A Birthday Appeal

It’s my birthday soon, my seventieth. It will fall just inside* the Easter season, so modest rejoicing will be permitted (but no partying), alongside the inevitable reflection on attaining this personal milestone. 

Cue introspection? Not now: this blog isn’t about me. I’m writing because this special birthday falls right in the middle of this terrible Coronavirus emergency as it’s hitting us here in the UK. We are holding so many people in our hearts during this crisis: the sick, the dying, the dead, the bereaved, all who are caring for others in these times, our leaders, those who maintain the fabric of our society. 

But we also know that this pandemic is global. Many communities are exposed to very great risks in places where healthcare is so much less developed than here in the UK. So to mark my three score years and ten, I’d like to ask you to join me in helping Oxfam respond to Covid19 across the world. 

Oxfam is deeply involved in helping to contain the spread of the virus worldwide, and in supporting victims and communities that have been badly hit by it. As many of you know, I volunteer each week in the Oxfam bookshop in Hexham here in North East England. I love this involvement for so many reasons, but the principal one is that it helps Oxfam make a difference to some of the neediest people in the world. So perhaps I can appeal particularly to people who support the charity by visiting Oxfam shops and who are missing them (as I am) during this lockdown? If I single out book-lovers especially, well, you’ll understand why as one of them myself.

We all share anxieties about how Covid19 is affecting everyone whether they are far away, closer to home or among our own families and friends. The impact is being felt across the world, especially where people are living through conflict, disaster and poverty. What could happen once the virus takes hold in less developed countries hardly bears thinking about. Bangladesh, for instance, about which I saw a report recently, where critical population densities in towns and cities make any prospect of social distancing, let alone isolation, impossible. In time there will be antiviral drugs and wholesale testing. But by then it will be far too late for many, many people.

Oxfam’s humanitarian staff and partners are working hard to help stop the spread of Covid19 by providing vital support like handwashing facilities, clean water, toilets and soap in many of the world’s most vulnerable communities.Work like this has helped contain deadly disease outbreaks in the past such as Ebola and cholera. It will help protect people against this virus too. 

Oxfam is also able to provide vital equipment in some places to healthcare facilities and hospitals that urgently need support. And it’s helping people who are losing income or at greater risk of domestic abuse because of restrictions on movement. Supporting the world's poorest communities is more important than ever right now.

You don’t need me to explain all this. One of the good things to come out of this emergency is that it’s heightening our awareness that we are one human family. Locally, we are learning how to look after one another better, love our sick, elderly or vulnerable neighbour in practical ways that make a difference. 

But my neighbour is every man, woman and child in every part of God’s world. At times of crisis when it’s tempting to look inwards, I need to make a conscious effort to think about people far away who are facing threats I can barely imagine. Each of them is my neighbour too. I know that in theory. But loving my neighbour isn’t a matter of theory but of developing a feeling for humanity that’s summed up in words like sympathy and compassion. They both have at their core the idea of suffering-with. In my last two blogs I explored what this might mean in this season of the year when we reflect on the Passion and cross of Jesus. For me, the thought that he continues to suffer in every suffering human child is at the heart of what Holy Week and Good Friday mean.

Which is why I’m asking if you’d be willing to join me in being part of this great effort if you can. I’ve made Oxfam’s Coronavirus appeal my birthday fundraiser on Facebook. You can give via my Facebook page. Please use this if possible. The post is public so you don’t have to be a member. But if you prefer, you can give directly to Oxfam though it won’t be included in the total raised by my personal appeal. You can find Oxfam’s Coronavirus giving page here.

Thank you. Stay safe and well. I hope and pray that this season of Holy Week and Easter brings health, peace and blessing. 

*To clarify, because some have speculated, my birthday falls on the Ides of April.

Ride on to Die!

Ride on, ride on in majesty!
In lowly pomp ride on to die.

It is strange not to be singing those words in the Palm Sunday procession this year. Strange and dislocating when for my entire adult life the great ceremonies of Holy Week and Easter have been the pivot round which the year turns. It will no doubt feel more and more uncomfortable as the week goes on. Not to gather with others in the Upper Room and Gethsemane, at Golgotha and by the empty tomb. We understand why this is necessary. But it hurts, the locked door of the parish church across the road, its emptiness, its silent organ, its lonely altar. It hurts very much for it feels like a kind of abandonment, a death even. It's as if a great stone has been rolled across the entrance.

