research? 

Well, the very first time I bumped into the prosperity gospel I was in my hometown of Winnipeg, Manitoba, which is right in the middle of Canada, and we have only one fast road, and they had put up a traffic light. So, I was in a terrible mood. Then I saw all these people pouring out from what I thought was a factory that was running on Sunday morning, and then I thought, oh, no, I believe these are churchgoers. Oh, no, that factory is a church, and it turns out that was Canada's largest megachurch that was run by a man named Leon Fontaine, who had just been given a motorcycle by his congregants, and then rode it around on stage, and I thought, no, that is for Americans. I was so insistent on the idea that a story of health, wealth, and happiness was exclusive to an American cultural narrative.  

I think I was 18, maybe 20 when I first bumped into it, and then I spent my entire twenties wasting my youth interviewing televangelists in Canada and the United States, trying to understand why it was so deeply American, and also why it was so infinitely exportable and ultimately discovered that there was something very deeply humbling about studying a movement of infinite spiritual expectation. It taught me that we all want to be able to comb through our own biography, to know whether we have any evidence of God's love, special appreciation connection to us, but also that even when we think that we don't have a prosperity gospel in our own lives. We probably do. 

You're talking there about the the kind of desire can control outcomes a little bit.  It struck me that I think the very first reflection you got in your book, which is called Have A Beautiful, Terrible Day, which is whenever everything is out of control, is that the sort of big theme that you  found with it - the desire to control? And I guess that's something you've experienced in your own life, that sense of not being able to control things? 
And  one of the books I've been reading recently is this one by Hartmut Rosa, called the The Uncontrollability of the World talks about how a world in which everything has been planned and controlled would be a dead world. It's the uncontrollable things that kind of make life kind of interesting, when snow falls and you can't control it, or a sports game that you can't predict the outcome of. Do you think there's something in that? That we try to resist? 

I am committed to resisting. I mean, if I could arrange some sort of consumer feedback to our Lord and Saviour, I would suggest that I would be given more control over my circumstances. I guess it's been a question that is really at the heart of so much of my both academic and spiritual interest is, what do we do now, when we feel ourselves confronted by all the things we can't control. Typically, the things that we can't control can do two awful things. One, they seem to preach the story of a God who is cruel and and just doesn't care. That can't possibly care enough to want to confront the evil that overwhelms. Because suffering isn't just like cosmetic change. It's just an avalanche that that sweeps everything away. And then in the face of that we don't know how to say what my friend Tom Long, who is a wonderful preaching professor at Princeton, says. He likes to say there's always two preachers at a funeral. There's the body. But what can tell a story that is bigger than death? So, I think that's the first thing - that suffering, of all the things that are uncertain seems to tell us something about God that isn't true. 

I think the other thing, and maybe this is just especially the marketing for women. But when I began to be an unlucky person, I began to feel the sting of a very distinct kind of shame. I felt that it was not just circumstances, that there was something about me, something about my failure, something about my unlovedness. One of the first thoughts I had when I got my diagnosis was, well, of course it's me.  

And that is an awful lie that buries itself somewhere in our hearts. But I think uncertainty can have this effect - we end up holding the blade on the wrong side, and it just it always feels like uncertainty. We sort of plunge it right into our chest. So, I think I think uncertainty in general, it's every wave and we have to learn to navigate, but mostly it feels like an affront on our essential goodness. 

 

And how did you learn to manage that uncontrollability?  There's a tendency in many of us to try to control everything, and we want to have everything sorted and ordered. And then you kind of get to the point where you realize can't do that. Then the temptation is to be just overwhelmed by it, and to feel there's nothing I can do at all. How do you navigate that sense of being out of control?  

One of the American cultural diseases, she can say lovingly, is, they are high on what I like to consider is ‘everything is possibleism’. And so then, in the face of uncertainty, or confusion, or despair, or undoing, then the great fear is that you swing right into ‘nothing is possibleism’ and a kind of despair and nihilism. And I'm very interested in every, especially religious tradition that that helps us cultivate an experience of limited agency like, how do you find that space, spiritually, emotionally, communally, of what is possible today? And I've really, I've really struggled with this over the various intellectual and sort of seasons of illness in my life. In Have a Beautiful, Terrible Day I wrote these little snack size reflections, because I was in a period of so much chronic pain that I really just didn't even have brain space for more than an hour and a half a day. So that became an exercise in trying to still allow myself the joy of creation. Because isn't it so wonderful when your brain goes somewhere, and pain is so boring. And I mean talking about pain is so boring, telling it to your friend for the 200th time, like we are all over it. 

