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Work isn’t working, it’s killing us

We mistake the nature of work and our purpose within it.
Two people sit beside each other working on laptops, One looks askance to the other who frowns.
Resume Genius on Unsplash.

What is work for? In our individualist society we perhaps might zoom in on the minutiae of the specific role that we fulfil. Work is for the success of the company I work for, work is for building up my CV, work is to earn money enough to live, work is for seeing people I don’t have to live with. But what about work? The burden that humans have always had to gather enough resources to provide for themselves. We are mistaking the nature of work and our purpose within it, and it is beginning to kill us. 

Each of the recent generations have had different, and askew, attitudes to their work. Baby boomers- those who got a job and a sensible haircut in the 60s, conceived work as a contract. They worked well at almost anything and the reward was home ownership, resources to provide for a family, and saving for leisure. The purpose of their work is the lifestyle it creates. To some extent, their successors in Gen X had the same perception and the same contract- stick at any industry and the reward will be generous enough to make the graft worth it. 

But what happens when that contract is broken? When work no longer leads to those rewards? The Millennial answer is to seek out work that gives purpose, to accept the reward will not be fulfilling and so to find the purpose in the end of the work itself. Even if that means a lifetime of renting and scrimping, because the reward is not to be found in the payment. 

A slow generational drift from the true purpose and boundaries of work has left us confused about its point and struggling to engage. 

The Gen Z answer to this broken contract is the most fascinating of all; a reluctance to work at all. There is ‘quiet quitting’ whereby you do as little as possible whilst remaining employed, ‘bare minimum Mondays,’ and, of course, ‘lazy girl jobs.’ The purported aim of this generation is to find jobs where they can work from home, do almost nothing, and still receive a generous salary. Others are living the ‘soft life.’ They move in with mum and dad (usually boomers who have run the rat race and received the benefits of the contract) and do something creative part-time, earning little but doing little. It's a bit of the old baby boomer attitude seeking pleasure outside work but without the corresponding work ethic or career mindset. 

On top of this is the mental health crisis, which prevents many of Gen Z from working, with one in three non-graduates out of work with mental health conditions. Bosses receive calls from parents of those in their 20s explaining that their children are too unwell to work. 

I suggest that these things are linked, and a slow generational drift from the true purpose and boundaries of work has left us confused about its point and struggling to engage. We must look outside ourselves to understand what work was created for. In Genesis, the Christian origin story, God conceives work as a place of dignity and purpose. What Adam and Eve did in the garden mattered- they were the leaders of creation, and God even gave them the responsibility of naming other creatures. Humans were made to have responsibility, made to express this in their work. Even in the drudgery of repeated physical, administrative, or household tasks, we have the freedom to find purpose. We can take pleasure and pride in making things, fixing things, restoring things, even if just to the state they were in when we cleaned last week.  

Find the purpose in the making, fixing, restoring, the very task itself. 

The ‘quiet quitting’ of Gen Z or the dry contract of the boomers will not cut it. Even in jobs we don’t like, or tasks we find overwhelming, the same reframing is needed, perhaps even more so. Work itself brings purpose, and that is worth giving our whole selves to, otherwise listlessness and sadness will get us. We were made to find purpose and joy in the task of whatever is in front of us, no matter how simple. 

Millennials have swung the pendulum too far in the other direction. Yes, this generation have found the importance of purpose in their work. But only in work that has an end outside of itself. Work has been created with an internal, permanent purpose. Suggesting that meaning only comes from employment with obvious altruistic ends means that any other kind of work, domestic or employed, is devoid of this meaning. The same listlessness ensues in any role not found to have such an end. 

St Paul elevates work explicitly even beyond this created place of purpose. In his letter to a church in Colossae, he writes, ‘Whatever you do, work at it with all your heart, as working for the Lord, not for human masters.’ In other words, work is an act of worship, acting as if the task we are completing is for God, and putting the requisite effort in.  

Of course, this is a massive challenge. How many of us put as much work in to satisfy our bosses as we would if they were the ultimate director of our eternal destiny? But it does redeem those moments where we wonder what the point of what we’re doing is, who will see it, and if it is really worth doing properly at all. God sees. God knows. And that makes it worth doing properly. 

