Is Cruelty the Price of Peace? — Another View on Gaza

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Timothy H. O’Sullivan, Harvest of Death
(Gettysburg, July 1863: the bloodiest battle of the American Civil War).

“War is cruelty, and you cannot refine it; and those who brought war into our Country deserve all the curses and maledictions a people can pour out.”

— William Tecumseh Sherman, 1864

“I confess, without shame, that I am sick and tired of fighting—its glory is all moonshine; even success the most brilliant is over dead and mangled bodies, with the anguish and lamentations of distant families, appealing to me … for sons, husbands, and fathers … it is only those who never heard a shot, never heard the shriek and groans of wounded and lacerated … that cry aloud for more blood, more vengeance, more desolation.”

— William Tecumseh Sherman, 1865

When General Sherman’s troops pillaged and burned their way across Georgia in the American Civil War, they ignored the conventions of traditional warfare. It wasn’t enough to defeat their counterparts in battle. The enemy’s support system had to be destroyed as well. Infrastructure, manufacturing, and food supply were all fair game. Regrettably, many civilians would have to pay the price of such “total war,” but breaking the popular will through suffering was seen as a critical means for hastening surrender. According to this heartless logic, the crueler the war, the sooner the peace. 

Sherman wrote “war is cruelty” in a letter to the Mayor and Councilmen of Atlanta, insisting that the city be evacuated in advance of its wholesale destruction by federal troops. “You might as well appeal against the thunder-storm as against these terrible hardships of war,” he told them. “They are inevitable, and the only way the people of Atlanta can hope once more to live in peace and quiet at home, is to stop the war, which can only be done by admitting that it began in error and is perpetuated in pride.” [i]

Sherman’s cruelties helped end the Civil War. But a few months after the Confederate surrender, he seemed to be haunted by the memory of all those “dead and mangled bodies” strewn across the American landscape. Though the guns of war had been silenced, “the shriek and groans” of the fallen still echoed in his head. 

The current war in Gaza is rooted in its own particular history of grievance, wounding, hate, and revenge, and it’s happening in a time and a culture very different from Sherman’s America. Nevertheless, when novelist Stephen Crane described Civil War battles as an impersonal force, a mechanism operating independently of human will, he could have been describing Gaza. War is like “the grinding of an immense and terrible machine,” he wrote in 1895. “Its complexities and powers, its grim processes” have one end: to “produce corpses.”

The Gaza war, in its first 40 days, has produced over 13,000 corpses, most of which were civilian non-combatants, including thousands of women and children. The ratio of Palestinian deaths to Israeli deaths is 10 to 1. Ten eyes for an eye. How many deaths will it take till we know that too many people have died? [ii]

For the extremists on both sides, military victory is not enough. Their opponents need to be “disappeared” from history. Instead of seeking peace by implementing just relations between the contending parties, they would rather remove the “other” from the equation altogether. End of story. 

Time’s up for war criminal Franz Kindler (Orson Welles) in The Stranger (1946).

The terrible finality of such a goal calls to mind a scene in The Stranger, a 1946 film noir directed by Orson Welles, who plays Franz Kindler, a Nazi war criminal fleeing his past by posing as Professor Charles Rankin at a New England college after the war. During a dinner party with his new bride Mary (Loretta Young), Wilson (Edward G. Robinson, playing a government agent with suspicions about Rankin’s true identity), and several academic colleagues discuss Germany’s postwar future, 

“Charles” argues that “the German” is incapable of peace. “He still follows his warrior gods, marching to Wagnerian strains, his eye still fixed on the fiery sword of Siegfried … The world is waiting for the Messiah, but for the German, the Messiah is not the Prince of Peace.” His words are a pretense—he himself is German—but as the conversation continues, his mask slips just enough to give a brief glimpse of his genocidal worldview. 

“But my dear Charles,” says one of his colleagues, “if we concede your argument, there is no solution. 

Kindler/Rankin:          Well, sir, once again I differ.

Wilson:                       Well, what is it, then?

Kindler/Rankin:          Annihilation—down to the last babe in arms.

Mary:                          Oh Charles, I can’t imagine you’re advocating a Carthaginian peace.

Kindler/Rankin:          Well, as an historian, I must remind you that the world hasn’t had much trouble from Carthage in the past two thousand years. [iii]

Annihilation of the other is not only supremely evil, it is strategically stupid. The more you kill, the more enemies you create. Violence, whether by terrorists or armies, will never bring lasting peace for Israelis and Palestinians. It can only perpetuate the futile Punch and Judy show of hit and hit back. Time for a new story. Can we get a rewrite?

Bartolo di Fredi,The House of Job Falls on his Children (Duomo, San Gimignano, 14th century).
The collapsing building calls to mind the bombing of Gaza.

In the fifth century B.C.E., the community of Israelites returned to Judah from a century of exile in Babylon. They set out to rebuild the ruined temple in Jerusalem and renew their identity as God’s people, dwelling in their promised homeland. The biblical books of Ezra and Nehemiah record this challenging process. As Robert Alter notes in his celebrated translation of the Hebrew Scriptures, 

“The community of returned exiles found itself in sharp conflict with other groups in the country, and the ideology promoted by both Ezra and Nehemiah was stringently separatist. Those who had remained in the land and claimed to be part of the people of Israel—in particular, the Samaritans—were regarded as inauthentic claimants to membership in the nation and were to have no role in the project of rebuilding.” [iv]

In a first-person account, Ezra reports his shock at finding that some Israelites, instead of keeping separate from the locals, had taken “foreign” wives for themselves and their children. “When I heard this thing,” he says, “I rent my garment and my cloak and I tore out hair from my head and my beard and I sat desolate” (Ezra 9:3) Why is he so upset? It’s because, as he put it, “the holy seed has mingled with the peoples of the lands.” As Alter explains, 

“The traditional reason for avoiding intermarrying was to keep apart from pagan practices. Although Ezra has this rationale in mind, here he adds what amounts to a racist view: the people of Israel are a ‘holy seed’ and hence should avoid contamination by alien genetic stock.” [v]

The desire to preserve identity in the face of diversity has been around as long as humans have lived in communities, but separatist ideologies that devalue or demonize the “other” have terrible consequences. Sooner or later, they “produce corpses.”   

It’s not just a problem for the Middle East. Just last week, in a chilling echo of Mein Kampf, the leading American fascist said that immigrants are “poisoning the blood of our country.” And, he added, they—along with anyone who dares oppose him—are “vermin.” Such dehumanization, as history has repeatedly shown, opens the door to the Carthaginian solution: annihilation.

Not everyone in ancient Israel bought into the separatism of Ezra and Nehemiah. Another biblical book, written in the same post-exilic period, proposes an alternative way of being. It is the story of Ruth, a Moabite “foreigner.” Moab was a perennial enemy of Israel. Any interaction with Moabites was forbidden in the Torah. Despite this, an Israelite who happens to live in Moab takes Ruth as his wife. When he dies, her mother-in-law Naomi decides to return to her hometown of Bethlehem. Although she expects Ruth to remain with her own people, Ruth has other ideas. She is unwilling to break the bonds of devotion between herself and Naomi:

Wherever you go, I will go with you. And wherever you lodge, I will lodge. 
Your people is my people, and your god is my god (Ruth 1:16).

Once in Bethlehem, she meets Boaz, her future husband. Like her first spouse, he’s an Israelite. In this story, intermarriage is not a problem. Not only is Ruth given one of the few happy endings in the Bible, that Moabite woman becomes the honored ancestor of King David. Cultural difference turns out to be a gift! This charming story challenges the dominant separatist ideology by picturing a much better world. As Alter explains, 

“Unlike the narratives from Genesis to Kings, where even pastoral settings are riven with tensions and often punctuated by violence, the world of Ruth is a placid, bucolic world, where landowners and workers greet each other decorously with blessings in the name of the Lord … In the earlier biblical narratives, character is repeatedly seen to be fraught with inner conflict and moral ambiguity. Even such presumably exemplary figures in the national history such as Jacob, Joseph, David and Solomon exhibit serious weaknesses, sometimes behaving in the most morally questionable ways. In Ruth, by contrast, there are no bad people.” [vi]

Jean-François Millet, Harvesters Resting (Ruth and Boaz) (1850-53).

Is the Book of Ruth only a fairy tale? Or is the promise of a diverse humanity living in peace a dream worth inhabiting? In a region where political success is so rare that people can’t even imagine progress; where mutual trust is on life support and intransigence rules; where existing leadership is part of the problem; where everyone is too busy killing, dying or grieving to think clearly about a viable future, such a dream may seem absurd. Nevertheless, considering the present alternative, perhaps a dream is required to supply the faith to advance, step by step, toward the world God intends for us. 

It will be a long and arduous journey—risky, too, but not as risky as remaining stuck in Deathville. It’s best to start soon—and to travel light. Let go of things that won’t be needed in the better story that lies ahead: mistrust, fear, and vengeance; discouragement, despair, and hopelessness; terror, settlements, and apartheid; despots, crooks, and liars. Along the way, plant seeds of peace, justice, patience, gentleness, kindness, humility, generosity, forgiveness, love and mercy wherever you can.

It’s been said that sin is the “refusal to be touched by the pain of others.” [vii] And the antidote, says Cynthia Bourgeault, is kenosis: the self-emptying whose name is Love:  

“When surrounded by fear, contradiction, betrayal; when the ‘fight or flight’ alarm bells are going off in your head and everything inside you wants to brace and defend itself, the infallible way to extricate yourself and reclaim your home in that sheltering kingdom is simply to release whatever you are holding onto—including, if it comes to this, life itself.” [viii] 

[i] Letter from W.T. Sherman to James M. Calhoun, E.E. Rawson, and S.C. Wells, September 12, 1864.

[ii] The line is borrowed from Bob Dylan. In Israel and Gaza, the answer is still blowin’ in the wind.

[iii] The screenplay for RKO’s The Stranger was written by Anthony Veiller, with uncredited contributions from John Huston and Orson Welles. The term “Carthaginian Peace” comes from Rome’s brutal subjugation of Carthage after years of warfare. In 146 B.C.E., the Romans burned Carthage to the ground and slaughtered most of its inhabitants.

[iv] Robert Alter, The Hebrew Bible, Vol. 3: The Writings (New York: W.W. Norton, 2019), 804.

[v] Ibid., 825 n. 2.

[vi] Alter, 622.

[vii] Rowan Williams, Looking East in Winter: Contemporary Thought and the Eastern Christian Tradition (London: Bloomsbury Publishing, 2021), 221.

[viii] Cynthia Bourgeault, Centering Prayer and Inner Awakening (Cambridge, MA: Cowley Publications, 2004), 87.

The Stephen Crane quote is from The Red Badge of Courage.

“We must learn to forget revenge”—Thinking about Gaza

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Palestinian Christian girl in Ramallah (May 1989). I photographed her on Easter Monday 34 years ago. Does she have children? Are they safe? If we could see every face as an icon of God, peace would come.

“[A] contemplative politics will be one that is capable (as seems so unthinkable in public life at the moment) of recognizing and naming our own failure, the hurt done as well as received, and the perpetual slippage toward violence.”

— Rowan Williams [i]

“It is not easy / To believe in unknowable justice / Or pray in the name of a love / Whose name one’s forgotten: / … spare / Us in the youngest day when all are / Shaken awake, facts are facts, / (And I shall know exactly what happened / Today between noon and three) …”

— W. H. Auden [ii]   

After the unspeakable savagery of October 7, how can anyone think? The violence is too visceral, the wound too deep. Dispassionate discourse on causes and solutions risks sounding cold and inhuman amid our “tears of rage, tears of grief.”  Susan Sontag tried it after 9/11: “Let’s by all means grieve together,” she wrote in The New Yorker. “But let’s not be stupid together. A few shreds of historical awareness might help us understand what’s happened.” [iii] Sontag’s cool detachment was widely criticized for being tone deaf to the moment. I will try not to be; forgive me if I fail. I have wept and prayed over this violence, but here I want to reach toward lucidity. And hope.

I’m admittedly no expert on the complex region and its conflicts. I was in the “Holy Land” for 40 days and 40 nights in 1989 and for 3 weeks in 1991, primarily on pilgrimage. But I spent some memorable time with Palestinians, and had an illuminating day with human rights advocates in Gaza—it looked like a war zone even then, with overturned trucks and ruined buildings. The Anglican Al Ahli Arab Hospital had performed 79 surgeries in a single day that month. But the day I visited the number was only 4: two for gunshots, two for beatings. I still can’t imagine the effect of living with so much death and violence year after year.

My only personal intifada moment came when I was videotaping a burning tire in an empty square in Ramallah. Two armed soldiers appeared out of nowhere, demanding to see what I’d shot, in case I’d caught the protesters on tape. Fortunately, my footage only showed the tire. I did not want to be the cause of anyone’s arrest.  

President Biden called Hamas’ sadistic violence “an act of sheer evil.” Only the heartless could disagree. The question now is: What do we—Israel, the United States, the Arab states, the whole human race—do about it? South Carolina Senator Lindsey Graham said, “Level the place” (meaning Gaza). He might as well have said, “Let’s be stupid together.” There are two million inhabitants in Gaza (half of them are children), and the indiscriminate mass slaughter of innocent and guilty alike would not eliminate terror, but only metastasize it. For terrorists, the blood of the “martyrs” is the seed of future violence. 

Sabir was 12 years old when I photographed him in 1989 at the Anglican Al-Ahli Arab Hospital in Gaza. He had a plastic bullet in his chest, but his spirit was strong, perhaps defiant. He would be 46 now. Was he destined to become a warrior, or did he find another path?

Many of us think of terrorism as an interruption of a normally peaceful world. Terrorists see conflict as a perpetual condition, and insist that their violence, whatever its methods and goals, is in response to something they didn’t start. For a very long time, the Middle East has suffered a seemingly endless cycle of violence and vengeance. To call the attack of October 7 “unprovoked” or “out of the blue” is a case of willful ignorance. It is in fact a particularly monstrous continuation of the cycle. Recognizing historical context in no way justifies the sickening barbarism of specific cruelties, but if we want to find a way forward we need to do better than just point fingers. As the Bible warns, “If we say we have no sin we deceive ourselves” (I John 1:8). 

The human rights consensus is that Netanyahu’s years-long blockade of Gaza has been a form of apartheid, an attempt to confine Hamas, whose declared aim is the destruction of Israel, within the Gaza Strip’s narrow boundaries. Tareq Baconi, president of the board of a Palestinian think-tank, believes that October 7 has undermined any illusions about the sustainability of that approach:

“The scale of the offensive and its success, from Hamas’s perspective, mean that we’re actually in a new paradigm, in which Hamas’s attacks are not restricted to renegotiating a new reality in the Gaza Strip, but, rather, are capable of fundamentally undermining Israel’s belief that it can maintain a regime of apartheid against Palestinians, interminably, with no cost to its population.” [iv]

Ruth Ben-Ghiat, an expert on authoritarianism, sees the malign ineptness of Netanyahu’s “strongman” regime as playing its own part in the crisis by oppressing Palestinians and weakening Israeli consensus. Many Israelis wish him gone. The Prime Minister, she writes,

“did not seem to care that empowering his far-right extremist partners (his Minister of National Security, Itamar Ben-Givr, has been convicted of supporting terrorism) to try and realize their fantasies of a Jewish ethno-state and West Bank annexation could have dangerous consequences for the nation. 