Which is why this Holy Week will require a great act of the imagination on the part of all of us for whom it matters. It always does call for imagination, of course. We are not literally actors in the drama of the Passion. When we tell its story, we are not rehearsing history but proclaiming this story as a life-changing narrative that is of ultimate significance for us. This is what the liturgy does through its words and images, its rituals and symbols. It's anamnesis, invoking the dynamic of memory that brings past, present and future into a single whole and says: this is the reality that has formed and shaped us, makes us what we are, that lies at the heart of what it means to be human.

I was due to give Holy Week addresses in a southern cathedral this week. The theme was to have been St John's passion narrative, and on Good Friday, the three last words from the cross in that gospel. For St John, Golgotha is a place of achievement, of glory. 'It is accomplished!' I had drafted the sermons before it became clear that there would be no public liturgy anywhere this year. Looking back on them now, they seem to come out of another world when things were normal and we felt safer, less afraid than we do now. Such first world illusions, when so much of the human race lives in fear and insecurity all the time. But this was life back then. And sermons written in one context won't travel when everything has changed.

In the last few days, Covid19 has begun to touch me personally. I don't mean foregoing so much I took for granted and practising social isolation: for us the sacrifices have not cost very much, not compared to others. No, I mean that someone I used to know (and like and admire - but that isn't the point) has died of the virus. I mean that family and close friends are now reporting deaths of people they knew. It has suddenly become a whole lot more real. And even that is a more distant kind of reality for me compared to what is being faced by people who have lost those they loved or who are seriously ill and afraid for their lives. And so many others who are taking great risks every day to care for them, or to maintain the fabric of our common life. These are cruel times. We wouldn't be human if our hearts weren't being broken more than perhaps we can ever remember.

So I find that for now, I'm living more in St Matthew than St John. In this Year of St Matthew, his is the passion story we would have read at the Palm Sunday service. It perfectly fits the experience of this Holy Week 2020. This is the gospel in which there is a great darkness 'across the whole earth' says the evangelist. And Jesus dies with the agonised words of the psalm on his lips, 'My God, my God, why have you abandoned me?' How many people 'across the whole earth' find themselves in just such a darkness uttering just such words right now? I tried to write about some of this in last week's blog when I reflected on a crucifixion altarpiece specifically painted for a convent where the sick and dying were cared for.

St Matthew is clear early on in his gospel that Jesus' death was inevitable, that he 'must go to
Jerusalem and undergo great suffering' (16.21). On Palm Sunday he enters the city as its humble anointed one. No-one gets the irony of the donkey bearing the messianic king. There are shouts of hosanna and victory palms. Who else guesses that he has come to die? Not even his disciples seem to have been paying attention. I wonder what this felt like to the Son of Man who when he arrived at the city he had wept over from afar, how illusory the acclamations and palm branches must have seemed when he looked beyond them to what must inevitably follow. 'Ride on to die.'

This is the first time I've consciously thought, I too must 'ride on to die'. We all must. Not with any messianic pretentions of course, but in the sense that what's true for Jesus is true for all of us. His mortality is ours and ours is his if he is truly 'bone of our bones and flesh of our flesh'. This is the solidarity I wrote about last time, God’s life with ours. We mortals move from one scene to the next in the drama of life that's 'but a walking shadow, a poor player that struts and frets his hour upon the stage, and then is heard no more'. That's not to say that the play (let’s not name it out of respect for those in the acting profession) is right to sum it up as a 'tale told by an idiot, full of sound and fury, signifying nothing'. On the contrary. Every human life holds an infinity of meaning and value, if only we could see it and know it. But as to mortality, who is going to argue with Shakespeare, least of all when we face the threat of a disease that could bring the life of any of us to an unexpected end? We all ride on to die, if not soon, then one day.