Paul also makes it clear here that work is not just what we get paid for. Work is everything we do that is not rest. Whatever we do - employed, at home, inrelation to our families. And this allows those who cannot work, in an employment sense, to take part in God’s purpose for humanity by working in a way in which they can. Whether it’s caring for a relative, nurturing a tiny veg patch, creating a piece of art, or hoovering the carpet. Find the purpose in the making, fixing, restoring, the very task itself. Do it as if God were watching. And feel yourself become more human. 

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8 min read

Paris 2024 and Christianity’s opening ceremony

A subversive Olympic opening relies on Christianity’s own beginnings.

Tim is an associate vicar of King’s Cross Church (KXC), a London-based Anglican church.

A painting of the Last supper showing Christ and the disciples at a table.
da Vinci's Last Supper.
Public domain, via Wikimedia Commons.

The opening ceremony of the 2024 Paris Olympic Games, held on the River Seine, has unsurprisingly caused controversy. Such moments, where one nation through pageantry and spectacle performs itself to all others, never fail to draw comment. The 2024 ceremony has drawn various detractors, not least those claiming the ceremony was an “attack on Christianity.” 

You might remember the masterful opening to the London 2012 games. Director Danny Boyle’s theatrical spectacle told a symbolic story of nationhood. By depicting the bucolic, the industrial, and the NHS, he considered the UK in both dark moments and at its brightest. With a great exhibition of British humour, James Bond appeared to parachute out of a helicopter with HRH Queen Elizabeth II, while Mr Bean entertained the whole wordlessly through sardonic single-finger piano playing.  

Widely held to be a creative triumph, Boyle was preceded by the Beijing Olympics where its opening ceremony, CGI fireworks put to one side, wowed the world with unprecedented size and scale, reminding us that we live in an era of Chinese power. 

Tokyo 2021, delayed by a year due to the Covid-19 pandemic, involved 1,800 drones filling the skies – a faultless demonstration of a technological age where Japanese engineering has been indispensable. 

The sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture. 

In 2024 Paris, the weather was perhaps the greatest focus of attention, which suited the British commentary perfectly. We Brits surely are the world experts in making light-entrainment out of describing rain. Soggy athletes sailed the Seine on a variety of uninspiring looking barges. Sanguine but soaked, the athletes dutifully waved and smiled; adorned not in gold, silver or bronze but flimsy ill-fitting plastic ponchos. 

Overshadowing this athletes’ parade were the creations of theatre director Thomas Jolly, mastermind of the whole ceremony. Boldly deciding to choose the city as a stage, rather than make use of the conventional choice of a stadium, the sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.  

Although the weather somewhat thwarted proceedings, it was the content of the performance that drew criticism.  

Far-right politicians decried Jolly’s offering as a violation of French nationhood. Conservative pundits focused their criticism on Jolly’s elevation of LGBTQIA+ culture. 

Christian commentators have, with various degrees of rancour, condemned a strange scene where Leonardo da Vinci’s famous painting of the Last Supper was subverted by a pastiche of ostentatiously queer characters. At the centre of which was not Jesus Christ but a robust-looking figure resembling Lady Liberty.  

Elon Musk spoke up in protest too, posting that it was ‘extremely disrespectful to Christians.’ Full-throttled cries of blasphemy resound, and probably for good reason. What we witnessed was Christ being usurped and replaced by the insurgency of self-expression and the currently sacred idea of diversity and inclusion. 

Ahead of the ceremony, Jolly told British Vogue about the heart behind his creation: “there is room for everyone in Paris. Maybe it’s a little chaotic, it’s true, but that allows everyone to find a place for themselves.” The opening ceremony will be a success, Jolly says, “if everyone feels represented in it.”  

I guess this isn’t the case for the thirty per cent of the world who would identify as Christian. That’s because every family and flavour of Christianity would recognise that Holy Communion, the central act of Christian Worship for 2000 years, the institution of which is depicted in da Vinci painting, was being publicly and globally vandalised.

When Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. 

How can we make sense of this moment? Is there anything more for the Christian to contribute other than indignation or outrage?   

Whenever something like this occurs it reminds me of the central role Christianity has played in Western culture. The intelligibility of the ceremony’s controversial scene rests on the idea that da Vinci’s painting is a globally recognised symbol. Otherwise, we would have just been watching a really strange dinner party with no food. But with Da Vinci’s famous painting in our mind the subversive power of Jolly’s scene hits hard.  