“With a two-state solution off the table for Netanyahu, repression of Palestinian human and political rights has been the default solution, along with giving Palestinians some limited economic benefits. That this was not tenable did not interest him. That typical authoritarian rigidity and hubris is why former Shin Bet head Ami Ayalon told Le Figaro that Netanyahu’s government bears ‘a large part of the responsibility’ for creating a climate that Hamas judged propitious for an attack.” [v]

Rob Rogers, “Innocent Civilians” (TinyView.com, Oct. 12, 2023)

Israel, of course, is not alone in its need to reassess the policies and paradigms of power for the sake of justice and lasting peace. As former Archbishop of Canterbury Rowan Williams says, we all need to come to terms with “our own failure, the hurt done as well as received, and the perpetual slippage toward violence.” Or as Auden put it, we need to be “shaken awake” and forced to face facts. It is simply not possible to unremember “what happened between noon and three” (the Crucifixion) and what will happen again and again until we choose a better way. 

During last week’s terror, the latest issue of the New York Review of Books arrived in my mailbox. The first article I saw, Suzy Hansen’s discussion of writer Phil Klay, opened with a paragraph that seemed made for the moment: 

“The act of killing people was once taken so seriously, Phil Klay writes in Uncertain Ground: Citizenship in an Age of Endless, Invisible War, that after the Battle of Hastings in 1066, a Penitential Ordinance was imposed on Norman knights: ‘Anyone who knows that he killed a man in the great battle must do penance for one year for each man that he killed.’ Klay, a forty-year-old veteran of the war in Iraq, considers such rituals beneficial not only for the psychological health of soldiers but also for their communities, because after a war the traumatized perpetrators ‘must reconstruct a view of faith, society, and ethics that will not merely collapse into the emptiness of the evil they have faced.’ A nation left flailing in the emptiness of evil becomes one in which that evil never ends.” 

Whether we are Israelis, Palestinians, Ukrainians, Russians, or citizens of the American empire, we are implicated, directly or by proxy, in perpetual global conflict, where the only true winner is the technology of violence—along with the few who profit by it. In Hansen’s words, the rest of us are “prisoners of that global technological warship that is always on the move.” 

How do we say no? How do we jump that warship? As Hansen reminds us, 

“The war on terror devastated entire countries, caused the deaths of millions of people, and turned tens of millions into refugees; countless more people were imprisoned, maimed, tortured, or impoverished.”

We might add to that distressing number the 30,177 American soldiers and veterans of the war on terror who have committed suicide over the last 20 years. A soldier quoted in Klay’s Uncertain Ground suggests a cause for such despair when he wonders, “Have I done an evil thing?” [vi]

Are the policy-makers and war-makers similarly troubled? Do they ever have PTSD after the harm they do? Auden’s “Epitaph on a Tyrant” is doubtful on this point. The poem’s last line exemplifies the fatal disconnect between the performative emotions of the powerful and the suffering they either cause or ignore. Whether or not the tyrant weeps, the children go on dying. 

Perfection, of a kind, was what he was after,
And the poetry he invented was easy to understand;
He knew human folly like the back of his hand,
And was greatly interested in armies and fleets;
When he laughed, respectable senators burst with laughter,
And when he cried the little children died in the streets. [vii]

Matteo di Giovanni, The Slaughter of the Innocents (Siena Cathedral floor,1481)

In recent days, thousands of bombs have been dropped on Gaza, which is under a state of siege. The severing of access to food, water and electricity is in itself a death sentence for many, especially those in hospitals. Al Ahli Arab Hospital, where I photographed 12-year-old Sabir in 1989, was struck by a bomb as I was writing this. It has been sheltering people displaced by the war, and the number of dead is thought to be around 500.

Israeli forces are preparing for a bloody invasion of Gaza, but there is a glimmer of hope in recent diplomatic moves to secure humanitarian aid and evacuation of civilians, and to win release for hostages. Even so, many more innocents are going to die, along with countless combatants. This war will win nothing but more rage and more tears.

Pete Seeger once said, “We must learn to forget revenge.” In a New York Times op-ed last Sunday, “What Does Destroying Gaza Solve?”, Nicholas Kristof told of meeting “a woman named Sumud Abu-Ajwa, whose home had been damaged by bombing in 2014 and whose husband had been injured and whose children were hungry.

“Do you want Israeli mothers to suffer like you?” I asked.

“Of course not,” she answered. “I hope God won’t let anyone taste our suffering.” [viii]

Jacopo Pontormo, The Deposition from the Cross (Santa Felicita, Florence, 1528). “The Christian’s response to the pain of another is as instinctive and non-negotiable as the mother’s involvement in the child’s suffering. And in this light, sin becomes a refusal to be touched by the pain of others.”
— Rowan Williams

Nothing but evil can come from feasting on revenge. Any further slaughter of the innocents will only produce more rage, more retaliation. So what to do? In the short term, work to free the hostages and aid the desperate. For the long term, practice justice, renounce oppression, and work for peace. Make space for one another. Trade tribalism for human solidarity. See God in every face.

As we approach All Hallows (November 1), the creative folly of saints comes to mind. Keeping their eyes on the prize, they refused the well-worn schemes of a death-haunted world in favor of practices shaped by divine love: self-forgetting and self-offering. Take St. Francis, for example, who went to Palestine during the Crusades. Making his way to the war zone, he crossed the battle line, unarmed, to seek out the Muslim leader, Malek el-Kamil. The sultan received him courteously, they had a friendly conversation about God and, it is said, Francis took time to say prayers in a mosque. “God is everywhere,” he told the sultan. 

I wish I could say that the example of St. Francis so moved the hearts of the adversaries that they laid down their swords and shields to live happily ever after. Alas, not so. But we still treasure that story for the day when the world might actually be ready for such holy wisdom. 

During World War II, when the Christian intellectual and activist Simone Weil was working in the London office of the French Resistance, she proposed a plan to parachute hundreds of white-uniformed nurses onto battlefields, not only to tend to the wounded but also to provide an image of self-sacrificial goodness in the midst of cruelty and violence. She herself wanted to be in the first wave of this non-violent invasion. In submitting her plan to the Free French authorities, she made a visionary argument:

“There could be no better symbol of our inspiration than the corps of women suggested here. The mere persistence of a few humane services in the very center of the battle, the climax of inhumanity, would be a signal defiance of the inhumanity which the enemy has chosen for himself and which he compels us also to practice … A small group of women exerting day after day a courage of this kind would be a spectacle so new, so significant, and charged with such obvious meaning, that it would strike the imagination more than any of Hitler’s conceptions have done.” [ix]

Charles de Gaulle thought her quite mad, and her plan of course went nowhere. What would happen if we tried such a thing in Gaza? God only knows. 

Yes, I can imagine what you’re thinking. But if I haven’t lost you by now, let me offer one final example of holy folly. 

In the 1990s, a community of eight French Catholic monks lived in the mountains of Algeria in a time of civil war and terrorist violence. Their monastery was at the edge of a poor Muslim village, where they lived in harmony with their neighbors, providing the only accessible health care. As the surrounding political violence escalated, the monks were warned by the government to leave the country. But they felt called to remain among the people they served, despite the high probability of martyrdom. Despite their own fears.

Their abbot, Dom Christian, wrote a letter to his family in Advent, 1993, two years before he and his brother monks were beheaded by terrorists. Anticipating his own martyrdom, he insists to his loved ones that he is not exceptional, since so many others in that land were also at risk.

“My life,” he wrote, “is not worth more than any other — not less, not more. Nor am I an innocent child. I have lived long enough to know that I, too, am an accomplice of the evil that seems to prevail in the world around, even that which might lash out blindly at me. If the moment comes, I would hope to have the presence of mind, and the time, to ask for God’s pardon … and, at the same time, to pardon in all sincerity him who would attack me…”

What an extraordinary thing to say: Here is a good and humble and holy man confessing his own complicity in the evils of the world. And what does he hope for? He hopes for the presence of mind, in the very moment of being murdered, to ask forgiveness. Forgiveness not only for himself, but for his killer as well. 

The end of his letter is addressed not to his family, his loved ones, but to the stranger who will one day kill him, the stranger whom he calls “my friend of the last moment.” 

“And to you, too, my friend of the last moment, who will not know what you are doing. Yes, for you, too, I wish this thank-you, this “A-Dieu,” whose image is in you also, that we may meet in heaven, like happy thieves, if it pleases God, our common Father.” [x]

Dear reader, imagine that!

Palestinian Christian girl, Ramallah (May 1989). “The Lord is my light and my salvation; whom then shall I fear?” (Psalm 27:1)

[i] Rowan Williams, Looking East in Winter: Contemporary Thought and the Eastern Christian Tradition (London: Bloomsbury Publishing, 2021), 194. Williams, former Archbishop of Canterbury, goes on to say that “we can perhaps begin to understand why Evagrios can say that apatheia, our liberation from defensive and aggressive instinct, is the gateway to love—as well as to a justice that has some claim to be a little more transparent to the just vision that God has for the creation.”  

[ii] From “Compline,” the penultimate poem of Auden’s Horae Canonicae (the Canonical Hours, which take us through successive portions of one particular day: Good Friday).

[iii] Susan Sontag, The New Yorker, September 24, 2001.

[iv] Bariq’s organization is Al-Shabaka, the Palestinian Policy Network. He was interviewed for The New Yorker by Isaac Chotiner: “Where the Palestinian Political Project Goes from Here” (Oct. 11, 2023):  

https://www.newyorker.com/news/q-and-a/where-the-palestinian-political-project-goes-from-here

[v] Ruth Ben-Ghiat, “What Will Be the Destiny of Netanyahu?” (Oct. 12, 2023): 

https://lucid.substack.com/p/what-will-be-the-destiny-of-netanyahu

[vi] Suzy Hansen, “Twenty Years of Outsourced War,” New York Review of Books (October 19, 2023), 26-28.

[vii] Auden’s “Epitaph on a Tyrant” is rendered in a plaintively sung version by Tom Rapp under the title “Footnote” (Pearls Before Swine, These Things Too). That’s where I first discovered it 50 years ago, and that last line still haunts me.

[viii] Nicholas Kristof, “What Does Destroying Gaza Solve?”, New York Times (Oct. 15, 2023)

[ix] Simone Weil, quoted in Robert Zaretsky, The Subversive Simone Weil: A Life in Five Ideas (Chicago: University of Chicago Press, 2021), 155. For more on Weil and war: https://jimfriedrich.com/2022/03/01/we-must-love-one-another-or-die-what-does-the-iliad-tell-us-about-the-invasion-of-ukraine/

[x] The full story and its texts may be found in Bernard Olivera, How Far to Follow? The Martyrs of Atlas (Petersham, MA: St. Bede’s Publications, 1997). The story is also beautifully and movingly told in the film, Of Gods and Men (2010), directed by Xavier Beauvois.

The Journey Ends: Durham Cathedral

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St. Cuthbert’s Cross (late 7th century). This pectoral cross of gold and garnet was found in St. Cuthbert’s coffin in 1827. It was hung around his neck, but whether he wore it in life is uncertain.

This is the third and final part of my pilgrimage account from St. Cuthbert’s Way and beyond. 
The previous installments can be found at these links: 

Walking St. Cuthbert’s Way

Grace and Beauty on Holy Island

The Journey, Fenwick Lawson (2008).
The original wooden sculpture of the Lindisfarne monks carrying Cuthbert’s coffin to safety is in St. Mary the Virgin on Holy Island. This bronze version is in Durham’s Millennium Square, below the cathedral where Cuthbert’s long journey ended at last. It seems a bit lost in the bleak vacancy of the square’s secular space (an effort to move the 2.5 ton sculpture to the cathedral grounds failed), but that makes it a parable of the Church in an age of religious displacement, wandering in search of an abiding home. The change-ringing bells were sounding from a nearby church when I shot this video.

“By faith … he set out without knowing where he was going … 
He looked forward to a city with firm foundations, 
whose architect and builder is God.” (Hebrews 11:9-10)

After the peripatetic St. Cuthbert died in his island hermitage, his body continued to wander for nearly nine centuries: to the mainland for burial in the monastery church (687) … into a newly built sepulcher (698) … inland to various temporary hiding places during 8 years of Viking terror (875-883) … under the protection of a new regional king, to Cuncasestre (Chester-le-Street), where a new church held his shrine for 112 years (883-995) … fleeing new Norse threats, south to Ripon for 4 months (995) … north to Wrdelau, near the River Wear, where the coffin-bearing cart broke down, as if the saint himself were refusing to go any further (995, for 3 days of prayer for guidance) … spurred by a vision (or was it the assistance of a dairymaid searching for her cow?), the saint’s entourage moved his remains to the nearby Dunholme (“Hill Island”), a naturally protected peninsula rising above a loop in the river, where they built a rough shelter (995-999) … then into a succession of more permanent structures on Dunholme (999-1069) … after 70 years, under threat from William the Conqueror, the Norman king who was “harrying the north,” a brief return to his old monastery at Lindisfarne (1069-1070) … back to the church on Dunholme, where Durham was becoming a major English settlement (1070-1104) … translated into a shrine behind the high altar in the completed east end of the great Norman cathedral-in-progress (1104) … moved into a more richly embellished shrine set upon a raised floor (1280) … after the stripping and destruction of the shrine under Henry VIII, reburied in an unadorned vault in the same location (1542), where it remains to this day.

“The towers are the preachers and prelates: who are her wards and her defense.”
— Hugh of St. Victor, The Mystical Mirror of the Church

How awesome is this place! 
Truly, this is none other than the house of God; 
it is the gate of heaven. 

— Genesis 28:17

The cathedral raised to shelter Cuthbert’s shrine is one of the world’s most magnificent buildings. Set high on the rock of Dunholme, its dominant presence is softened by the lush foliage veiling its base. A Romantic might imagine it a miracle of stone, springing up supernaturally from the forest primeval. In fact, its monumental architecture was part of a dramatic upwelling of energy, intellect and confidence surging throughout Europe at the dawn of the twelfth century. Cities and universities, trade and travel, churches and cathedrals all burst into bloom in that sudden quickening of western civilization. 

Durham Cathedral rises from a peninsula formed by a loop in the River Wear.
“Who shall ascend the hill of the Lord? And who shall stand in God’s holy place?” — Psalm 24:3
The western towers seen from the 218-foot crossing tower.

In England, the first cathedrals were begun in the Romanesque style imported from Normandy. Durham Cathedral is the only one to retain the purity of its original Norman craftsmanship and design, although the western towers reflect the emerging Gothic style, and the fifteenth-century crossing tower, replacing a previous tower damaged by lightning, is late Gothic. 

In the nave, the alternating rhythm of round columns and compound piers divides the linear flow into bays.
Each bay, marked on the ceiling by two x-shaped pairs of diagonal ribs, is bounded at its edges by pointed transverse arches springing from a pier on either side. The introduction of rib-vaulting in the nave was unprecedented.

