Article
Culture
Holidays/vacations
Mental Health
Wildness
5 min read

This is why we must go down to the sea

Stepping off the shore restores more than our sanity

Paul is a pioneer minister, writer and researcher based in Poole, Dorset.

A sunset over an island casts golden light on the sea and a beach.
An Argyll beach.
Nick Jones.

It’s that time of year again. Much of Britain has been enjoying (or possibly enduring) a heatwave, the summer holidays are approaching, and our thoughts naturally turn toward an escape from our ordinary, often urban, landlocked, lives. And for many of us that escape will be to the sea. It’s true, we really do like to be beside the seaside. As a nation our souls seem to suffer from an annual experience like that described in John Masefield’s poem Sea-Fever as we head coastwards muttering ‘I must go down to the sea again...’  

We want to holiday by the sea – as the market for second homes in places like Cornwall will confirm. We also want to live permanently by the sea, or at the very least by the water. Some experts estimate that properties by the water have an average increased value of around 48 per cent. Water sells. It does so perhaps because proximity to it provides something of a mental escape from the overwhelming rigidity and linearity of our predominantly urban environments.  

Iain MacGilchrist has argued that our modern lives suffer from the triumph of the left-brain hemisphere’s attention to the world. This is a focussed attention that is all about controlling and getting. It leads to the creation of a self-contained and ordered world with little attention to context. And so little attention to the natural, complex, fluid reality of creation. MacGilchrist goes on to correlate the rise in a variety of mental illnesses characterised by what he calls ‘right hemisphere deficits’ with industrialisation and the development of our culture of modernity.  

In his book Blue Mind Wallace Nichols explores the evidence for the positive effect of water on the brain. He highlights how a proximity to water can heal, restore, give us a sense of connection and promote calm. He argues that water can shift our minds into what he calls ‘drift’, the kind of mental attention which generates calm. Being with, on, better still in water, is undoubtedly good for us. No wonder we are drawn to it.  

Yet at the same time water, and particularly the sea, has been a source of terror. A no-go area ‘where there be dragons’, OK, lobsters for sure, probably sharks, and whales like Moby Dick. The sea remains one of the last places of mystery, an unfathomed, unfathomable place of endless dark water. We know more about the far reaches of the universe than we do about the truly deep ocean. Mythical creatures of the deep, whether Nessie, or one of various giant specimens hauled unsuspectingly from the ocean, continue to populate the diminishing space of our wonder and fear of the unknown.  

So whilst elucidating the psychological benefits of water is certainly helpful, it’s all a bit…tame. Is it just another way of humans turning the wild and numinous into something we now think we understand? Something we can now control and apply in our lives for our own benefit and comfort? Have we demystified the sea? Reducing its mysteries to little more than a balm for our troubled modern minds? A lure for our attention and our debt in an overheated housing market? 

In the Christian tradition the sea is a place of profound paradox. Creation begins with God’s Spirit hovering over the water. However, the Hebrew scriptures also present the sea as a place of God’s absence. The sea is the place of monsters and mystery, and death. It’s also the place of perhaps the most famous whale in all literature. The whale that swallows the hapless Jonah. Jonah’s story expresses the deep paradox of the sea as a place of death and yet also a place of divine encounter. It is in the depths of the sea, and the digestive system of the whale, that Jonah’s epiphany takes place and his journey starts anew. 

Stories of Jesus also deal with this paradox of wildness and encounter in the chaos of the sea. In the story of the calming of the storm the wild threat of the sea is not rendered as simply something to be avoided. Jesus is not a fixer making all daily dangers obsolete. Rather the story says that it is precisely in such moments of wildness, fury and terror that his powerful presence can be encountered.  

To step off the shore and into the sea is to enter the possibility of the death and (paradoxically) the real possibility of deeper life.

It’s for these reasons perhaps that, John Good, a friend of mine, has formed a Christian community that’s based around encounter with the sea. Located as it is in an area almost surrounded by the sea, it started as a social enterprise helping people access the water who otherwise lacked the equipment or resource to do so. Pretty soon it became clear that this was transformational for people. Enabling families otherwise excluded from a life-giving resource to enjoy it as much as anyone else was powerful. One person referred to the experience by saying that on that day the sea had been ‘her saviour.’ Ocean Church began with a gathering on three large, tethered paddleboards some metres offshore. They now run retreats and pilgrimages on the sea, practice centering prayer (a form of Christian meditation or contemplative prayer) on the sea and continue to explore what it means to meet God on the water.  

We yearn for the sea, and the water, for more than a balm for the mind. The sea remains that place, in our mechanised, technological world with its constant lure of control and mastery, where an immersion in dangerous mystery can still be experienced. To step off the shore and into the sea is to enter the possibility of the death and (paradoxically) the real possibility of deeper life. To be held buoyant by the sea and look to the horizon is to get it touch with our finitude in the context of the vastness of the seas. It is to engage with our utter dependency on the creation which we inhabit and to connect with the presence that holds that creation together.  

To step into the sea is even therefore a step of faith. A step in the direction of our own vulnerability. A brave step away from the world in which our technology, our algorithms, our machines and our skyscrapers dupe us into a faith in our own control, our own supremacy. A step into the depths. ‘Deep calls to deep’ says the psalmist as ‘all your waves and breakers have swept over me.’ As many of us step into the sea this summer it may certainly be a step toward a restored sanity, but it might also be a step toward a restored soul.   

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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 writes on faith, community, and anything else that compels her to open the Notes app. 

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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