********

This means me. I can't escape that fact. 'Most things may never happen: this one will' writes Philip Larkin as he lies awake at night and imagines what it will be like to die. Philip Larkin’s greatest and bleakest poem ‘Aubade’ won’t bring any comfort to us during this testing time or any other. ‘Not to be here / Not to be anywhere, / And soon; nothing more terrible, nothing more true.’ Fear of death is real. It calls for courage, and yet ‘being brave / Lets no-one off the grave. / Death is no different whined at than understood.’ The poet accuses religion of being implicated in denial: ‘That vast moth-eaten musical brocade / Created to pretend we never die.’ Who is to say that he’s not at least partly right about that? It’s easy for preachers like me to present the resurrection as the ‘happy ending’ to the story of suffering and death rather than the great mystery about which we can only say that it is the heart of our faith, it keeps our hope alive, yet we cannot know this side of the grave what it really means. And meanwhile, the ‘work’ of dying is inescapable, whether we have faith or not.

What Larkin’s poem teaches me is that paradoxically, it’s calming and empowering, if not immediately then in time, to stop pretending, face the truth and live in the light of it. This is the theme of Kathryn Mannix’ outstanding book With the End in Mind: dying, death and wisdom in an age of denial. I read it before I’d ever heard of Coronavirus (but knowing that I would soon reach my allotted three score years and ten). She is a consultant in palliative care who has found in her work with the terminally ill, dying and bereaved that when we acknowledge our mortality and are able to speak about death, we not only prepare ourselves to die well, but also find that we live more fulfilled lives as a result. This is precisely the theme of the great classics of seventeenth century Anglican spirituality, Bishop Jeremy Taylor’s Holy Living and Holy Dying. Perhaps one of the positives to come out of this crisis is that we are being urged to think realistically about dying, name it and talk about it with those who are closest to us. This means that if we were to succumb to the virus, we would die having said what we needed to say and made what practical arrangements were necessary. (To their credit, William Collins, publisher of Dr Mannix’ book, has made it available as a free e-book for the next few days. Follow the link.)

Of course Holy Week is about a lot more than our own mortality. These coming ‘days of awe’ celebrate nothing less than the redemption of the world through the cross and resurrection of Jesus. This Great Week transforms everything. This includes our own personal view of life, what we value, what we aspire to, how we are going to live. And how we hope to die. This year, as we observe Holy Week in isolation from one another and in anxiety about what the future may hold, it would be strange if we did not see in the lonely vulnerable Sufferer on his Via Dolorosa an image of us all, strange if we did not hear his cry ‘let this cup pass from me’ as ours, not only for ourselves but for these we love and for all who are suffering in these terrible  days. And yes, even his ‘my God, my God, why have you forsaken me?’

The days of Holy Week were terrible for Jesus too. Which is why, paradoxically, they can bring reassurance, comfort and hope. Where we are travelling in fear, desolation and sorrow he has been, and in an important sense, still walks and always will. Could it be that this year, because of the unique context we find ourselves in, we hear these familiar stories as if for the first time? Could they come alive for us in new ways in our aloneness, our fear, our loss? Could they help us to live better and trust that we shall die better when the time comes? In the last few days Sister Catherine Wybourne, the ‘Digital Nun’, has written a blog that I find profoundly moving. She has decided not to undergo a course of chemotherapy for her terminal cancer, which would now be ‘treatment of last resort’. She asks what it might mean to die at a time like this.

But what about dying itself? We all have our own views on that. The chances are that, in common with many others, if I die in the next few months, I shall die without the sacraments. I cannot easily express what that means to me, but if that should be my lot, I know that it is one I will share with many others, including many great saints. Can it really be so lonely to tread a path many have travelled before? I don’t know. What I do know is that whether I die alone or with someone watching at my bedside, with the sacraments or without, I shall be surrounded by the prayers of the great cloud of witnesses, living and dead, who make up the communion of saints. So, surely, it will not be so lonely after all.

Sister Catherine inspires me this Palm Sunday as I begin the Holy Week journey towards Easter. We can’t know what lies on the other side. It’s a case of ‘one step enough for me’. It always is. But as we take up the cross today we may perhaps find to our surprise that its yoke is easy and its burden light - or at least, a little lighter and a little easier than we had imagined. The Palm Sunday hymn sets the tone in which we must ride on ‘with the end in mind’ - both to die and to live:

Bow thy meek head to mortal pain,
Then take, O God, thy power, and reign!