Some large churches employ a repetition of identical columns, topped by horizontal bands of wall, windows or arches, sweeping us forward toward the altar. But Durham Cathedral created an alternating system of columns and piers, dividing the horizontal space into bays. This structural rhythm affects the way our bodies move through the space. As theologian J. G. Davies explains,

“The consequence is that equal strophes, following each other down the vista of the nave, have given way to alternating strong and weak stresses, i.e., of piers alternating with columns … The nave walls are now a linear sequence of individualized parts that retard any rapid flow towards the sanctuary.” [i] 

The massive columns (27′ high, 7′ in diameter) are deeply grooved with geometric patterns, creating a striking ensemble of variations unique to Durham Cathedral. They leaven the brute monumentality of thickness and weight with an almost whimsical sense of play.
The dense stone forest of columns and compound piers makes visible the symphonic array of colossal forces poised here in perfect balance. Being in their midst produces both humility and awe.

 While later cathedrals would pursue the Gothic dematerialization of the built structure, with walls becoming thinner and transparent with glass, and ceilings reaching toward the sky, Durham exudes a sense of solidity and weight. Thick walls and massive pillars, supporting the heavy stone roof, signify permanence and strength. Although such features can feel oppressive in more primitive Romanesque churches, nothing here feels inert or stifling. The articulation of details, such as rib vaults, geometric patterns, variations in column design, blank arcades, and a recessed series of arch moldings, all serve to enliven and animate the whole without compromising the overall simplicity, austerity and calm befitting its origins as a monastic enclosure. 

The skill and scale of the spiral grooving was a striking innovation in Romanesque architecture.

“The architect can work with the empty space—the cavity—between the solids, and consider the forming of that space as the real meaning of architecture.” 

— Steen Eiler Rasmussen [ii]

The cathedral is not simply a collection of solid parts. It is also the empty space shaped by its physical components. Length (horizontality) and height (verticality) are the fundamental dimensions of this space. The path between entrance and altar (or shrine) signifies life as a pilgrimage: there is a distance to be traversed, but the goal may yet be reached. At the same time, an interior that soars above our heads keeps us mindful of the Transcendent: it cannot be grasped or possessed, but it awakens our aspiration for a greater, higher reality. And throughout the whole, the interplay of light and shadow, immensity and intimacy, flow and obstacle, openness and containment, hiding and revealing lures us deeper into the Mystery beyond words. 

View from the north transept into the north aisle and the nave beyond. The multiple intersections of solid shapes and empty spaces generate a continuous play of hiding and revealing. You can’t see it all from just one place. The whole must be experienced through movement.

“[When] work reaches a maximum of intensity, when it has been made with the best quality of execution, when it has reached perfection … When this happens, the places start to radiate. They radiate in a physical way and determine what I call ‘ineffable space,’ that is to say, a space that does not depend on dimensions but on the quality of its perfection. It belongs to the dimension of the ineffable, of that which cannot be said.” — Le Corbusier [iii]

“Walk about Zion, go all around it. count its towers, admire its walls, scale its heights, that you may tell generations to come that such is God.” (Psalm 48:12-14)

Some have argued that a church is not a place for a casual visitor to have a worship experience. It is not a shelter for an altar or holy object, but for an assembly, and it has no meaning or symbolic power apart from its liturgical function. At the other end of the spectrum is Joseph Campbell’s assertion that one can be “reborn spiritually by entering and leaving a church.” 

For me, Durham Cathedral is both/and, not either/or. Many of its 700,000 annual visitors may not share the symbols, narratives, and rituals which have shaped its construction and history, but only the deadest of souls would remain unaffected by this sacred space. We all need “places which allure us with their beauty, which call us to a halt, which refresh us with their charm and are a positive ease and delight for the spirit.” [iv]  We all need rooms that care.

Lighted candles remind us this is a house of prayer. The three elevations of arcade, gallery, and clerestory have balanced proportions rarely achieved in the Norman style. The predominant height of the arcades gives the vertical an edge—but not too much—over the horizontal. The recessed moldings of the arches enhance the sense of depth, while the zigzag detail enlivens the stone. The undecorated arch on the left predates the craze for zigzags.

G. K. Chesterton said that the Church is “the only thing which saves a man from the degrading slavery of being a child of his age.” [v]  Cathedrals are no longer centers around which whole cities or cultures are organized, nor do they hold an exclusive copyright on the sacred, but they remain indispensable preserves of experiences and perspectives necessary for the health of our souls and the life of the world. When our medieval predecessors entered their cathedrals, “they were the enraptured witnesses of a new way of seeing.” [vi]  And, I would add, participants in a new way of being. May it be ever so.

The physical act of wandering through Durham Cathedral exerts a formative effect on body, heart, and intellect, deepening the sense of life as pilgrimage and passage. As our eyes and our feet move through the cathedral along its system of paths and enclosures, we feel the pull toward a goal, be it altar or shrine. At the same time, the way is strewn with burning bushes, inviting us to turn aside for a moment—or pause to look up—that we may receive and ponder their wordless message of holy presence. 

The star-shaped vaulting of the central tower above the crossing glows with the light of 8 clear windows. A 15th-century replacement for a damaged tower, it soars to a very un-Norman height. As you walk up the nave, the sudden expanse of luminous space overhead is thrilling.
Transfiguration window, south choir aisle (Tom Denny, 2010). Christ and the disciples are in the two central panels. Cuthbert, praying with outstretched arms on an island, is in the middle of the left panel.
Stained glass window light paints the south chancel aisle near the steps to St. Cuthbert’s tomb.
The Sorrowful Mother, part of Fenwick Lawson’s Pieta (1974-1981), in the east end of Durham Cathedral. When the beech wood sculpture was on loan to York Minster in the 1980s, a fire in the transept rained molten lead upon Christ and Mary. The artist accepted that wounding of the figures as a deepening of the Passion image.

At the east end of the cathedral, behind the high altar, is the tomb of St. Cuthbert. Stripped of its once lavish adornments by the decline of medieval pilgrimage and the predatory greed of Henry VIII, its quiet simplicity seems much more suited to the spirit of the humble saint who preferred bare and wild places. 

Cuthbert’s tomb, in a raised feretory behind the high altar. After his remains came to rest here in 1104, it became a great pilgirmage site and one of England’s most sumptuous shrines. By the 16th century, interest had dwindled, and after Henry VIII’s men plundered its riches, this simple slab replaced its elaborate predecessor. Cuthbert, known for his humility, would not have minded.

When I reached the feretory, I ascended the steps to the tomb. Here was my journey’s end. As T. S. Eliot said of another holy place, 

You are not here to verify,
Instruct yourself, or inform curiosity 
Or carry report. You are here to kneel 
Where prayer has been valid. [vii]

And so I did. I gave thanks to God and his saint for the beautiful pilgrimage, remembering the beauty of the people and the wonders all along the way from Melrose to Holy Island to Durham. I reflected on the stories of Cuthbert and his times, his warm spirit and faithful heart, feeling gratitude for the gift of saints who show us how. But I did not linger. What the angel said on Easter morning applies to every tomb: He is not here. Cuthbert still walks the paths of memory which I traced in homage. And he also goes before us—into the human future, deeper and deeper into God. 

Happy from now on are those who die in the Lord. So it is, says the Spirit, for they rest from their labors. (Book of Common Prayer)

Much of what we know about St. Cuthbert is due to the eighth-century writings of the Venerable Bede, the great scholar-monk of the Early Middle Ages. A teenager when Cuthbert died, Bede remains linked to Cuthbert by more than his writing. His own remains, enclosed in a silk bag, were housed with Cuthbert’s at Durham for 348 years, until given their own separate shrine in 1370. After the English Reformation put an end to shrines, Bede’s remains were reburied in the floor of Durham’s Galilee Chapel, at the opposite end of the cathedral from Cuthbert’s tomb. To walk the length of the interior, from Bede in the west to Cuthbert in the east, felt like a recapitulation in miniature of my entire pilgrimage. Every step a prayer.

The Latin names of Bede and Cuthbert, inscribed on their tombs.

When I made my plans to visit Durham after St. Cuthbert’s Way, I neglected to check my liturgical calendar, so it was a wonderful surprise to learn I had arrived on the very eve of Bede’s feast day and—to my further amazement—in the thousandth year since the Translation of his Relics into Cuthbert’s tomb. What a glorious conclusion to my pilgrimage! It was pure gift, not something I had thought up in advance. That evening I joined a sung eucharist, celebrated at Bede’s final resting place in the Galilee Chapel. His simple stone tomb served as the altar. As incense drifted through the forest of stone columns, the choir sang William Byrd’s exquisite Mass for Four Voices, and the congregation added our own voices in exuberant hymnody.

The Galilee Chapel was added to the cathedral’s west end, taking the cathedral too close to the edge of the bluff to allow a traditional west front (the entrance is on the north side). Built later in the 12th century than the main church, it displays a lightness more akin to Gothic than the weighty structures of Romanesque. Its multiple rows of graceful arches on slender columns may have been influenced by Andalusian architecture such as the mosque at Cordoba.
In the Middle Ages, murals were painted on the cathedral walls, but Reformation iconoclasts covered them with whitewash. Victorian restorers tried to scrape off the white, but destroyed most of the murals in the process. These surviving images in the Galilee Chapel show Christ crucified and a bishop in 12th-century vestments, possibly meant to be Cuthbert.
The tomb of the Venerable Bede in the Galilee Chapel became the holy table for the eucharist on the eve of his feast day.

Recalling Bede’s significance as “the father of English learning,” we prayed for “all biblical scholars and writers and all who translate and interpret your word in every part of the world.” Praising God for Bede the historian, we prayed for “church historians and all who interpret the past to strengthen witness in the present.” And we sang,

For his example we give thanks,
His zeal to learn, his skill to write;
Like him we long to know God’s ways
And in God’s word drink with delight …

Teach us, O Lord, like Bede to pray,
To make the word of God our joy,
Exult in music, song and art,
in worship all your gifts employ. [viii]

The next evening, on the feast itself (May 25), a beautiful Evensong was held in the main church, followed by a procession of clergy, choir and people to the Galilee Chapel. Since I was sitting at the front of the nave, I was the first to leave my pew to trail the choir. For a moment I wondered if I had misunderstood the instructions in the bulletin. No one else seemed to be joining me. Uh-oh, I thought, worrying that this bumbling priest from the Colonies was violating liturgical decorum. Then, to my relief, others began to step into the aisle, and together we made our way to Bede’s tomb, singing a hymn to the glorious tune of Westminster Abbey: 

Here in England, through the ages,
While the Christian years went by,
Saints, confessors, martyrs, sages,
Strong to live and strong to die,
Wrote their names upon the pages
Of God’s blessèd company. [ix]

The Galilee Chapel was soon packed with worshippers. I was herded into a spot in front of the tomb, just three feet from the lead boy soprano. Though his body was small and willowy, it produced sounds of astonishing amplitude and soaring clarity in anthems by Palestrina, Tallis, and Edwin George Monk. I’ve never stood so near a voice so beautiful. The nineteenth-century Anglican cleric Sidney Smith said that his idea of heaven was eating pâté de foie gras to the sound of trumpets. For me, heaven would be standing three feet from the angel choir. I could skip the goose liver. 

At one point in the liturgy, one of Bede’s most memorable stories was read aloud: the Anglo-Saxon parable of the sparrow in the banqueting hall, to my mind one of the best existential arguments for places like Durham Cathedral to exist—they nourish and perpetuate a way of knowing that is the alternative to despair. Here’s how Michael York tells the story in a video I made in 1988, The Story of Anglicanism. 

Michael York tells Bede’s story of the sparrow in the banqueting hall.

The morning after Bede’s feast, I took a train to London. As a coda to my Cuthbert pilgrimage, I wanted to see the two books at the British Library with close connections to the saint. One was a pocket-size copy of John’s Gospel, discovered in Cuthbert’s coffin four centuries after his death. It may have been his personal copy, or a posthumous tribute placed near his body by a fellow monk. It is the oldest European book still in its original binding.

The St. Cuthbert Gospel of John (early 8th century) is the earliest intact European book, still in its original binding. It was kept in the coffin with his body for over 400 years. Passing into private hands during Henry VIII’s Dissolution of the monasteries, it was purchasd by the British Library in 2012.

Cuthbert loved the Fourth Gospel. When Boisil, his old monastic mentor, told him he expected to die within seven days, Cuthbert asked him, “Which book would it be best to read if we only have a week?” Boisil replied, “The Evangelist John.” And for the next seven days, until Boisil’s death, the two monks did Bible study together. Bede, who recorded this story for posterity, added a comment: “They dealt with only the simple things of the faith which worketh by love and not deep matters of argument.” [x]

The first page of St. Cuthbert’s Gospel: In principio erat verbum (In the beginning was the Word).

The other treasure I had to see was the Lindisfarne Gospels, one of the most beautiful books ever made. Thought to be the work of a single man, Eadfrith, third bishop of Lindisfarne after Cuthbert, it was laboriously produced a few decades after the saint’s death, “for God and St. Cuthbert and all the holy people who are on the island.” It was probably displayed for veneration at the saint’s shrine at Lindisfarne until the ninth-century Viking incursions. When Cuthbert’s remains and relics began the long exodus that ended in Durham, the Lindisfarne Gospels went with them. 

The LIndisfarne Gospels (c. 720), now at the British Library. It took Bishop Eadfrith an estimated 5-10 years to produce by hand.

Alas, the two pages on view during my visit contained no images, only text. The Latin was written in the handsome “Insular half-uncial” script. Between the lines is a word-by-word translation into a Northumbrian dialect of Old English, added in the tenth century by a priest named Aldred. Although librarians may shudder at the thought of a book being defaced by a reader, Aldred, I presume, was trying to make the gospels more readable. In any case, his scribbles have the honor of being the earliest surviving translation of the gospels into English. 

Latin text of the Lindisfarne Gospels, with Aldred’s Old English translation between the lines.

What I had most hoped to see was one of this book’s celebrated illuminations, particularly the “carpet pages,” a suite of four variations on the symbol of the Cross, embedded within mesmerizing patterns, both abstract and zoomorphic. Michelle P. Brown, a longtime curator of the Lindisfarne Gospels, calls these pages “[painted] labyrinths of prayer, prefiguring the devotional pavement-mazes of Chartres and other of the Gothic cathedrals by half a millennium or more.” [xi]  Although my eyes had not seen the glory of those magic carpets of colored ink, I departed the British Library in peace. A glimpse of the book itself was enough—for now. 

Each of the four carpet pages in the LIndisfarne Gospels has a distinctly different design (clockwise from upper left: Matthew, Mark, Luke, John). They may have been inspired by decorative 7th-century prayer rugs used in Rome and Constantinople for kneeling before the cross on Good Friday.

On my last day in Durham, there had been a splendid noonday choral concert in the cathedral by students from southern California’s Pomona College. That school is near a parish where I once served, and the connection delighted me—a taste of home in a faraway land. With St. Cuthbert’s Way behind me and God knows what before me, their final song spoke a word of grace and blessing to my pilgrim heart.

I’ll be on my way, I’ll be on my way; 
I’ll have laid my frown and all my burdens down,
I’ll be putting on my crown,
I’ll be on my way.