 So, I just was trying to practice the experience of limited agency, even if for the other six hours I would have to lie in the bath and take pain meds. But I've realized over and over again that trying to find that soft space is a place where I can re-experience, humanity, love, and really just the weird, wild gifts that God gives us. Even when life falls apart. 

If anyone's watching this and hasn't found a book yet, I really do recommend it. It's a wonderful thing. It's got lots of different kind of poems and meditations and prayers, and it's got titles for when things are falling apart, when you screwed up, when you're in pain, when life feels incomplete, things like that. 

I'm a huge bummer, Graham. Thank you. I think it's so funny. I think it's because we grew up Mennonite, and we love our version of like Saily Bread, and like the tiny little booklets, and all of them were very sweet and very precious moments. And then in my version, it's like, when you're worried you want to eat your own arm, you hate your life so much. So, I do kind of prefer them for the rawer times. 

Coming on to how Christian faith helps you navigate those, one thing that struck me as I was reading through it is there's a difference between, one of the common approaches to suffering you get in the modern world, which is the stoic idea that you  just sort of grit your teeth, you can't control what's going to happen to you, but you can control your own emotions.  

That's such crap, isn't it?  

It’s pretty common, isn't it? You get that sort of sense of stoicism, these days there are stoic podcasts and books. What do you see is the difference between that and what Christian faith says to on how you navigate these really difficult periods of life? 

I want to say specifically that what I truly believe is crap is the phrase, the argument, ‘you might not be able to control but you can control how you respond.’ I mean, anyone who's been unexpectedly stabbed with a needle knows that that is fundamentally not true. And the reason why I am so sensitive to it is, you know, as somebody who’s had a public cancer diagnosis, I see how quickly the cultural narrative is so intense, I've seen every single person who suffers is lined up to give that response, because what everybody wants to know is, well, just tell me that there's an escape hatch on the other side of it. 

Modern stoicism is - and when I say modern it did not have a Renaissance until the 2010s, which is wild - in part a result of an incomplete theology of masculinity that has been available, and it has become a way to explain specifically to men that there's an almost natural impassivity that is theirs should they claim it, And that in the face of chaos, global and personal, that there's a higher path. Stoicism is always, of course, stripped of its original cosmology, refitted with self-help techniques. But what I really object to, which is at the core, is a story about control.  

Emotional management is, of course, a therapeutic good. But, man, we're 50 years into the therapeutic paradigm. It makes me want to add the word dude at the end of that sentence. We are 50 years into the therapeutic paradigm, and we have not yet found a way to control our emotions, and that is because, as spiritual creatures we are always, we have this ache, we have this soul-cry that Augustine named so beautifully. We have a spiritual restlessness that no kind of emotional management strategy can overcome, and because it it is meant to be satisfied fundamentally by our love, our love of God, our love of others, and frankly, an unsolvability that tells us that we are an incomplete story. If we could be a complete story, I don't know if we really should be religious at all. Frankly, I really would. I would probably do other things with my time. 

It does seem to be something about desire at the heart of this. The Stoic response is to just slightly repress your desires, keep your desires under control. It is offering a sort of sense of control. Or Christian faith is actually about redirecting your desires to something that is bigger than yourself and more powerful and beautiful than you are. And so whereas sort of stoicism seems to say, just control your desires, Christianity in some ways almost says let your desire for God grow as you go through this.  

But I was wondering a little bit about prayer, and how prayer works for you in times of real struggle? I often seems to me that when you go through really difficult times, the time when you kind of feel you need to pray, is often the time it's hardest to do so. Do you find that? What role prayer plays for you in moments of uncontrollability, of the sufferings and struggles of life. What role does prayer play for you in that

This stoicism to prayer thoroughfare is a perfect continuity of the argument. Stoicism, and I mean just living inside of the precarity of this world, reminds us again and again that life requires so much more courage than we thought. Maybe we were convinced along the way that prayer also doesn't require courage just to get to that place of spiritual honesty again, I mean especially if you feel like your prayer was supposed to follow a different template. Whether it was always supposed to very quickly move from brief needs, long descriptions, great thankfulness. That's the classic three-parter, but most often are our honesty requires us to be incomplete before God. I mean utterly, or angry or unknowing. Maybe this gets back to your certainty comments at the start about like, how do we manage such enormous uncertainty? Do we imagine prayer as a strategy for certainty? And if we're hoping it's that, we might be we might be unsatisfied. I just know that when I pray honestly that when I'm in a really terrible season, my prayers sound more like it's 2am. And I'm the sort of self who is buying things on Amazon and wishes I could call people and say things and cannot be trusted. Those prayers sound something like, help me! Help me! Save me, make them come back. Make this stop! Those are necessary, deep, guttural cries. 