Photos at an Exhibtion: Don McCullin at the Tate

In Holy Week, I was preaching each evening at Southwark Cathedral. There was time during the day to benefit from being in London. So I went to see the retrospective exhibition of Don McCullin’s photography at the Tate Britain.

To me as an amateur photographer, he is one of the greats who has influenced me the most – though the effect of gazing on these powerful images was to wonder how I would dare ever to take a photograph again. McCullin is famous for his photographs of some of the most terrible conflicts of our time. His name is indelibly associated with images of the Congo, Biafra, Vietnam, Cambodia, Beirut, Northern Ireland and Iraq. Even if you don’t recognise the name, you’ll have seen his work, for example that famous photograph of the shell-shocked US marine in Vietnam, staring blankly not at the camera but through it, beyond it into a personal void that is beyond imagining.

I’d read McCullin’s autobiography Unreasonable Behaviour where he speaks memorably about his work in these calamitous war zones, his exposure to the worst human beings can do to one another. He writes: “Seeing, looking at what others cannot bear to see, is what my life as a war reporter is all about… Our knowing matters. These are sights that should, and do, bring pain, and shame, and guilt.”

He talks about the need to bear witness. “You cannot just look away.” And about the  pilgrimages he has had to make to record terrible things as part of his own journey of truth-seeking and to help us with ours. “I don’t believe you can see what’s beyond the edge unless you put your head over it; I’ve been right up to the precipice. That’s the only place to be if you’re going to see and show what suffering really means.”

The Tate was busy on the day I visited. But I was struck by what I can only describe as a kind of religious hush in the galleries where the exhibition was. You did not want to talk in front of these images, so filled with human darkness and pain, so powerful in their capacity to move us to tears. In Holy Week, it was like progressing slowly and prayerfully along the Stations of the Cross. It was to be brutally yet compassionately exposed to the suffering of Jesus in his people.

I knew I needed to say something about this in my Holy Week address in the Cathedral that night. The theme was how Jesus was crucified as a result of political decisions made by people in power, how the crowd got swept up in violence that resulted in the execution of an innocent man. That seemed to me to be true of so much I was looking at in McCullin’s images. I saw once again, as clearly as I have ever seen it, how religion, if it has nothing to say about suffering, has nothing to say, whether it’s suffering caused by natural events, or by man’s inhumanity to man. And I wanted to ask where hope lay amid all this cruelty and pain.

McCullin himself to some extent responds to that question of hope, or at least the question of how we come to terms with the brutal realities of the human condition, whether in conflict zones far away, or in the deprivation of people nearer to home in our own communities. Truth, he says, is better than falsehood and illusion. Infinitely better. That's why "bearing witness" matters so much. You are told precisely this when you visit Auschwitz, or the Holocaust Memorial of Yad Vashem in Jerusalem. To bear witness even to the worst atrocities imaginable is to stand against them and the lies that spawn them to begin with. Truth-seeking is a sign of hope and the possibility, if we have the will to put it into practice, that "never again" will be more than merely words.

In old age Don McCullin has taken to concentrating on landscapes. He says that while he can never “unsee” what he has witnessed, and does not wish to, his work is now largely to calm his spirit. The relics of classical antiquity have long been a favourite theme. Sometimes, an image like the ruins of Palmyra (as they used to be and as they now are, following Daesh’s destruction of what had survived), evokes the violence of our own times as well as of previous ages exacted on the remains of an ancient civilisation. He has some fine photographs of Hadrian’s Wall here in Northumberland that make a similar point, though less sharply.