When I am gone, don’t you look for me in the places I have been;
I’ll be alive but somewhere else, I’ll be on my way again!  [xii]

To this temple, where we call thee, come, O Lord of Hosts today;
With thy wonted loving-kindness hear thy servants as they pray,
And thy fullest benediction shed within its walls alway.

Photographs and videos are by the author.

[i] J. G. Davies, Temples, Churches and Mosques: A Guide to the Appreciation of Religious Architecture (New York: The Pilgrim Press, 1982), 152-153.

[ii] Steen Eiler Rasmussen, quoted in Thomas Barrie, Spiritual Path, Sacred Place: Myth, Ritual, and Meaning in Architecture (Boston, MA: Shambhala Publications, 1996), 46.

[iii] Le Corbusier (1887-1965), designed one of the landmark examples of modern religious architecture, Notre Dame du Haut at Ronchamp, France. Though not a Christian believer, he believed in the power of architecture to create a spiritual environment. Quoted in James Pallister, Sacred Spaces: Contmporary Religious Architecture (New York: Phaidon Press, 2015), 9.

[iv] T. J. Gorringe, A Theology of the Built Environment: Justice, Empowerment, Redemption (Cambridge: Cambridge University Press, 2002), 258.

[v] G. K. Chesterton, quoted in Steven J. Schloeder, Architecture in Communion: Implementing the Second Vatican Council through Liturgy and Architecture (San Francisco: Ignatius Press, 1998), 227.

[vi] Michael Camille, quoted in Philip Sheldrake, Spaces for the Sacred: Place, Memory, Identity (Baltimore, MD: The Johns Hopkins University Press, 2001), 58.

[vii] T. S. Eliot, “Little Gidding” (1942) in Four Quartets.

[viii] “We sing to God in praise of Bede,” text by Rosalind Brown. 

[ix] “God, whose city’s sure foundation,” text by C. A. Alington.

[x] From Bede’s Life of St. Cuthbert, quoted in Philip Nixon, St. Cuthbert of Durham (Gloucestershire, UK: Amberly Publishing, 2012), 28.

[xi] Michelle P. Brown, The Lindisfarne Gospels: Society, Spirituality & the Scribe (London: The British Library, 2003), 77-78. Brown curated a 2003 exhibition, “Painted Labyrinths: The World of the Lindisfarne Gospels,” so I added “painted” to the citation from her book.

[xii] Shawn Kirchner, “I’ll Be On My Way,” can be heard on his album, Meet Me on the Mountain (2006). The Pomona College Glee Club is under the direction of Donna M. Di Grazia. Their entire program was inspiring and beautifully sung—one of the highlights of my journey.

Grace and Beauty on Holy Island

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St. Cuthbert among the ruins of the 12th-century LIndisfarne Priory. Durham sculptor Fenwick Lawson carved the original from an elm tree in 1983. This bronze casting was installed in 1999.

In my recent post, Walking St. Cuthbert’s Way (7/28/2023), I described my 100-kilometer pilgrimage walk to the Northumbrian coast, where I had my first glimpse of Holy Island, where Cuthbert had been prior and bishop in the seventh century. In this installment, I cross over the tidal flats to reach my goal and discover why I had come. 

I’ve always been fascinated by the open-ended wanderings of the Dark Age Celtic monks. They journeyed without maps, trusting the way would be shown in due time. They got into little boats without oars or rudders, letting the wind and the currents be the agents of Providence. And where did they end up? Wherever it might be, they believed it was a place appointed for them by God. “The place of resurrection,” they called it. The place where they would meet Christ, the one “who knows you by heart.”[i]

But the arrival was, in a way, beside the point. The journey was the thing—the way of total abandonment and radical trust. Unlike ourselves, who think we already know who we are and where we should go, they traveled without preconception. In their eyes, you don’t know who you really are before you go on pilgrimage. Only the way of abandonment and unknowing will bring you home to your truest self. 

The author begins the final two miles of St. Cuthbert’s Way across the tidal sands to Holy Island.

“As a man dies many times before he’s dead,
so does he wend from birth to birth until, by grace, he comes alive at last.” 

— Frederick Buechner, Godric [ii]

Holy Island is only a part-time island. When the tide goes out, you can walk across the exposed sands, or drive over the causeway. Pilgrims properly go on foot, timing their two-mile passage to coincide with low tide. You don’t want to be caught in the middle when the waters return, swallowed like the Egyptians of old. Yes, the Red Sea comes to mind here, and the river Jordan—those great baptismal archetypes of crossing over from bondage to freedom, old to new, death to life. As I took my first steps on the wet sand, I sang one of my favorite shape note hymns:

Filled with delight, my raptured soul would here no longer stay;
Though Jordan’s waves around me roll, fearless I’d launch away.
I am bound for the Promised Land …[iii]

I had brought some rubber beach slippers, thinking I might need a barrier against cold water or sharp objects, but the sand immediately sucked them off my feet. I got the message: pilgrimage abhors self-protection. When you walk on holy ground, no shoes! 

“God lifted me out of the mire and clay, set my feet upon a rock, and put a new song in my mouth.”
Psalm 40:2-3

I was the only pilgrim on the sands in the early morning. The blessed solitude sanctified my final steps on St. Cuthbert’s Way. Halfway across, I began to hear an eerie keening sound, like wind through a broken wall. But that made no sense out on the tidal flat. After looking about with binoculars, I spied a dark mass at least a mile away. It was, I realized, hundreds of beached seals, pining for their absent sea.  

The seals of Holy Island.

It took me seventy-five minutes to reach the other side, and another ten to find the parish church of St. Mary the Virgin, where I lit a candle to give thanks for the beautiful journey. 

Prayer station in St. Mary’s. Public liturgies are offered daily in this (mostly) 13th-century church adjacent to the Priory ruins.
Chancel of St. Mary the Virgin, Lindisfarne’s parish church. Most of the structure is 13th century (restored in the 19th century), but some portions of an earlier building remain. The carpet, copied from a page in the Lindisfarne Gospels, was embroidered by 18 women of the parish in 1970.

The Anglican parish church stands adjacent to the ruins of the twelfth-century Lindisfarne Priory, erected on the site of the seventh-century monastery founded by St. Aidan and nurtured by St. Cuthbert. I would return to this peaceful sanctuary again and again during my three-day sojourn on Holy Island. Sarah Hills, the gracious vicar, invited me to read Scripture at Morning and Evening Prayer. One of those passages was the comic narrative of Balaam and his recalcitrant speaking donkey, perhaps the oddest story in the Bible (Numbers 22:1-39). It was a very long text, so I tried to give each character a distinctive quality to sustain interest. The donkey’s voice got a few laughs.  

On Ascension Sunday, the eucharist was crowded with pilgrims from many lands. I passed the Peace with Africans, Asians, Europeans, North and South Americans. The singing was spirited—no half-hearted voices after such a journey. Our harmonious sound enveloped me in the embrace of communal faith, and for a blessed hour my “I” became “we.” The offertory hymn happened to be “Lord of all hopefulness,” which celebrates the daily round of prayerful living: Be there at our waking … be there at our labors … be there at our homing … be there at our sleeping. I memorized it long ago in my teens, and I had sung it at the start of every day along Cuthbert’s Way. To repeat it now at Lindisfarne, with all the company of heaven, wasn’t just coincidence; it was grace. I received its gift with tears.

St. Cuthbert preaching to the Northumbrians (late 12th-century illustration for Bede’s Life of St. Cuthbert).

“They confessed their sins, confided in him about their temptations, and laid open to him the common troubles of humanity they were laboring under … Spirits that were chilled with sadness he could warm back to hope again … Those beset with worry he brought back to thoughts of the joys of heaven .…” [iv]   

— The Venerable Bede, Life of St. Cuthbert

Cuthbert has, through the ages, been the most beloved of Britain’s northern saints. Although he left no writings of his own, his biographers describe a humble and prayerful man, full of charm, a citizen of heaven who devoted his life to the needs of earthly folk. He had a compassionate spirit, and was a gifted listener. When the responsibilities of leadership were thrust upon him, he accepted them in a spirit of obedience. But he had a hermit’s heart, and no thirst for power. 

At age thirty, he became Prior of Lindisfarne in 664, and was assigned the difficult task of introducing the forms and practices of the Roman church to his resistant Celtic community. In a momentous decision at the recent Synod of Whitby, the Celtic churches in Britain had agreed to adopt the more universal—and hierarchical—norms of western Catholicism, surrendering the eccentricities of their more local traditions. But religious practices are hard to change, and Christian changemakers in every age have heard the same complaint, “But that isn’t the way we’ve always done it!” The seventh-century monks of Lindisfarne were no different than the Christians of our own time who fought women’s ordination or new forms of worship. They were uncomfortable. And they raised a fuss.

In Lindisfarne’s case, Cuthbert’s patient sweetness won the day. As the Venerable Bede tells the story,

“When he was wearied by the sharp contentions of his opponents he would rise up suddenly and with placid appearance and demeanor he would depart, thus dissolving the Chapter, but nevertheless on the following day, as if he had suffered no opposition the day before, he would give the same exhortations again to the same company until he gradually converted them to his own views.” [v]

Foundation of an Anglo-Saxon church on the Heugh, the rocky ridge above the 12th-century ruins of Lindisfarne Priory. Discovered in recent excavations (2016-2018), this may have been part of the original monastery founded by St Aidan in 635.
View from the nave of Lindisfarne’s Priory church (12th century, with modifications over the next 200 years). The north wall and arcade remain largely intact. The rainbow arch, a rib from the crossing vault, survived the collapse of the central tower in the 18th century. The pointed arch at the east end of the presbytery apse is a 14th-century Gothic touch.
Lindisfarne Priory (12th century). The church was built first with pink sandstone.
The domestic complex was constructed later using greyer stones.
St.Cuthbert’s Isle, St. Mary’s Church, and Lindisfarne Priory from the Watchtower on the Heugh.

Time has erased the physical traces of Cuthbert’s Lindisfarne, but the impressive ruins of the Priory’s later structures still bear witness to his indelible legacy. After his death, pilgrims flocked to his shrine, thought to have been somewhere within the perimeter of the church built 500 years later. This video takes us through the ruins to the most likely spot.

Lindisfarne Priory from the north aisle to the presbytery.
The black stone marks the possible site of Cuthbert’s first burial.

After twelve years as prior here, Cuthbert felt an increasingly insistent call to solitude. For a time, he moved just offshore to a tiny island to seek the “green martyrdom” mentioned in the seventh-century Irish text, the Cambrai Homily: 

Precious in the eyes of God:
The white martyrdom of exile
The green martyrdom of the hermit
The red martyrdom of sacrifice.[vi]

In other words, there are different ways to take up your cross. If your faith doesn’t literally kill you or drive you into exile, you can still withdraw from the world to wage without distraction the interior struggle for authenticity, what St. Benedict called the “single-handed combat of the wilderness.” Inspired by the desert hermits of Late Antiquity, many British ascetics took flight to wild and lonely places in the early Middle Ages. 

St. Cuthbert’s Isle, just offshore from Holy Island, where the saint sought prayerful solitude.
You can walk to it at low tide.

It wasn’t long before Cuthbert moved further away, to the island of Inner Farne, a seven mile row from Lindisfarne. Its rocky terrain had sparse vegetation, but was teeming with birdlife: puffins, guillemots, terns, kittiwakes, eider ducks, and numerous other species. Cuthbert loved the natural world, and there are many charming stories of his interactions with birds and animals. Here is my favorite, told by Michael York in a video I made years ago about early British Christianity: 

St. Cuthbert and the otters
From The Story of Anglicanism: Early and Medieval Foundations
Cathedral Films, 1988

What was life like for an island hermit? Was it an escape from interdependence, or could it be a way of going deeper and deeper into the world? A twelfth-century Irish poem conveys a vivid sense of belonging to a sacred ecology: 

Delightful I think it to be in the bosom of an isle, on the peak of a rock,
that I might often see there the calm of the sea.

That I might see its heavy waves over the glittering ocean,
as they chant a melody to their Father on their eternal course.

That I might see its splendid flocks of birds over the full-watered ocean;
that I might see its mighty whales, greatest of wonders…

That contrition of heart should come upon me as I watch it;
that I might bewail my many sins, difficult to declare.

That I might bless the Lord who has power over all,
Heaven with its pure host of angels, earth, ebb, flood-tide.

That I might pore on one of my books, good for my soul;
a while kneeling for beloved Heaven, a while at psalms.

A while gathering seaweed from the rock, a while fishing, 
a while giving food to the poor, a while in my cell.

A while meditating on the Kingdom of Heaven, holy is the redemption!
a while at labor not too heavy; it would be delightful! [vii]

The presbytery apse at the east end of the Lindisfarne Priory church. The high walls and absent roof, like Cuthbert’s cell on Inner Farne, block any view of the surrounding world, concentrating attention on what the saint called “higher things.”

Despite his affection for the created world, Cuthbert constructed his stone cell on Farne with high walls and no windows. His only view was through an opening in the roof. The design was intended to focus his attention on the higher things of “heaven,” not just as a concept, but as a physical, sensory experience. That strikes me as similar to what contemporary Light and Space artist James Turrell achieves with his “Skyspaces,” windowless rooms with a rectangular or elliptical opening cut into the ceiling. 

“My art deals with light itself,” Turrell says. “It’s not the bearer of revelation—it is the revelation.” [viii]  Instead of looking at material objects, you gaze up though the opening, taking in the sky’s color and light during the day and the stars at night. Over time this perceptual asceticism, screening out the world of things, quiets and deepens the eye, making it more receptive to the immaterial, more open to the infinite. Could the same thing have happened to Cuthbert in his stone enclosure? “It’s not about earth. It’s not about sky. It’s about our part in the luminous fabric of the universe.” [ix]   

Cuthbert prays on an island in a turbulent sea (detail of Tom Denny’s Transfiguration window, Durham Cathedral (2010). “That I might bless the Lord who has power over all: Heaven with its pure host of angels, earth, ebb, flood-tide.”

We can only speculate about the experiential nature of Cuthbert’s solitude, but Frederick Buechner, imagining the thoughts of another Northumbrian hermit, gives an honest appraisal of its challenges:

What’s prayer? It’s shooting shafts into the dark. What mark they strike, if any, who’s to say? It’s reaching for a hand you cannot touch. The silence is so fathomless that prayers like plummets vanish in the sea. You beg. You whimper. You load God down with empty praise. You tell him sins that he already knows full well. You seek to change his changeless will. Yet Godric prays the way he breathes, for else his heart would wither in his breast. Prayer is the wind that fills his sail. Else waves would dash him on the rocks, or he would drift with witless tides. And sometimes, by God’s grace, a prayer is heard.[x]

St. Cuthbert (detail from The Journey by Fenwick Lawson,1999).

One of Cuthbert’s early hagiographers described the saint’s inner life as being free of struggle, anxiety or doubt. We are assured that “in all conditions he bore himself with unshaken balance.” [xi]  But balance is hardly a prime directive for pilgrims of the Absolute. We may assume that Cuthbert knew his share of demons and dark nights on Farne. Nevertheless, the continuing stream of seekers to his island retreat found no solipsist lost in dreams or madness, but a compassionate listener who still had the gifts of a pastor. He always sent them away with lighter hearts than when they came.