My 2pm prayers, I've got Trinitarian round-outs. I've got sophisticated nuanced theology. I'm quoting here and there.  

Both are reflections of how much we're not even entirely known to ourselves, except that we find ourselves unfolded by our circumstances. 

Pressing into how you deal with enduring pain. You talk very movingly about what it's like to go through really quite searing pain that just doesn't go away. And you have to kind of deal with it. Here in the UK we've been having a debate over the last few months about assisted dying. Which is a route out of pain for some people towards the end of life. Did you ever experience the temptation to that? Or has your experience helped you reflect upon that kind of route that our society is offering people at the moment? Can you end this by ending it all. 

Canada's been having similar and terrible debates with terrible consequences. I think one of the great worries, especially with North American theologies of the self, is that the suffering, those who suffer are inherently less valuable because we are not the worker self. We're not the productive self. We're simply the the feeling and the limited and the precarious self. 

What really worries me, especially with some of these exit interview for people who apply for euthanasia in Canada, is is quotes like ‘It's not that I don't want to die it’s that I can't afford to live’, because so many of the things that relieve pain are frankly so expensive and so off insurance. Any discussion about pain and assisted suicide are also just always, at least in North American context, conversations about who is valuable and whose pain is insurable. 

I know that one of the major differences that I've had in my own life between a self that was in so much pain I could barely function to this version, is that I could pay for my own treatment. I feel overwhelming compassion for all those who feel like they will suffer without end because there are no social services to alleviate it.  

I've been in a situation where I'm so desperate to live that I have not fundamentally experienced despair that has a telos to it. I've experienced despair at times in which I feel my own helplessness.  

I had a lovely interview with Dr. Catherine Mannix. She developed a cognitive behavioural therapy therapeutic approach inside of palliative care in the NHS. And it was really it ended up being a way to talk about how do you experience control inside of that much suffering. Her books are about people who thought that they would want to die in that much pain. In these little case studies, I found her description to be so deeply Christian. What she was arguing was that even in the midst of deafening pain, that helping people find a small, soft place of narrow choice and meaning-making could reinfuse their lives with such purpose that otherwise our culture would erase.  I just wish that everybody that inside of our conversation about when pain is too much, had a little bit more of that place of gentle possibility. 

One of the phrases that that really struck me as I was reading your book is that ‘we are united by our fragility.’ The implications seem to be that that's actually what we have in common. The fact that we are fragile or incomplete, in your language from earlier on. It got me thinking about how that might change the way we think about each other and community and relationships, and maybe even church. What that difference would it make if we actually thought that was the centre of what we have in common, our fragility. Do you have any thoughts on that? 

At heart, I'm an anti-culture warrior. In this time of increasing binaries our democratic structures or any kind are fragile, especially in the United States, the big tent umbrellas of denominationally or otherwise. I do think it is important for us to sort of spiritually land on what we think makes us all deeply the same. I know that when I started down this path there was a lot of humiliation because I was treated as disposable by the healthcare industry. I was truly humbled by it. In suffering you are laid low and there's a little key in that that I found that I've never wanted to give up. IT is that the second I knew I suffering, I could see it so much more easily in other people.  And that I could know that a broken heart is an open heart. If you can keep that at the at the centre of of a story about our difference Ihave just found it easier, easier on Facebook, easier at family gatherings, just easier. We have a contingency that we're all grappling with, and we can't always see it on each other's faces. But if we know that we all are so worried that we're wearing a sweater and someone's going to pull a thread and then there we are, naked to the world. I think I know that it inculcates a deep feeling of humanity in me. 

There’s something about approaching another person with that thought of  I'm fragile and kind of so are you. Especially it's not that terrible if you see my fragility, and maybe I begin to look for the fragility and the other person, and that makes that person that much more approachable somehow, and a bit more human. This militates against the idea of going to everybody else and trying to  give to give out this image of being complete, and I've got everything sorted, and I know all the answers. The kind of image we try to present of ourselves.  

I think I think invulnerability is exhausting, and we could just cut ourselves some slack.