But you sense that he finds artistic and spiritual solace most of all by photographing the Somerset Levels where he lives. He does this to beautiful effect. It feels healing in a gentle and life-giving way. The images are still printed dark, with high contrast and lowering skies, as if he is still haunted by the chiaroscuro, the light-and-dark journeys he has made during a lifetime. How could he not be? You have to wonder what the personal cost of his remarkable career has been. But he seems to chuckle as he reminds us that rural Somerset is not altogether a retreat from suffering, He muses that even the hills and hedgerows and waterways have their dark side, the “skull beneath the skin” where “nature red in tooth and claw” is the law of survival. Maybe it’s the insight of old age that there is, in the end, no escape from pain and death. Mortality is part of life and a spiritual task of ageing is to recognise it.

Yet there is something of resurrection about these late photographs too, eucharistic even. Photography isn’t only about being present to the way things are, noticing, paying attention, recording and interpreting, though these are necessary for any practitioner of the art. It’s also about being alive to possibilities, whether glimpsed within the composition itself or implied beyond the frame. There can be hints of transfiguration in even the bleakest of images. Which is why McCullin’s exhibition, shattering though it was to experience, did not leave me feeling hopeless. Images like his, like the Stations of the Cross indeed, have the potential to sensitise us, purify our perception of reality, alter our conventionally superficial responses to events, and thereby make us better people who can in turn build a better world. Perhaps that makes them redemptive?

“Waking up today” he writes “to a morning of birdsong, and stepping out of my back door, I spot the antlers of a deer emerging from the mist in my orchard. The light breaks through the cloud, striking the Iron Age hill fort like the fingers of God. And I find myself saying: ‘Thank you…whoever you are’.” And I find myself echoing: Amen. And even: Alleluia.

Don McCullin is at Tate Britain until 6 May.

Thoughts on Nôtre Dame

What can I say about the fire at Nôtre Dame?

It is a terrible, terrible disaster. The burning of this great and greatly beloved cathedral church is beyond the capacity of mere words, at least in the shock of tonight’s news. What moved me more even than the images of Nôtre Dame being attacked by the flames was to see French people weeping in the streets of Paris. Old, young, people of many different cultures and backgrounds, but especially Catholics for whom this is a uniquely sacred place, all were saying that this is a tragedy for France.

But the first thing to say is that thank God, no one appears to have been killed or injured thus far by this huge destructive fire. We must keep the fire fighters and others plunged into this emergency in our thoughts tonight. Trying to save a medieval building from total collapse entails great risks to many people’s safety. But there is at least a real hope that the western parts of the Cathedral with its twin towers may have escaped the worst and can be conserved. Meanwhile, our hearts go out to the people of France tonight. Like them we are stunned by this calamity that has overtaken them

I’ve visited Nôtre Dame often. I never went to Paris without venturing inside this miracle of a gothic cathedral. It was never a peaceful place - all year round crowds surged through the building,
laughing, chattering, taking selfies on their mobile phones...and yet they came in their millions,
drawn here by something many of them could not have articulated but which religious faith wants to describe in terms of the mystery of God. No English cathedral attracts visitors in such phenomenal numbers (though some might perhaps, if they did not charge for entry). It was wonderful to think that for the vast majority of tourists, coming to Paris without visiting its cathedral was unthinkable.

This isn’t the place to lament the celebrated treasures of Nôtre Dame that will have been lost, or at least severely damaged. It’s too early to tell how much of the glorious medieval glass has survived, or the sculptures or the furnishings or the organ. The fabric itself will be capable of being reconstructed much as it appeared before; after all, this was precisely what the great nineteenth century architect Viollet le Duc achieved when the French authorities realised that the Cathedral was falling down and would soon be beyond repair. The sacred space can be reimagined, but it’s the contents that are irreplaceable.

We need to understand what Nôtre Dame symbolises for the people of France. It’s similar to the emblematic significance of St Paul’s Cathedral for the English. The famous image of St Paul’s rising serenely above the fires and smoke of wartime London that did not destroy it (though the nation feared for its survival) suggest what France is feeling tonight. But I think the French feel their attachment to Nôtre Dame even more intensely. For all its laicité, France has a powerful feeling for its great Catholic shrines. Emotionally if not spiritually, for the French, Nôtre Dame is the greatest of them all.