King Egfrid and Bishop Trumwine visit Inner Farne to persuade a reluctant Cuthbert to be made Bishop. (William Bell Scott, 1856)

Cuthbert spent nine years as a hermit, but in 685 the King of Northumbria and the Archbishop of Canterbury, hoping that this renowned holy man could help heal the divisive rivalries in the English Church, elected him to be the bishop of Hexham. The thought of leaving his “hiding place” on Farne made him sad, but when a distinguished delegation visited his hermitage to seek his consent, he yielded to the call. At least he managed to swap dioceses with another bishop, granting him oversight of his own beloved Lindisfarne. Whatever he lost in returning to the active life, it was not his soul. His anonymous biographer assures us that “he maintained the dignity of a bishop without abandoning the ideal of a monk.” [xii]

Two years later his health began to fail. At 51, he knew his days were numbered. He resigned his episcopate just after Christmas 686, then returned to his hermitage to die amidst the sound of seabirds, seals and crashing waves. He departed this life two weeks before Easter 687. The monks keeping vigil at his deathbed lit torches to signal his brothers at Lindisfarne that he had fallen asleep in Christ. His body was returned to the Priory for burial.

Cuthbert, who fell asleep in Christ in 687, is movingly depicted in Fenwick Lawson’s The Journey, which has been in St. Mary’s church since 2005.
In an illustration for Bede’s Life of St. Cuthbert, monks on Inner Farne use torches to signal news of the saint’s death to their brothers at Lindisfarne.

I wasn’t able to visit Inner Farne. Landings were suspended by an outbreak of Avian Flu. But the peace of Holy Island itself was blessing enough. Once the daytrippers flee back to the mainland before the tide returns, a profound calm settles in. It seemed almost deserted during the afternoons. In my days there, I sank into the solitude of grassy dunes, rambled through fields of spring color, enjoyed the tuneful chants of countless birds. Perhaps there was more Wordsworth than Cuthbert in the pleasure I took here—I suffered no rigorous austerities—but I hope that my bodily appreciation of Holy Island did honor to the saint’s own love for this place.

The grassy dunes of Holy Island are a refuge from the clamor of the world. If you lie down in a hollow, neither wind nor wave breaks the profound silence.
The elevated Heugh (“hee-uff”) between the Priory and the sea was formed from magma 295 million years ago. The thin soil developed on the hard whinstone grassland hosts an exceptional variety of wildflowers.
Vespers at Lindisfarne. “Now as we come to the setting of the sun, and our eyes behold the vesper light, we sing your praises, O God.”

Holy Island is a busy hub for migratory flights between Britain, Scandinavia, southern Europe, even the Arctic and Africa. Some 337 different avian species have been identified here. The following audio was recorded around the site of Lindisfarne Priory in the early evening. If you want to spend two and a half minutes on Holy Island, close your eyes and listen.

Birds of Holy Island.

According to medieval custom, the remains of saints would be exhumed ten to twenty years after their death, so that their bones could be washed, wrapped reverently in silk or linen, and placed in a shrine for veneration. 

When the monks of Lindisfarne opened Cuthbert’s coffin 11 years after his death to wash his bones, they were astonished to find his body still intact (12th-century illustration for Bede’s Life of St. Cuthbert).

But when the monks of Lindisfarne opened Cuthbert’s coffin in 698, they found his body “uncorrupted” and still intact. When news of this wonder spread, the stream of pilgrims grew to a flood. Sadly, Cuthbert’s body would not rest in peace here for long. Not on a defenseless coastline in the age of the Vikings.

This 9th-century “Judgment Day” stone found at Lindisfarne is thought to commemorate the Viking raids, when “heathen men miserably destroyed God’s church at Lindisfarne with plunder and slaughter.”

In 793, the peace of Lindisfarne was shattered when Viking marauders sacked the Priory. Remarkably, Cuthbert’s shrine survived the damage. Eighty years later, there was a second raid. It was even worse.

“And they came to the church of Lindisfarne and laid everything waste with grievous plundering, trampled the Holy Places with polluted feet, dug up the altars and seized all the treasures of the Holy Church. They killed some of the brothers, they took some of them away in fetters, many they drove out naked and loaded with insults and some they drowned in the sea …” [xiii]

It was the end of an era for Lindisfarne, but Cuthbert’s own story had one more chapter. Just before the second Viking invasion, the saint made his getaway from Holy Island when a small band of brothers lifted his wooden coffin from the Priory shrine and carried it across the tidal flats to the mainland. Thus began two centuries of wandering in exile for Cuthbert’s remains, until he finally came to rest in the newly built cathedral at Durham in 1104. 

The Journey (Fenwick Lawson, 1999, now in St. Mary’s church).
Monks carry Cuthbert’s coffin away from Holy Island to protect it from Viking raiders.

On my third morning at Holy Island, I rose early to cross back over the sands. My own wandering was not yet done. I would follow the saint to Durham. 

The path I walk, Christ walks it. 
May the land in which I am be without sorrow.
May the Trinity protect me wherever I stay…
May bright angels walk with me — dear presence — in every dealing…
May every path before me be smooth. 
Well does the fair Lord show us a course, a path. [xiv]

Crossing the Holy Island Sands to the mainland.

THE ST. CUTHBERT SERIES CONCLUDES:

The Journey Ends: Durham Cathedral

Photographs, videos and nature recordings are by the author.

“For All the Saints” is sung by the choir and congregation of St. Barnabas Episcopal Church, Bainbridge Island, Washington, with Paul Roy on organ.

The first installment of this pilgrimage account, Walking St. Cuthbert’s Way, may be found at https://jimfriedrich.com/2023/07/28/walking-st-cuthberts-way/

For more on James Turrell: https://jimfriedrich.com/2015/08/06/the-woven-light-reflections-on-the-transfiguration/

[i] The line is from Derek Walcott’s poem, “Love After Love.”

[ii] Buechner’s fine novel is about a 12th century hermit saint in the north of England. It made excellent reading on St. Cuthbert’s Way.

[iii] #128 in The Sacred Harp, with lyrics by Samuel Stennet (1787).

[iv] Bede, Life of St. Cuthbert, 22, quoted in Mary Low, St. Cuthbert’s Way: A Pilgrim’s Companion (Glasgow: Wild Goose Publications, 2019). The great historian of early English Christianity is a key source for Cuthbert’s life. Born 14 years before the saint’s death, he was able to interview some who had known Cuthbert in life when he wrote his biography. 

[v] Bede’s Life of Cuthbert, quoted in Philip Nixon, St. Cuthbert of Durham (Gloucestershire: Amberly Publishing, 2012), 33.

[vi] Isabel Colgate, A Pelican in the Wilderness: Hermits, Solitaries and Recluses (New York: Counterpoint, 2002), 104. The Cambrai Homily (7th or 8th century) is the earliest known Irish homily. The “green” martyrdom refers to rigorous ascetic practice not requiring either a pilgrimage journey or a complete disconnection from the world. The Irish word glas may be translated as blue as well as green, perhaps referring to turning blue after praying the Psalter all night in a cold river, or developing a sickly complexion from too much austerity.

[vii] In a Penguin anthology of Celtic writings I had years ago. 

[viii] James Turrell, quoted in Jan Butterfield, The Art of Light and Space (New York: Abbeville Press, 1993), 73.

[ix] E. C. Krupp, writing about Turrell in James Turrell: A Retrospective (Los Angeles: County Museum of Art, 2013), 246.

[x] Frederick Buechner, Godric (New York: Harper One, 1980), 142.

[xi] Anonymous Life of Cuthbert, 3.7, quoted in Low, 47. 

[xii] Anonymous Life, quoted in Nixon, 47.

[xiii] Simeon of Durham (d. circa 1129) was an English chronicler and monk at Durham Priory. Quoted in Nixon, 59.

[xiv] Ireland, 6th century.

August 6: Light Eternal or Light Infernal?

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The Transfiguration of Christ (Sr. Abraham, Ethiopian community in Jerusalem, 1990)

I spent only one year in a world without nuclear weapons. My first birthday fell on July 16, 1945, the day of the initial atomic bomb test in New Mexico. A few weeks later, my country used the bomb to extinguish countless human lives on the Feast of the Transfiguration. With Transfiguration falling on a Sunday as Oppenheimer is playing in the theaters, a few comments are in order.

In an interpretive retelling of the Transfiguration by a 17th-century Anglican bishop, Moses and Elijah discuss the paradoxical mixture of evil and glory that permeates the Way of the Cross:

A strange opportunity … when [Jesus’] face shone like the sun, to tell him it must be blubbered and spat upon;… and whilst he was Transfigured on the Mount, to tell him how he must be Disfigured on the Cross! [i]

In the twentieth century, that paradox was tragically deepened when we dropped the atomic bomb at Hiroshima on the Feast of the Transfiguration. Two kinds of light, diabolic and divine, contending forever after for the soul of this world. Whose world is it, anyway? To which light do we belong? To which light do we pledge our allegiance?

In his novel Underworld, Don DeLillo chillingly mixes and confuses the primal images of divine and diabolical light when a nun, swept out of her conscious self into the informational totality of the Internet, has a visionary experience on a website devoted to the H-bomb:

She sees the flash, the thermal pulse . . . . She stands in the flash and feels the power. She sees the spray plume. She sees the fireball climbing, the superheated sphere of burning gas that can blind a person with its beauty, its dripping christblood colors, solar golds and red. She sees the shock wave and hears the high winds and feels the power of false faith, the faith of paranoia, then the mushroom cloud spreads around her, the pulverized mass of radioactive debris, eight miles high, ten miles, twenty, with skirted stem and platinum cap.

The jewels roll out of her eyes and she sees God . . . . 

No, wait, sorry. It is a Soviet bomb she sees . . . . [ii]

Seattle Times, July 16, 1995 (50th anniversary of the first atomic bomb).

I’ve not yet seen Oppenheimer, the film about the creator of the atomic bomb. But I was struck by this paragraph in a review by Adam Mullins-Khatib:

“Oppenheimer … is a searing portrait of a man plagued by visions of a world that can’t be seen, a theoretical world composed of the literal particles of his ideas. Driven by an unyielding need to bring his visions to light, J. Robert Oppenheimer (Cillian Murphy) struggles with the notion of bringing theory into practice … It’s a film about the creation of something not before seen and the consequences this entails.” [iii]

Something not before seen and the consequences this entails. That could describe both the coming of Christ and the invention of the Bomb: each brought into the world something not before seen, manifested in a moment of blinding brilliance. And each has had enormous consequences which are still very much with us. But only one of them is the Light eternal, pure brightness of the everlasting Love who loves us. 

To paraphrase the divine Voice in Deuteronomy 30:19, 

This day I set before you life and death, blessing and curse, 
the light eternal and the light infernal. 
Choose life. 
Or else. 

In 1944, one year before Hiroshima, Orthodox theologian Vladimir Lossky, wrote these words: 

“We live in a world of suffering, a world broken and disintegrated, in which Christ’s Transfiguration uncovers reality and reveals to our skeptical minds a new humanity that has either entered into the light of the Risen One or is still called to do so … [W]e need to put on a robe of light, the apparel of those who live without fear, since they have already conquered death and the multiple anxieties associated with it.” [iv]

In this troubled and darkened age, that is exactly how the friends of God must live. 

Let us put on the robe of light, 
and live without fear.

.

[i] Bishop Hall Joseph Hall, Contemplations upon the principal passages of the Old and New Testaments, 1612-28, found on Google Books, p. 383.

[ii] Don DeLillo, Underworld (New York: Scribner, 1997), 825-6.

[iii] Adam Mullins-Khatib, Chicago Reader, July 26, 2003: https://chicagoreader.com/film/review-oppenheimer/

[iv] Vladimir Lossky, The Mystical Theology of the Eastern Church (Crestwood, NY: St. Vladimir’s Seminary Press, 2002, Originally published in French in 1944)), 151, 244.

Walking St. Cuthbert’s Way

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St. Cuthbert, by local sculptor Tom Fiddes (2017), blesses the wayworn traveler. The saint stands opposite a country house offering shade and water to weary pilgrims.

They confessed their sins, confided in him about their temptations, and laid open to him the common troubles of humanity they were laboring under … Spirits that were chilled with sadness he could warm back to hope again … Those beset with worry he brought back to thoughts of the joys of heaven. (The Venerable Bede, Life of Cuthbert)

Nine years ago I walked the 500-mile Camino de Santiago to the shrine of St. James. This spring I made another pilgrimage, 100-kilometers along St. Cuthbert’s Way in the north of Britain. I haven’t managed to write about it since returning home, but when this week’s Feast of St. James (July 25) brought to mind that 2014 Camino (when I first began this blog), I knew it was high time to tell my new pilgrim’s tale.  

Chaucer began his celebrated pilgrimage narrative with an eloquent praise of springtime as an awakening: not only of the dormant earth, but also of the soul’s longing for transformative journeys. After three years of staying close to home in pandemic hibernation, the call of the road felt especially urgent. 

Then people think of holy pilgrimages,
Pilgrims dream of setting foot on far-off
Lands, or worship at distant shrines, their thoughts
Reaching for grace …[i]

Some pilgrimages have no map or known destination; they are undertaken with the conviction—or at least the hope—that the act of wandering far from the familiar, along the way of unknowing, will lead to what Dark Age monks called “the place of resurrection,” where an illumination might be given or a purpose revealed. 

Another kind of pilgrimage takes a well-worn route to a specific destination such as Jerusalem, Rome, or Santiago, the most popular destinations in the Middle Ages. Both the journey and the arrival are still full of unknowns—hardships, obstacles, surprises, chance meetings, moments of grace—but their ultimate location and length are determined in advance. Both kinds of pilgrimage involve some combination of leaving behind (penance), letting go (trust), receptivity (grace), and spiritual desire (love).

My pilgrimage in May, from the Scottish Borders south of Edinburgh to Holy Island off the Northumbrian coast, traced a line across the varied landscapes of Cuthbert’s holy life. It was a popular route for two centuries after the saint’s death in 687, until the threat of Viking plunderers prompted the removal of Cuthbert’s remains from Holy Island to a safer inland site. And Cuthbert’s own travels, mostly on foot, would have ranged widely over the same terrain. 

In response to the contemporary revival of pilgrimage as a spiritual practice, St. Cuthbert’s Way, with plentiful waymarks and well-tended paths, was created in 1996. Although passing through occasional towns and villages, it offers abundant solitude and beautiful countryside both pastoral and wild. Before I left, a friend who knew the trail said, “I hope you like sheep.”

Cuthbert’s birth in 634 coincided with a turning point British religion, when King Oswald took control of Northumbria and initiated the conversion of the pagan north to Christianity by importing Celtic missionaries from Iona. Although Cuthbert’s family was Anglo-Saxon, he would be shaped by the distinctive Celtic way—earthier, more idiosyncratic, less tightly organized and less hierarchical than the universalizing Roman system which would assert its dominance in British Christianity within Cuthbert’s lifetime.

My walk began along this riverside trail from the train station into Melrose. Someone had offered me a ride in their car, but look what I would have missed! Even as a bishop, Cuthbert chose the humility of walking over the luxury of horseback, so I started my pilgrimage in the same spirit.