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Review
Creed
Education
Theatre
Weirdness
8 min read

Why I was wowed by this five-hour outdoor drama

Wintershall’s re-telling of an ancient story enthrals a sceptic

Rachel is a reader and writer, a coach, and an educator. 

An outdoor theatrical setting shows Jesus with a basket.
Wintershall.org.uk

Were I to write a recipe for disaster, it would look something like this: 

  • Gather a large cast of mostly amateur volunteers and a few professionals 
  • Include everyone from a baby to a 90-year-old man, 1 donkey, 2 horses and a flock of sheep 
  • Create an outdoor venue with no seating and no shelter from the elements 
  • Welcome a mixed audience of around 1200 school children and the public every day for five days 
  • Present a five-hour dramatisation of the entire life of Jesus from 10am to 3.30pm 

I am delighted to record that contrary to our assumptions, the above proved to be a remarkable recipe for triumph. Accompanied by my 18-year-old son who, as an actor and teenager, was sceptical, I’ll admit that expectations were not high as we embarked on a 2-hour drive to review The Life of Jesus 2025 at Wintershall Estate. The same drive home was rich in deeply moved and unexpected conversation about the incredible phenomenon just experienced.  

Hearing superlatives from me is as unlikely an event as watching a rare desert flower bloom in a decade of drought. And yet, I have nothing else to offer in this case. I have viewed much professional and amateur theatre - Wintershall is like nothing I have witnessed before.  

Perhaps what makes it so different is the intent of those who continue to create it. In 1989, Ann and Peter Hutley decided to open their beautiful estate to visitors interested in hearing about the life of Jesus. They began with a nativity in their new barn before Peter wrote a longer script for the millennium celebrations about Jesus’ ministry. It is tangible in the air that this is a monumental work of love and passion not profit-making. 

On arriving, we met Ann and her daughter, Charlotte, who has taken over the enormous responsibilities as Wintershall’s producer. With consistent warmth, welcome and energy, Charlotte took us to join the cast as they received exacting professional notes from the director, Ashley Herman. She invited us to join hands with the cast in prayer. ‘No questions asked, it doesn’t matter what you believe, join hands and pray with us. Everyone is welcome here!’ she said. This is the truth about Wintershall in a sentence.  

As a teacher of 23 years, I am sorry to admit that I had never heard of Wintershall. I would likely have baulked had someone suggested that I take my class on a daytrip of this format. My assumption would have been that they would hate it, they would be hot, bothered and bored, and I would be very stressed as a result. How foolish am I!  

We visited on a day when the audience consisted of roughly 700 captivated school pupils, ranging from 7 – 18 years, and 300 members of the public. The previous few days had been exclusively for schools and had welcomed in the region of 1,200 pupils on each day. Looking for honest opinions, I asked an adult sat near me why she had brought her class. ‘Oh, I’m not a teacher,’ she said, ‘I volunteer to come on this trip every year because it’s the best thing I’ve ever seen. It just gets better and better!’ Clearly my prejudice was misplaced, and this is the very important issue.  

My years in education mean that I have watched far too many five-year-olds in wonky tea towels, shouting at an inn keeper while the audience laughs. The life of Jesus has taken on a twee familiarity akin to Jack and The Beanstalk or Cinderella. It has become the stuff of folklore and fairytale when it is anything but. We have distorted it from the contemporaneous, historical recount that it is and Wintershall magnificently sets this straight.  

Regardless of faith or belief, there is great damage done in forgetting to view history as reality. Those who work in schools and churches must remember that today’s children perceive the millennium celebrations as ancient history. They cannot fathom time outside of their own existence. All stories from the Egyptians to Princess Diana seem to them to be works of fiction because they must be imagined. Test this, as I have done, by asking them about a recently retired Roger Federer and observe their blank faces! 

Even for me and my son, there came a meaningful realisation that this is not merely an all-too-familiar children’s story retold every year at Easter and Christmas. This is the biography of a man whose contemporaries were prepared to die in order to record the naturally inexplicable things that they saw him do. This first lands around 15 minutes into Act One when Wintershall presents Herod’s slaughtering of the children as the horrific and barbaric act that it was, with none of the usual soft-soap. Not gory or gratuitous in any way, it hits hard, just as it should, since, as Charlotte passionately reminded me, this is still happening in the world today! The same hit came from the disturbing noises made by the man suffering from demons, the size of the rocks about to be hurled at the woman accused of adultery and the often-omitted audible gasping of three men dying by crucifixion. These should not be benign imaginings, they are barbaric and torturous reality, and we do humanity no favours in desensitising ourselves.  