The view, popularised by the historian Tom Holland among others, would go as far as to suggest that Christianity’s effect on Western culture is so pervasive that even moments of protest and subversion, as we saw in the Paris ceremony, are cultural phenomena inherited from the Protestant Reformation.  Regardless of how far you agree with Holland’s thesis, Jolly's subversion only makes sense because of the dominant role Christianity has played in shaping the western imagination, and that is a position of latent power that should cause pause for reflection. 

I’ve read half a dozen articles from a certain sort of right-wing journalist who parrot thoughts like, “they wouldn’t do that with the Quran”. That might be right, but it fundamentally misses the point. Blasphemy, let’s say, in Iran, would certainly not involve the Last Supper.  

The scene made sense only because of Christianity’s now diminishing position of power but it's a position of power, nonetheless. When you align Jesus Christ with the status quo, with the corridors of power, when Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. Especially for anyone or any group that feels persecuted or marginalised. I’m not for a moment defending what Jolly did but trying to understand why it happened. 

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity.

The kind of cultural power Christianity has had in the West comes at the cost of clarity because Christianity was itself originally a counterculture. Crucifixion, a supreme act of imperial domination, became the foundation of Christian thought and ultimately its greatest symbol. The original Christian movement was seen itself to be blasphemous for contradictory reasons by both the Jewish and Roman religious leaders of the time.  

The fundamental difference between Christianity and merely holding conservative values that should not be transgressed, is God. It was genuine belief in Jesus Christ as the long-awaited messiah of the Jewish people and the Saviour of the whole world - a belief that led his first bedraggled and bewildered disciples to live in such radical and counter-cultural ways that many were killed by the Roman Empire.  

It is right for his followers today to speak up and say how wrong it is when the special and sacred things he did for them are yet again trampled on in public, but it's also worth remembering that’s how the story started - with Jesus’ body brutalised and broken. That somehow, in moments like this, we miss the power of Jesus when we simply defend him on grounds of “decency” and “respect.” Instead, if we return to the original events themselves, Jolly’s depiction, in its mockery and subversion, actually reveals the power of The Last Supper.  

Da Vinci’s painting was not intended for a gallery but was originally painted on the wall of a fairly obscure monastery, transported to a gallery years later to become primarily art, it is more a foundational aid to the faithful to remember the original events Da Vinci is depicting.  

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity. Every time a Christian takes Holy Communion - the central act of Christian worship for over 2,000 years - they remember the opening ceremony where: 

“Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins”  

The most peculiar part of the opening ceremony of Christianity - more peculiar than any sight we saw last night - is the presence of Judas. The biblical accounts describe Jesus’ knowledge of Judas’ intentions to betray him to the Romans, and yet Judas is still welcome to the table. If there’s space for Judas, then there is space for all of us. The opening ceremony Christianity cannot be remembered without the presence of Judas the betrayer, and Peter the coward or Thomas the doubter.  The great irony and the big mystery of the Christian Faith is that you can’t out-sin grace. You can mock it and subvert it, but Christ died for the ungodly.   

Last night’s scene doesn’t come close to the original events. Not only was Jesus betrayed by his friends, he was then tortured, humiliated and executed publicly in just about the most excruciating way humans have devised. That was blasphemy of another level, but it was also victory because God was choosing to love inclusively beyond any human metric.  

Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence. 

This means that there’s nothing more inclusive than the opening ceremony of Christianity and yet, at the same time, nothing more exclusive. It is not us who provide the food but God. In Jolly’s performance, the Last Supper scene was concluded by the French actor Philippe Katerine, emerging painted head to toe in blue. Whilst this bearded smurf caused baffled sniggers across the planet, Katherine was apparently representing Dionysius, The Greek god associated with wild drunken parties. The food on offer by Jolly is wild desire and self-expression. In Christianity the food is God himself, his body and his blood. God’s love is given not simply expressed, even to those who will betray him.  

Moments like this will become harder for Christians to navigate. It feels like just as a wave of secular liberalism wants to finally vanquish the power position Christianity has painted for centuries, a new conservative vanguard of resistance is rising to protect or enrol it for its own means. From the mouth of Modi or in Trump’s tirades, a new religiously armed populism is raging. Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.  

Take us back to the opening ceremony, to the foundation of Christian faith. Take us to the waterfall, where the torrent flows straight down from the mountain, and save us from the slow-moving sludge of the wide river downstream. Take me back to the opening ceremony of Christianity. To the table where God welcomes a Judas like me, to the meal where the master became a servant and washed his followers' feet. Take me back to eat food I could never afford and wine I could not create.