My pilgrimage began in Melrose, Scotland, where the River Tweed courses through the fields and hills of Cuthbert’s youth. Even as a boy he had a deeply religious sensibility. His biographers spoke of angels and miracles being part of his growing years.  Whatever we ourselves may think about the facts behind those stories, they suggest a spirit alive to ineffable encounters with the transcendent. One night, while keeping watch over a flock of sheep, the sixteen-year-old Cuthbert had a vision of a dazzling light streaming down from above as angelic hosts descended to fetch a single mortal into heaven. When the vision faded, he woke his sleeping companions to tell them what they had missed. He was convinced that some holy person must have died that night. 

The very next day, he learned that Aidan, the beloved Celtic bishop who spurred the conversion of Northumbria, had departed this life at the time of his vision. I might dismiss this tale as pious embellishment, had I not had my own dream, at age 30, of a close friend at the very moment of his tragic death. In the dream, he had moved to an island off the coast. I asked him if he were all right. He looked me in the eye and assured me he was. The dream came to me deep in a mountain wilderness. Only when I returned to the world two days later did I learn of his death by less mysterious means. Because of that profound experience, I must say that Cuthbert’s vision rings true for me.

Cuthbert’s experience prompted a decision which had been long in the making: to enter the monastic life and devote his heart and soul to prayer and service. He was soon welcomed into the community of monks near present-day Melrose. He would eventually become their prior, a role he would later assume on Holy Island. His first monastery’s seventh-century wooden structures on a grassy bend in the River Tweed are long gone, but the impressive ruins of the twelfth-century Cistercian abbey made a fitting place to begin my pilgrimage on St. Cuthbert’s Way. 

Melrose Abbey, founded by Cistercians from Rievaulx, Yorkshire, in 1136.
Melrose Abbey at sunset.
“My soul is like a house … It is in ruins, but I ask Thee to remake it.” — St. Augustine, City of God

Melrose Abbey was founded in the 12th century, and at its height there were a hundred monks, who wielded great influence in the Scottish Borders. But like the other Borders abbeys (Dryburgh, Jedburgh, and Kelso), the building suffered greatly in the conflicts between England and Scotland. Richard II (14th century), Henry VIII (16th century), and Oliver Cromwell (17th century) all had a hand in its destruction. The Reformation and modernity finished off its religious life, leaving only the beautiful ruins to testify to what had been. As Susan Stewart writes, “Ruined places are often haunted, and learning to read them involves managing encounters with their resident spirits.” [ii]

I was there on the Sixth Sunday of Easter. After eucharist at the local parish, I visited the abbey under the muted light of a graying sky. In the evening I went back for another look. As I arrived, the setting sun suddenly pierced the clouds to bathe the stones in gold. Pulling up my digital Book of Common Prayer, I sang Compline, adding my voice to the echoes of vanished monks. “The Lord grant us a peaceful night and a perfect end.…” By the time I was done, the gold had faded to dusk.

The obscure trailhead leading out of town gave no hint of the glories ahead.

When I found this nondescript passage from a Melrose street to St. Cuthbert’s Way, it did not seem inviting. The White Rabbit came to mind—how curious a plunge!—and Dante, for whom the way down was the only way up. Before the pilgrim poet can ascend to Paradise, he is driven “down to where the sun is silent.” [iii] Thankfully, my descent into darkness was brief, and I soon found myself climbing toward the light.

Stairway to heaven.
On a bright morning, I climbed up from Melrose to traverse the Eildon Hills. The abbey can be seen at the right edge of the town.
Eildon Hill North, seen from the saddle.

The Eildon Hills, a trio of rounded summits, dominate the surrounding landscape. From the saddle, I scrambled up the North Hill, a sacred ceremonial site in the Bronze Age. The Romans, before their inevitable retreat from the barbarous north, used it as a watchtower. King Arthur was said to be buried here. In the 12thcentury, monks quarried stones for Melrose Abbey on its slopes. Even into the modern era, local legends populated these hills with fairies and imagined a gateway to the Otherworld beneath them. For me the Eildons were an imposing portal to pilgrimage.

A cairn on the summit of Eildon Hill North. This has been a sacred “thin place” since pre-Christian times.
The Eildon Hills seen from the southeast. I had crossed the low saddle when I left Melrose. These distinctive peaks would remain visible for the next two days, until I passed the halfway point at 31 miles.
David and Julie, whom I met on my first day, were on their way to the Firth of Forth to complete a thousand-mile trek across the length and breadth of Britain.
Constable, the supreme painter of clouds, said that the sky is “the chief organ of sentiment,” but rivers also touch us deeply. The River Tweed runs for 97 miles through the border country of Scotland and England. Two miles upriver from here was the site of Cuthbert’s Melrose monastery.

It would be a six-day walk to Holy Island, mostly in splendid weather—not a drop of rain, Constable skies, and only one day without sun. I felt a Wordworthian exhilaration as the road went ever on.

The earth is all before me. With a heart 
Joyous, nor scared at its own liberty,
I look about, and should the chosen guide 
Be nothing better than a wandering cloud, 
I cannot miss my way. I breathe again! [iv]

“I wandered lonely as a cloud.” — Wordsworth
Portions of Bowden Kirk date back to the 12th century, but there have been major changes and additions over subsequent centuries. Originally Cistercian, it has been Protestant since the 16th century.

At peaceful Bowden Kirk, a medieval foundation much remodeled over the centuries, I found a window with a text from Genesis. 

Window in Bowden Kirk with text from Genesis 5:24.

This cryptic verse has been interpreted to mean that Enoch, an ancestor of Noah, was somehow taken directly to God without passing through death. To say he “was not,” or “was no more,” could mean that he simply “disappeared” from human sight without suffering an interval of nonexistence. Perhaps the window was put in Bowden Kirk as a cipher of resurrection hope, but to me it suggested the essential spirituality of pilgrimage. As we walk away from “not-God”—deeper and deeper into the divine communion—the isolating egoistic self is diminished and emptied, until it is “no more,” translated by God into its truer self: a relational participant in the divine life of self-diffusive love. That may not be achievable in this life (I certainly didn’t get there in 6 days!), but I believe it is the horizon toward which we are all headed. 

As St. John of the Cross put it:

To come to be what you are not,
you must go by a way in which you are not. [v]

Dryburgh Abbey (12th century). Sir Walter Scott, who died on the last day of summer, 1832, is buried in the ruins of the north transept.
Dryburgh Abbey is surrounded by exotic trees, like this Cedar of Lebanon, planted by the Earl of Buchan over 200 years ago.
“Bare ruin’d choirs where late the sweet birds sang” (Shakespeare, Sonnet 73).

Dryburgh Abbey is the second of three Borders abbeys on St. Cuthbert’s Way. Far from any town, surrounded by a beautiful park next to the River Tweed, it is the most serene of the three. 

The occasional paved stretches of the Way were mostly empty.
This straight path, called Dere Street, follows part of a first-century Roman road which ran from York to Scotland’s Firth of Forth.
Fields of blooming rapeseed parallel the Roman road.

One day I trod the remnant of a Roman road, a faint trace of their 400-year occupation of Britain. As Gibbon observed, history “spares neither man nor the proudest of his works [and] buries empires and cities in a common grave.” [vi]

Jedburgh Abbey (12th century).
South door, Jedburgh Abbey.
Vine-scroll panel from a saint’s shrine (8th-century, Jedburgh).

In Jedburgh (locals say “Jeddart”), the church of St. Mary the Virgin is the best preserved abbey in the Borders. Built during the shift from Romanesque to Gothic styles, it is a blend of both. And its carved stone “vine-scroll” is one of the finest examples of Anglo-Saxon art. Like the other Borders abbeys, it did not survive the Reformation, and was abandoned in 1560.

My first view of the Cheviot Hills in the distance.
When I was lost, Brian appeared to show me the way.

My first glimpse of the distant (and challenging) Cheviot Hills distracted me, and I missed a waymarked turn in the trail. Ten minutes later, I reached a road with no idea where to go. Like one of the angelic guides who appear out of nowhere to help Dante navigate obstacles in the Inferno, a local farmer drove up behind me to point the way. When he heard my American accent, he mentioned that his daughter was a professional golfer in California and “doing quite well.” I told him he was a gift from God. He looked bemused. Soon I was back on track, traversing broad fields of yellow and green until I reached the foot of the Cheviots, where the elevation gain got more demanding.

The path climbs toward Wideopen Hill, the halfway point of St. Cuthbert’s Way.
View from Wideopen Hill, the highest point on St. Cuthbert’s Way (1207 ft./ 368 m.).
I reached the highest point of the trail on Ascension Eve.

When I reached the top of Wideopen Hill, the highest point on St. Cuthbert’s Way, it occurred to me that it was Ascension Eve. What better way to celebrate than climb toward the sky!

Scotch broom in the Cheviot Hills.
Dagfinn, a Norwegian pilgrim in the Cheviot Hills.
Ascending the moorland of the Cheviot Hills.

The whole next day was up and down through the Cheviots. The high country has feral goats, Iron Age forts, and a couple of crashed planes that lost their way in World War II. I didn’t see any of that. I was focused on dragging my tired body over the hump. The bleak sky and the treeless summits dampened my spirits a bit (Praise God when the road is easy! Praise God when the road is hard!). But it was still thrilling to hear the long, slowly rising whistle of the Eurasian curlews as they swooped across the heather. 

Gatepost lion in Wooler.

After a gloomy day in the Cheviot Hills, my final miles to the coast were brilliantly lit and my heart was high. This stone lion at a schoolyard entrance was carved by an Italian prisoner of war during World War II, when the facility was a POW camp. It looks like something you’d find in Venice. Thinking of that prisoner managing to make art amid the chaos of war, I’m tempted to say that art is long and war is short, but in these days of perpetual conflict I’m not so sure.

Toward the final ridge before the coast.
St. Cuthbert’s Cave.

The first sign that I was nearing the sea was a flock of gulls circling above me. Just one more forested ridge, and the coast would be visible. After marveling at the massive sandstone overhang of St. Cuthbert’s Cave (where monks carrying his remains are said to have sheltered while fleeing Viking raiders), I climbed to the rise just above it. And there I saw my Promised Land: Holy Island, refulgent beneath the noonday sun.

When Lewis and Clark got their first glimpse of the Pacific after 18 months crossing the American continent, Clark recorded their delight in his journal: “Ocian in view! O the joy.” When I reached that ridge above the Northumbrian sea, I spoke those words out loud.

My first view of Holy Island.
Ocean in view!

“To walk there is to earn it, through laboriousness and through the transformation that comes during a journey … We are eternally perplexed by how to move toward forgiveness or healing or truth, but we know how to walk from here to there, however arduous the journey…. In pilgrimage, the journey is radiant with hope … geography has become spiritualized.”

— Rebecca Solnit [vii]       

Walking St. Cuthbert’s Way

                  

THE ST. CUTHBERT SERIES CONTINUES:

Grace and Beauty on Holy Island

The Journey Ends: Durham Cathedral

All photographs and video are by the author.

For links to my posts on the Camino de Santiago: https://jimfriedrich.com/2020/07/25/seek-ye-first-scenes-from-the-camino-de-santiago/

[i] Geoffrey Chaucer, The Canterbury Tales (Prologue, 11-18), trans. Burton Raffel (Modern Library, 2008).

[ii] Susan Stewart, The Ruins Lesson: Meaning and Material in Western Culture (Chicago: University of Chicago Press, 2020), 238.

[iii] Dante, The Inferno 1.60, trans. Robert Hollander & Jean Hollander (Doubleday, 2000).

[iv] William Wordsworth, The Prelude (1.14-18).

[v] John of the Cross, The Ascent of Mt. Carmel.

[vi] Edward Gibbon, from the closing chapter of History of the Decline and Fall of the Roman Empire.

[vii] Rebecca Solnit, Wanderlust: A History of Walking (Penguin, 2001).

Imitating the Trinity in Our Common Life

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Windows, south nave of León Cathedral on the Camino de Santiago.

I was walking instead of writing in May, on pilgrimage along St. Cuthbert’s Way from the Scottish Borders to Holy Island in Northumbria. More on that soon. Meanwhile, I’m preaching the following for Trinity Sunday at my home parish, St. Barnabas Episcopal Church on Bainbridge Island, Washington. Some of it has appeared before on this blog, but the ending is entirely new.

Part of the fun of Trinity Sunday is getting to watch the preacher attempt to explain the most formidable mystery of Christian faith in less than 20 minutes. It can’t be done! We all know that—the preacher knows it too—and the fun part is seeing how he or she is going to fail this time. 

Of course, we could just say that a mystery is not meant to be explained, and leave it at that. Let’s just adore the mystery, not investigate it.

But if, as the theologians insist, “the nature of the church should manifest the nature of God,”[i] then we need to know enough about the nature of God to understand how to be a church whose own way of being reflects and manifests that divine nature. 

And if investigating the nature of God seems like a daunting task best left to the professionals, those who have the aptitude and training to navigate levels of complexity and nuance which would make our own heads explode, we must remember that the doctrine of the Trinity is not a math problem (How can one be three and three be one?), nor is it an abstract, highly technical construction of the metaphysical elite who spent centuries sorting out differences between Arians, Monophysites, Monothelites, Monarchians, Modalists, Ebionites and Sabellians.

Trinitarian thought isn’t made of thin air or abstract speculation. It is produced and nourished by the concrete, tangible history of Christian experience. Whatever we can actually say about the Trinity is first of all grounded in experience, both the experience of our spiritual ancestors, encoded in Scripture and tradition, and the contemporary, ongoing revelations of our own communal and personal life.

Ever since the first Easter and the first Pentecost, Christians have been trying to make sense of the concrete, experiential data of salvation. Based on our collective and personal experience of being “saved” (or, if you prefer: healed, forgiven, reborn, renewed, resurrected, empowered), what can we say about the God who has done this? 

Trinitarian reflection began within an ancient community deeply grounded in the monotheism of Judaism, which had, over the centuries, found ultimate reality to be not a plurality of disconnected or contradictory energies—what the ancients called “the gods”—but a coherent unity, understood to be the “one God.” However, once the early Christians began to attribute divinity to both Jesus and the Holy Spirit, a simple self-contained oneness was no longer sufficient to describe the Reality.

Without losing the unity of God, how could they account for the divine diversity revealed in the saving activities of Christ and the Spirit? Once they began to call Jesus Kyrios (Lord), which happened very early in their worship and their storytelling, traditional monotheism was radically destabilized. The growing perception of the Holy Spirit as a guiding and empowering presence of deity in their communities only compounded the problem.

There were various attempts to solve the problem by downgrading Jesus and Spirit to subordinate, derivative, or semi-divine realities, by no means equal to the eternal and uncreated God. Such “heresies” were popular with those who wanted to keep God simple. But “orthodoxy” was unwilling to deny the fullness of divinity to either Christ or the Spirit. For them the bottom line was this: 

Only God can save us. Christ and Spirit, in the biblical revelation and Christian experience, are integral and essential to salvation. Therefore, they must be equally integral to the Holy One who is the Creator and Redeemer of all things

As a consequence, the doctrine of God became trinitarian: Three in one and one in three. In other words, God is relational. God is social. God is a communion of Persons. 