Wintershall is clear that their production is for those aged seven and above because this is no fairytale. I would argue that this is precisely why they are able to keep children captivated through five hours of intense viewing. They have achieved the perfect balance of hard-hitting realism and enjoyment.  

After stretching your legs, Act Two is simply glorious. We forget that Jesus’ ministry took the form of a pilgrimage delivered while walking with people in nature. He spoke on paths, hillsides and lakes which Wintershall authentically recreates. There is nothing to match the experience of sitting on a hillside next to a lake as the character of Jesus delivers the Sermon on The Mount whilst looking you straight in the eye. For the first time, I inwardly understood how a small number of loaves could literally feed a very large crowd because I experienced it first-hand. Quite simply, without needing to be told, you share. You break bread to ensure that those beside you have some and, in so doing, realise that there was always enough for everyone. This precious memory will endure as reality, not magic. 

Act Four depicts the crucifixion. Seeing is believing. Again, this stuff of children’s stories is anything but. The logistics of this scene are extraordinarily well executed, and, for the first time, I was struck by the gasping of these men as they spoke. This was no polite conversation about meeting in paradise, these were their final words during their slow and painful death. The act is completed by the inexplicable and somewhat mystical reappearance of the risen Jesus in a different location beside us. I still have no idea how they did it, but it impacted powerfully.  

So, what then were the negatives? Any trustworthy review must be balanced.

"There is nothing I have ever seen that I have more wanted to be a part of. Compared with this, I have never seen anything more meaningful."

Remember here my aversion to praise and my teenage son’s initial scepticism. Remember this seeming recipe for disaster and my remit to look critically.  

After digging deep, we came up with two very minor concerns that are, in truth, little more than a matter of opinion or preference.  

The first relates to the Angel Gabriel. In a production that so brilliantly undoes the fictionalisation of this biography, one could argue for a more nuanced representation of this angel. Perhaps not a female wearing the sparkly halo and white wings that fits with the wonky tea towels in school halls. Perhaps the name of Gabriel is sufficiently recognisable to permit something a little more daring? 

The second relates to Act Three. Undoubtedly, the vibrant warmth, variety and personally immersive nature of Act Two makes it a very hard act to follow. Act Three is disadvantaged from the outset by occupying what we teachers know to be toughest gig of the day - that slot immediately following lunch. There is usually some social altercation to sort, attention needing to be refocused, and blood sugar levels fluctuating left, right and centre. At this time of natural siesta, you either accept a lull or bring your largest dose of entertainment. In this case, Jesus enters Jerusalem, overturns the tables in the temple, heals a leper, is betrayed by Judas, prays in Gethsemane, is arrested and tried before Pilate. Essential but not exceptionally entertaining, as the story goes. At around the 60-minute mark in, Jesus is stripped and whipped causing the children around me to literally sit up again and re-engage before Act Four. Perhaps, on reflection as I write, this is just as it should be.  

And that is it, the sum of my critique. Believe me, my expectations are unforgivingly high; I struggle booking a holiday because the likelihood is that I will be disappointed. If there were critique to deliver, then deliver it I would.  

To the contrary, it is unusually delightful to leave somewhere with the desire to do everything in my power to support a truly exemplary endeavour. It is to my detriment that I have been so ignorant of Wintershall for the last 25 years; I regret the thousands of children that I did not ever take to see this exceptional phenomenon.  

I urge you to do better than me, to make up for my short fall.  

Go!  

Take everyone you can!  

Make the journey!  

Enjoy the day in glorious natural surroundings!  

Show your pupils that even a flock of sheep can be perfectly well-behaved.  

Rewrite the soppy fairytale as the gritty, historical biography that it is.  

Replace the over-familiarity and wonky tea towels with a real-life experience in how to share what we have so that all might be fed.  

Reimagine the mad magician as a man who loved the low, lost, and lonely, and will look you in the eye to remind you that you are blessed.  

Reset the polite chat about paradise as the last conversation of a man gasping to share his love as he was killed for upsetting the authorities.  

Remember that the infants are still being slaughtered and the women are still being stoned.  

Reawaken to the fact that this is no fairytale. This is the message that the world needs.  

As my son put it, ‘There is nothing I have ever seen that I have more wanted to be a part of. Compared with this, I have never seen anything more meaningful.’ 

Wintershall, one and all, you do not need to take a bow.  

Stand tall and keep going.  

What you are doing is superlatively necessary and remarkable! 

Bravo! 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
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