If we have difficulty with “God in three Persons,” it is because we think of a person as defined by his or her separateness. I’m me and you’re you! We may interact and even form deep connections, but my identity does not depend upon you. I am a self-contained unit. You can’t live in my skin and I can’t live in yours. That’s the cultural assumption, which goes back at least as far as Descartes in the seventeenth century, and continues today in such debased forms as rampant consumerism and economic selfishness, where my needs and my desires take precedence over any wider sense of interdependence, community, or ecology.

But what we say about the Persons of the Trinity is quite different. Each Person is not an individual, separate subject who perceives the other Persons as objects. The Trinitarian persons experience one another not from the outside, but from the inside. They indwell each other in a mutual interiority.

Is this image of trinitarian indwelling difficult to conceive? Or is it something like the old John Lennon lyric?: “I am he as you are she as you are me and we are all together.” A French mystic put it this way: “it’s a case of un ‘je’ sans moi” (an “I” without a me). Subjectivity, yes, a distinct consciousness within my own body, particular and unique, yes; but a consciousness deeply permeated by the otherness of interdependent reality.

But if the divine Persons are all inside each other, commingled, “of one being,” as the Creed says, what makes each Person distinct? To put it succinctly: the Persons are distinct because they are in relation with one another.

As Jewish theologian Martin Buber observed, we are persons because we can say “Thou” to someone else. To be a person is to experience the difference – and the connection – that forms the space between two separate subjects. My consciousness is not alone in the universe. There are other centers of consciousness: Thou, I… Thou, I… The fact that you are not I is what creates self-consciousness, the awareness of my own difference from what is outside myself.

If we apply this to the Trinity, we say that there are Three Persons because there is relation within God, relation between the Source who begets, the Word who is begotten, and the Spirit who binds the two together and carries them—and the love between them—outward in ever widening circles.

These relations are not occasional or accidental. They are primordial. They are eternal. There is an eternal sending within God, an eternal self-giving within God, an eternal exchange by which God is both Giver and Receiver simultaneously.

Trinitarian faith describes a God who is not solitary and alone, a God who is not an object which we can stand apart from and observe. The Trinity is an event of relationships: not three separate entities in isolation and independence from one another, but a union of subjects who are eternally interweaving and interpenetrating.

The early Church had a word for this: perechoresis. It means that each Person penetrates the others, each contains the other, and is contained by them. Each fills the space of the other, each is the subject, not the object of each other. As Jesus says in the Fourth Gospel: I am in the Father and the Father is in me.

The word perechoresis literally means “to dance around,” and the ancient theologians quickly seized on that image as an accessibly concrete description of a complex process. The Trinity is a dance, with Creator, Christ and Spirit in a continuous movement of giving and receiving, initiating and responding, weaving and mingling, going out and coming in. And while our attention may focus at times on a particular dancer, we must never lose sight of the larger choreography to which each dancer belongs: the eternal perichoresis of Three in One, One in Three.

Wallace Stevens made a poem about the process of giving ourselves over to a larger whole. He calls it “the intensest rendezvous,” where we find ourselves drawn out of isolation “into one thing.” He wasn’t writing about the Trinity, but his words come as close as any to describing the essential dynamic of the divine Persons:

Here, now, we forget each other and ourselves.
We feel the obscurity of an order, a whole,
A knowledge, that which arranged the rendezvous.[ii]

This divine relationality is not something which an originally solitary God decided to take up at some point. God is eternally relational. Before there was an external creation to relate to, God’s own essential self was and is an event of perpetual relation. There was never simply being, but always being-with, being-for, being-in. To be and to be in relation are eternally identical.

When the Bible says, “God is love” (I John 4:16), it means that love is not just something God has or something God does; love is what God is. As Orthodox theologian John D. Zizoulas says in his influential text, Being as Communion, “Love as God’s mode of existence … constitutes [divine] being.”[iii] Feminist theologian Elizabeth Johnson echoes this when she says, “being in communion constitutes God’s very essence.”[iv]

In other words, God is Love giving itself away—self-emptying, self-diffusing, self-surrendering—and in so doing finds itself, receives itself, becomes itself.

For those of us made in God’s image, who God is matters deeply, both for our own self-understanding and for our engagement with the world. The Trinity isn’t just a doctrine or an idea. It’s a practice, a way of life, the shape of every story, the deep structure of the church, and indeed of all reality.

The mystics can help us out here. Early in the twelfth century, a German monk named Rupert of Deutz went into a church where mass was being said by a white-haired bishop. At the offertory procession he experienced a vision of the Holy Trinity:

“On the right at the edge of the altar stood three persons of such revered bearing and dignity that no tongue could describe them. Two were quite old, that is, with very white hair; the third was a beautiful youth of royal dignity …”[v]

A century later, Hadewijch of Antwerp, one of those remarkable women mystics who flourished in the late Middle Ages, also had a vision of the Trinity. But instead of three white males, what she saw was a dark whirlpool, which she described as “divine fruition in its hidden storms.” Hovering over this whirlpool was a spinning disc, on which sat a figure wearing the countenance of God – the face of God – on whose breast were written the words, “The Most Loved of All Beloveds.”

We may find Hadewijch’s vision more congenial: it is genderless, and less crudely specific than Rupert’s. And the tempestuous whirlpool, a flood of energy ceaselessly flowing through the universe, conveys a dynamic image of divinity that resembles the postmodern cosmologies of process theology and quantum physics. It’s probably easier for most of us to believe in a divine whirlpool than in three white guys.

But the crucial difference between Rupert and Hadewijch is not in the relative resonance of their imagery, but rather in what happens next. Rupert remains an observer, one who stands apart and sees God as an object. But Hadewijch does not remain separate from what she sees:

“Then I saw myself received in union by the One who sat there in the whirlpool upon the circling disc, and there I became one with him in the certainty of union… In that depth I saw myself swallowed up. Then I received the certainty of being received, in this form, in my Beloved, and my Beloved also in me.”

Rupert’s knowledge of God remained conceptual. Hadewijch’s knowledge of God became experiential. She was gathered into the circulating current of divinity. She became part of its flow, and that divine flow became part of her.

The language she uses for this experience is not mathematical or philosophical. Her language is the language of the heart. She describes being “swallowed up… in my Beloved, and my Beloved also in me.” Love, she discovered, is the way the soul knows. Love is the way the soul sees.[vi]

And what Love knows, what Love sees, is this: God is not a simple, static substance but an event of relationships. That’s why we say that God is love. “To be” has no ontological reality apart from “to be in relationship.” In the words of Anglican priest John Mbiti of Kenya, expressing the strongly communal mindset of African theology, “I am because we are, and since we are, therefore I am.”[vii]

Each Person contains the others and is contained by them in a shared communion of self-offering and self-surrender. But that continuous self-offering is never a one-way transaction, either one of self-emptying or one of being filled. It is always both at once – giving and receiving – as we ourselves know from our own mutual experience of love at its best. 

As Jesus said, “losing” yourself and “finding” yourself are equivalent and simultaneous. In giving ourselves away, we receive ourselves back. This may be counterintuitive to the modernist mindset of autonomous individual self-possession, but it is the essence of communion: “a giving of oneself that can only come from the ongoing and endless reception of the other.”[viii] 

As God’s friends, we are not merely observers of this divine life of self-offering and self-surrender. We are participants.

If God is communion, the eternal exchange of mutual giving and receiving, then the Church must live a life of communion as well. When Love’s perechoresis becomes our way of being in the world—as believers, as church—the Trinity is no longer just doctrine or idea. It is a practice, begetting justice, peace, joy, kindness, compassion, reconciliation, holiness, humility, wisdom, healing and countless other gifts. As theologian Miroslav Volf has said, “The Trinity is our social program.”[ix]

The Church exists to participate in the life of God, and to enable others to do the same. We exist to make divine communion not just an inner experience but a public truth. We don’t just feel God’s perichoresis. We don’t just feel Love’s eternal dance. We embody it. We live it. We show it. We share it.  

Church isn’t something we decide to do—or not do—on a Sunday, when we’re not otherwise occupied. It’s not a consumer item, just one of many options competing for our individual time and attention. Nor is it like a fire hose safely stored in a glass case, for emergency use only. And it is certainly not an antiquarian society preserving quaint rituals, or a museum to display our nostalgia for a lost past.  

No! The Church is the society of God’s friends—resurrection people, animated by divine breath—striving to imitate the triune communion of divine life in our human life together. By showing up, by committing to the shared vocation of worshipping, witnessing and serving together, by tending the holy flame of faith in a heedless world, we offer ourselves, our souls and bodies, as vessels of that communion—not only in our sacramental life, but wherever we happen to live and move and have our being. 

Is that too hard for us? Are we up to it? My friend Bob Franke once wrote a song about the various ways he showed love for his daughter when she was a little girl. He didn’t do it perfectly, of course. No one does. But he gave it everything he had. And a line from that song, I think, speaks to our own calling as a community of faith to imitate the divine communion of the Trinity in our common life, to practice trinitarian love on earth as it is in heaven:

It may not be the thing we do best, but it’s the best thing that we do.[x] 

May the grace of our Lord Jesus Christ, the love of God, and the communion of the Holy Spirit, be with us all, now and forever. Amen.

 

[i] Catherine LaCugna, God for Us: The Trinity and the Christian Life (San Francisco: Harper San Francisco, 1991), 403.

[ii] Wallace Stevens, “Final Soliloquy of the Interior Paramour,” Collected Poetry and Prose (New York: Library of America, 1997), 444.

[iii] John D. Zizoulas, Being as Communion: Studies in Personhood and the Church (Crestwood, NY: St. Vladimir’s Seminary Press, 1993), 46.

[iv] Elizabeth Johnson, She Who Is: The Mystery of God in Feminist Theological Discourse (NY: Crossroad, 1993), 227.

[v] Bernard McGinn, The Growth of Mysticism: Gregory the Great Through the 12thCentury (New York: The Crossroad Publishing Company, 1994), 330.

[vi] ibid., The Flowering of Mysticism (New York: The Crossroad Publishing Company, 1998), 212-16.

[vii] q. in Veli-Matti Kärkkäinen, The Trinity: Global Perspectives (Louisville: Westminster John Knox Press, 2007), 352.

[viii] Graham Ward, “The Schizoid Christ,” in The Radical Orthodoxy Reader, ed. John Milbank and Simon Oliver (NY: Routledge, 2009), 241.

[ix] Miroslav Volf, “‘The Trinity is Our Social Program’: The Doctrine of the Trinity and the Shape of Social Engagement,” Modern Theology 14, no. 3 (July 1998).

[x] Adapted from Bob Franke, “Boomerang Pancakes,” on For Real (1986). The original line is in the first person singular.  

Whose World Is It?—Rethinking the Problem of Evil

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The Last Judgment (detail), Tympanum of the Abbey of Sainte-Foy, Conques, France (c. 1107).

God isn’t the prime mover of every natural catastrophe and human ill; inexplicable tragedies are never a so-called act of God. Life is more complicated than that; so is the universe; so is God. 

— Gary Commins

Lord, if you had been here, my brother would not have died (John 11:21).

In Son of Man, a 2006 film retelling the Jesus story in a 21st-century African country, Jesus and Satan are sitting side by side atop a tall sand dune. After putting up with the three temptations, an exasperated Jesus turns suddenly toward his adversary and gives him a hard shove. As Satan tumbles down the dune, Jesus shouts after him, “This is my world!” But Satan is unbowed. When he reaches the bottom, he picks himself up, dusts himself off, and cries up to Jesus, “NO! THIS IS MY WORLD.” The film cuts to the country’s ongoing civil war, where a mass shooting of schoolchildren proves Satan’ point. 

One night last week, a drunken man was shooting a gun in his front yard—reportedly a form of recreation in his Texas neighborhood. But his next-door neighbor had a baby who was trying to sleep. He asked the shooter to stop. The shooter refused. Instead, he fetched a deadlier weapon—an assault rifle—took it into his neighbor’s house, and slaughtered five people, including a nine-year-old boy. The police found a few survivors—children shielded beneath the bodies of their mothers—uninjured, but covered with maternal blood.  

Such unspeakable evil has become a regular occurrence in my country. Mass shootings are setting a record pace this year. Twenty years ago, there were 200 million guns in America. Now there are 400 million. Twenty years ago, assault rifles were 2% of the market. Now they are 25%[i] The man who pulled the trigger in Texas is not alone in his guilt. He is joined by the gunmakers who make themselves rich from the carnage, the right-wing lawmakers who fetishize guns to get votes, the cable propagandists who stoke fear, rage and hate, and a dysfunctional society incapable of exorcising its legion of demons.

The Last Judgment (detail), Tympanum of the Abbey of Sainte-Foy, Conques, France (c. 1107).

I have written about our capacity for denial in “The Murderous Hypocrisy of ‘Thoughts and Prayers.’” If we say we have no sin, we deceive ourselves, and the truth is not in us (I John 1:8). Or as a modern theologian puts it, “It is only when our capacity for evil has been rendered explicit that we have a realistic basis for understanding that transformation or metanoia, that healing, which constitutes our salvation.” [ii]

Zooey Zephyr, a representative in the Montana state legislature, recently provided a perfect image of the cognitive dissonance inherent in pious self-deception. She was speaking against a Republican anti-trans bill which she believes will increase suicide among the young; but her words could apply to every political misuse of “thoughts and prayers”: “If you vote yes on this bill and yes on these amendments, I hope the next time there’s an invocation when you bow your heads in prayer, you see the blood on your hands.” [iii]

The Republican majority, like Pilate washing his hands of innocent blood, voted to silence Zephyr. They expelled her from the house. It’s easy to mock their fear of truth-telling, but when we look at our own hands, what do we see? 

Evil is woven not only into the fabric of the world, but into each and every soul. In Terrence Malick’s great (anti)war movie, The Thin Red Line, we are shown the violence and death of a terrible battle, but the realistic sounds of gunfire, grenades and human screams are muted beneath the elegiac music of Charles Ives’ “The Unanswered Question,” as though we are watching human evil through an impartial God’s tear-stained eyes. Then we hear the voice-over questions of an American soldier, seeking to penetrate the surface of the visible: 

“This great evil, where does it come from? How does it still enter the world? What seed, what root did it grow from? Who’s doing this, who’s killing us, robbing us of life and light, mocking us with the sight of what we might have known? Does our ruin benefit the earth? Is this darkness in you too?” [iv]

Who’s doing this? Who’s killing us? Is this darkness in you, too? The problem of evil is not only an unanswered question; it is unanswerable as well. In his valuable and insightful new book, Evil and the Problem of Jesus, Episcopal priest and theologian Gary Commins invites us to set aside the philosophical conundrums, engaging evil not as a theoretical puzzle but as a practical challenge.  

Since ancient times, the existence of evil has raised unsettling questions about the nature of God. If God is good, why is so much evil allowed to happen? Is God indifferent to our suffering, or somehow powerless to eliminate it? Can divine purpose ever justify evil, turning it to the good? Or must we conclude that a good God, or any God at all, is a logical impossibility, given the prevalence and persistence of evil?

Theodicy is the philosophical or theological attempt to reconcile the goodness of God with the existence of evil. It has produced a vast amount of profound intellectual reflection over the centuries. But Commins, drawing on his own pastoral experience, calls the whole enterprise into question. It’s not just that a rational explanation for evil offers little real comfort to its victims (Who wants to hear “It’s God’s will” at a funeral?). It also strips both God and evil of their complexity. The sources of evil are multifarious and impossible to trace with precision. And the activity of God within our temporal, finite existence is not a unilateral and unfettered exercise of power. The self-emptying God chooses to work within incarnational limits. The vulnerable babe in the manger grows up to die on a cross, and in between does what he can to address evil, not always successfully. 

“Traditional Western theodicy,” says Commins, “jams billions of people, or the planet, millions of millennia, and the infinite intricacy of subatomic matter into a solitary, simplistic enigma of God-and-evil. By tapering all its energy into one worn-out query, it diverts us away from more illuminating questions. Not only does it boil down a myriad of meanings into one conundrum of divine power or love. It concentrates on what is, in all likelihood, the least fruitful of many mysteries.” [v]

Instead of defending God’s honor or solving the ancient enigma of good and evil, we should accept the sheer givenness of “a wild, wondrous, chaotic creation [we] can’t comprehend or control.” [vi]  Instead of wondering why the world is so, we should devote our energies to the divine project of making it better. 

“The causes of evil and suffering are personal, social, structural, and cosmic: human delusions, collective misbehaviors, institutional grandiosity, and spiritual malice .… Until the End, suffering and evil will neither cease nor desist—they are inherent in creation and intensified by social ills; we can decrease them by aligning ourselves with God’s will.” [vii]

We may never understand why the world must be an unstable mixture “of storms and stillness, gloom and brightness,” where “suffering, evil, and chaos commingle with glory, love, and joy.”[viii]  But it’s the world we’ve got, and what we really need to figure out is how to live in it.

And for that, Commins says, we must turn to Jesus, who shows us “what it means to be human.” If we seek a Christian understanding of God’s response to evil, we should start not with metaphysics, but with the gospel.

“Jesus never waxes philosophical. Rather than offering an ‘explanation’ for evil, he gives his followers ‘a charge and a benediction’: the charge to stand in solidarity with the oppressed, the benediction to empower his followers to resist evil.” [ix]

“Nowhere does Jesus construct a system of ethics or author a theology of evil. In broad terms, what we can do to undo evil is clear—act on his words, treat all as equals, seek the kingdom, go and do likewise, repent, follow, forgive, and love—but unless we face the evils within us, we won’t have a positive influence on the world around us and, even then, nothing is a sure thing.” [x]

At the same time that Jesus is showing us how to be fully human, he is revealing who God is and what God does. Jesus’ own responses to evil are “epiphanies into God’s relationship with evil.… what Jesus does in time, God does in eternity; the ways Jesus responds to evil in his lifetime—confronting, undoing, and erasing it; bending, circling, and transforming it—are ways God always engages evil.” [xi]

No metaphysical speculation needed. Just keep an eye on Jesus, and the Way will show itself. In a beautifully succinct summation of this Way, Commins says that “Jesus embodies compassion, challenges judgments, reverses fates, levels inequalities, frees from demons, forgives sins, tells truths, and plants seeds of shalom.” [xii]

So whose world is it, after all? We wonder every time we watch the news. But ultimately, it’s a question to be answered not within our minds, but in the activity of our lives. As the song says, “It may be the devil or it may be the Lord, but you’re gonna have to serve somebody.”[xiii]

The late German theologian Dorothee Soelle (1929-2003) found this paradigm of Christian discipleship perfectly expressed in The Brothers Karamazov, where Ivan and his younger brother Alyosha are earnestly discussing theodicy. Both agree that no long-range divine purpose could ever justify the torture of children in the here and now. Where the brothers differ is in their personal response to evil. Ivan blames and rejects a God who consents to the immense sufferings of history. But Alyosha, notes Soelle, does not shake his fist at heaven. He is too busy attending to the needs of earth, just like the God who became one of us.

“[Alyosha] directs his attention not to the power above but to the sufferers. He puts himself beside them. He bears their pain with them. He listens with agony as Ivan introduces examples of suffering he had assembled against the compassion of God … He is silent, he shares the suffering, he embraces the others.” [xiv]

Compassion’s embrace: from Alexander Sokurov’s “Lc. 15:11-32” (Prodigal Son installation,Venice Biennale 2019). Sculptures by Vladimir Brodarsky & Katya Pilnikova.

Photographs by the author. For more on the Tympanum at Conques, including a video of what the original painted colors might have been: https://www.tourisme-conques.fr/en/en-conques/the-tympanum

[i] These statistics were cited in a televised interview with Fred Guttenberg, speaking about the new book he has co-authored with Thomas Gabor: American Carnage: Shattering the Myths That Fuel Gun Violence. 

[ii] Kenneth Surin, Theology and the Problem of Evil (Oxford & New York: Basil Blackwell Ltd., 1986), 157.

[iii] https://apnews.com/article/montana-trans-lawmaker-silenced-zooey-zephyr-d398d442537a595bf96d90be90862772

[iv] The Thin Red Line (1998), adapted by Terrence Malick from James Jones’ 1962 novel. 

[v] Gary Commins, Evil and the Problem of Jesus (Eugene, Oregon: Cascade Books, 2023), 14. Full disclosure: Gary is an old friend. We meet up periodically in Eugene for national track & field championships, but never discuss evil during the meets. His new book not only offers a fresh and timely take on a central theological question, it does so through an illuminating method of reading Scripture and tradition in general.

[vi] Commins, 68.

[vii] Ibid., 194.

[viii] Ibid., 155, 194.

[ix] Ibid., 41. The quoted phrases are from Susan R. Garrett’s article, “Christ and the Present Evil Age,” Interpretation 57 (2003), 370-383.

[x] Ibid., 129-130.

[xi] Ibid., 159.

[xii] Ibid., 149.

[xiii] Bob Dylan, “Gotta Serve Somebody,” on Slow Train Coming (1979). 

[xiv] Dorothee Soelle, Suffering (London: Darton, Longman and Todd, 1975), 175.

Extravagant Sacrifice: A Holy Week Reflection

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Jan van Scorel (c. 1530)

Mary took a pound of costly perfume made out of pure nard, anointed Jesus’s feet, and wiped them with her hair. The house was filled with the fragrance of the perfume. But Judas Iscariot, one of his disciples (the one who was about to betray him) said, “Why was this perfume not sold for three hundred denarii and the money given to the poor?” — John 12:3-5  

Judas raises a troubling question for everyone who is not destitute. As long as there is human need, how dare we spend our money on anything else? And Jesus’ answer—“The poor are always with you”—might seem equally troubling, if taken to accept economic inequality as inevitable. But Jesus was never complacent about the status quo. In both word and deed he lifted up the lowly—the ones either ignored or shamed by their culture—declaring them worthy of blessing and honor. As Jesus himself put it, he came to bring good news to the poor: Injustice has no future. God’s kingdom of loving interdependence is at hand. 

Here’s how I read this text: “You can help the destitute any time you want, Judas. If your concern is sincere, they’ll still be around after I’m gone. But I won’t be. So don’t be so quick to judge this woman. If you could only understand what’s going on here, it would save your life.”

So what is going on here? A woman, Mary of Bethany, whose brother Lazarus had recently been rescued from death by Jesus, pours very expensive oil over the feet of her Lord, and then wipes those feet with her hair. It’s an extravagant gesture of devotion, gratitude and love. The oil, worth a year’s wages for a common laborer, may have cost Mary most of her wealth, while letting down her hair to do the work of a towel was, in that culture, a shocking display of abasement and vulnerability. In other words, she was offering all that she had and all that she was to honor Jesus. 

This act, both sensory and symbolic, overflowed with meanings. Anointing with oil was a way to mark the special vocation and identity of authoritative figures, whether powerful rulers or holy persons. It consecrates them as chosen and set apart. The title of “Messiah” or “Christ” means “the anointed one.” It was revolutionary to have a woman be the one to anoint Jesus as priest and ruler, but so was the kingdom he came to manifest and embody. 

Anointing was also part of the culture’s preparation of a body for burial. Performed in the week before Jesus’ death, Mary’s gesture inaugurates the sequence of sacrificial acts culminating with her Lord’s burial in the stone-cold tomb. The feet she anoints will walk the Way of the Cross for the salvation of the world. This was his chosen destiny. 

The story’s third meaning is in its foreshadowing of the foot-washing, when Jesus, on the night before he died, knelt at the feet of his friends to perform the work of a servant, surrendering his power for love’s sake. He was teaching by showing: This is how we must be with one another. This is exactly how God is with us. Just a few days before Jesus taught this explicit lesson at the Last Supper, Mary of Bethany had performed it instinctively, offering all she had, holding nothing back. 

At the time, the disciples did not grasp the full significance of Mary’s act. Nor did Mary herself. How could they? As we like to say about Holy Week, the journey is how we know. The disciples had to follow Jesus all the way to the cross—and beyond—before they could begin to understand—through memory and reflection—what it was all about. 

One of the strongest triggers for memory is our sense of smell. When John’s gospel tells us that “the house was filled with the fragrance of the perfume,” it sounds like a vivid personal memory. Recalling the fragrance, the disciples could revisit that moment to absorb all the meanings which had escaped them at the time. 

As we make our own personal and communal journey through Holy Week, may we too immerse ourselves extravagantly in the sensory images and sounds of the Passion narratives and rituals, allowing them, by our faithful participation, to take us deeper and deeper into the Paschal Mystery of dying and rising in Christ. 

As for Judas’ sour complaint, Sydney Carter’s Passion carol, “Said Judas to Mary,” nicely disposes of its false premise of either/or. Devotion to Jesus and loving service to “the least” of God’s family are not opposed. They are inseparable:

Said Jesus to Mary, “Your love is so deep, 
 today you may do as you will. 
Tomorrow, you say, I am going away, 
but my body I leave with you still.”

“The poor of the world are my body,” he said,
“to the end of the world they shall be.
The bread and the blankets you give to the poor
 you’ll know you have given to me.”

Here is a lovely rendition of Carter’s Holy Week carol sung by Fiona Dunn:


“Though the whole world turn to coal”—George Herbert’s “Virtue”

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“Only a sweet and virtuous soul, / Like season’d timber, never gives …”

Today is the feast day of George Herbert (1593-1633), one of my favorite poets. It is fitting that we remember him at the beginning of Lent, for his poems are imbued with the season’s themes of repentance and renewal. He was a student of what the Book of Common Prayer calls our “unruly wills and affections,” and could be brutally honest about his own need for divine grace. 

I have posted reflections on his life and work before. In Heart Work and Heaven Work (2016), I wrote: 

The Herbert whom we meet in his poems is a person very much in process: unfinished, imperfect, always aspiring to something higher. He cared deeply about formation and growth – his own as well as that of his congregation. As poet and priest he used all possible art to move those with ears to hear.

And in “Flie with angels, fall with dust”—Appreciating George Herbert (2019), I celebrated the way he perceived the spiritual richness of the world:

Herbert’s spiritual environment seems so alive with correspondences between visible things and deeper, invisible realities. The Mystery of the world is met in the humblest of circumstances. The burning bush flashes through the surface of the ordinary. Everyday phenomena are saturated with significance.

This year let us honor “the holy Mr. Herbert” (as his parishioners called him) by examining a single poem. Perhaps we will make this an annual tradition on February 27. For today, the poem is “Virtue.”

Sweet day, so cool, so calm, so bright, 
The bridal of the earth and sky; 
The dew shall weep thy fall to-night, 
For thou must die. 

Sweet rose, whose hue angry and brave 
Bids the rash gazer wipe his eye; 
Thy root is ever in its grave, 
And thou must die. 

Sweet spring, full of sweet days and roses, 
A box where sweets compacted lie; 
My music shows ye have your closes, 
And all must die. 

Only a sweet and virtuous soul, 
Like season’d timber, never gives; 
But though the whole world turn to coal, 
Then chiefly lives. 

“Sweet rose … thy root is ever in its grave.”

The poem has been called “one of the purest lyrics in the language.” [i] The predominance of one-syllable words exemplifies its “fine poetic thrift.” [ii]  The sixteen short lines, divided into four quatrains, overflow—almost miraculously—with diverse images, references and meanings. For example, “The bridal [wedding] of the earth and sky“ invokes the Easter Vigil’s Exultet: How blessed is this night, when earth and heaven are joined. “Thy root is ever in its grave” describes the paradox of mortal life with stunning brevity: even at our liveliest, we are dying creatures. Or as we say on Ash Wednesday: Remember that you are dust. 

The poem’s opening line establishes rhythmic beat of successive iambs (short-long): “Sweet day, so cool, so calm, so bright.” This pattern is more or less followed in the first three lines of the first three quatrains, but each fourth line slams on the brakes with its sober message of mortality, delivered in a series of strong beats like the striking of a drum or the tolling of a bell: For thou must die … And thou must die … And all must die.

Although an apocalyptic wisdom throughout the poem reminds us that days end, flowers wither, seasons pass and worlds burn (“turn to [char]coal”), the first three quatrains seem more celebratory than melancholy. The word “sweet” occurs six times. The inevitable terminations of temporal existence need not diminish whatever pleasures and joys we experience in the moment. However, as the poem’s conclusion insists, the “soul”—our innermost self or enduring identity—can partake of something deeper and more lasting, an essential and enduring stability at its core.  

The governing images of the final quatrain, “season’d timber” and “turned to coal,” each call up a constellation of meanings. Timber suggests both the cedars of Lebanon and the cross. And the seasoning of wood represents the testing of the soul, which, by God’s grace, “never gives”—never gives in, never gives up. As Herbert scholar John Drury explains, “Timber is seasoned by being left to dehydrate out of doors undercover for several years, enduring, like the soul, the extremes of weather and the seasons. After that it is stable and strong.” [iii]

But wood is flammable, and the doomsday image of a world-ending fire takes us to the brink of ancient fears of annihilation. But Herbert deftly steers us instead into a place of hope and promise. Wood tested by fire can become a glowing ember, an image of liveliness. Likewise can the tested soul become “a quick [living] coal / of mortall fire,” as Herbert says in another poem, “Employment (II).” And even should the world’s last embers cool and turn to dust, the soul which belongs to God will “chiefly” live. “Chiefly” means particularly, or mostly, but it may also reference Christ, the Chief of history, in whom all are made alive.

Unlike the last line of the first three quatrains, with their percussive stresses hammering out our doom, the stresses of the very last line, reduced from four to three, seem gentler and, aided by the use of a two-syllable word, more lilting: “Then chief-ly lives.” Try reading just the fourth line of each quatrain in succession, and notice the difference in tone at the last.

As it always is with God, life has the last word.

[i] Arnold Stein, George Herbert’s Lyrics (Johns Hopkins, 1968), cited in Helen Wilcox, The English Poems of George Herbert(Cambridge: Cambridge University Press, 2007), 81. I am indebebted to Professor Wilcox for her richly annotated collection of Herbert’s English poems, each of which also includes summaries of the best Herbert criticism over the years. Since his poetry can be difficult and many of his terms archaic, her book is indispensable.

[ii] John Drury, Music at Midnight: The Life and Poetry of George Herbert (Chicago: Chicago University Press, 2014), 59. A must-read if you want to go deeper.

[iii] Ibid., 59.