This is because the Cathedral has stood “strong and stable” (forgive me) over so many centuries, never yielding to the often chaotic events of France’s turbulent history, surviving war, defeat, revolution, civil unrest and neglect in ways that we English haven’t experienced to quite the same extent. It’s not too much to say that Nôtre Dame symbolises the soul of France. It is its mystic heart, if you like, its collective memory reaching back into the middle ages, and even beyond to late antiquity when her first saints worshipped and evangelised on this very site in the former Roman city. This is why this catastrophe will be felt far beyond Paris, right across the country, right across Europe, right across the world not only by the French but by everyone who loves France. As President Macron said tonight, Notre Dame is part of us alL

I learned a little about what happens to a community when fire engulfs its cathedral. I’m thinking of course of Coventry Cathedral where I worked as a canon for eight years. In 1987 when it celebrated the silver jubilee of the new Cathedral, there were plenty of people who could tell stories about the night of 14 November 1940 when Luftwaffe incendiary bombs burned the medieval church of St Michael. The new building seemed a palpable symbol of resurrection, while the ruins of the old Cathedral became a symbol of forgiveness, reconciliation and hope. TO THE GLORY OF GOD THIS CATHEDRAL BURNED AND IS REBUILT says the striking inscription set in big brass letters into the nave floor of the new building. I was always deeply moved by those words.

What about Nôtre Dame? I’ve no doubt that even tonight, many people will already be thinking about what happens next. This is an especially cruel blow to have struck this great Cathedral during the holiest season of the chuch year, just when the liturgies of Holy Week had begun to be celebrated, and the days were building up to the great Paschal Triduum from Maundy Thursday to Easter.

Yes, crucifixion comes into things. But to recognise this on Holy Monday is the clue to what must follow. There will be a resurrection of Nôtre Dame, of that we can be as certain as that we shall celebrate Easter at the culmination of this Holy Week. How and when will be questions that will need to be debated for a long time. But catholic France will not lose hope as a result of this terrible fire. What feels tonight like an irrecoverable attack on a cherished holy place is, from a larger perspective another opportunity for resurrection to be experienced. When St Paul’s burned in the Great Fire of London, a new splendour rose out of the ashes. So it was at York Minster (twice). So it was at Coventry. So it will be in Paris.

These words from one of the prophets of the Hebrew Bible were important to those who oversaw the rebuilding of Coventry Cathedral after its destruction. They were spoken to the despondent exiles who returned from Babylon to Judah to find that their beloved temple was in ruins. Could it ever rise again? The prophet raises their spirits to stir them into action with a promise of hope. “The latter glory shall be greater more than it was before, says the Lord of hosts, and in this place I will give prosperity” (Haggai 2.9). As the Psalm says, “Sorrow may endure for a night, but joy comes in the morning.” Tonight must be about new life as well as death. Which is why the great word of Easter must be the last one on this evening of tears and lament: RESURGAM!

Afterthought on Tuesday morning. Thank God the fire is contained, and the core of the medieval fabric is still standing. The relics have been saved, including the Crown of Thorns, and some of the art works. The firefighters have done a magnificent job, risking their lives for a cathedral they love. Already thoughts are turning towards the rebuilding of the Cathedral and one benefactor has pledged a hundred million euros. Christians in Paris will go on observing Holy Week, but with a new intensity now, and with many tears - but, I think, with a stronger sense of resurrection hope than ever. We feel for them and pray for them today. For now, we are all Parisians.

Preaching the Cross in the Shadow of Brexit

This year I'm preaching Holy Week in Southwark Cathedral. Once again, I've chosen to give a series of addresses on St John's Gospel. Its passion narrative has been an inexhaustible source of inspiration throughout my life. Indeed, I owe my Christianity to it, something I blogged about a few years ago. This is perhaps the sixth Holy Week I've preached when I’ve focused on St John's Gospel. Far from repeating myself year after year, I've been amazed at the fresh insights it has to offer, this profoundest of stories that seems forever new.

However, this is the first year in which I'm aware of proclaiming the cross in the shadow of such momentous events. I mean, of course, Brexit. It's possible, though I think unlikely, that the UK could crash out of the European Union on 12 April, two days before Palm Sunday. But even if we are still EU members as Holy Week begins, the air of crisis and panicked uncertainty will almost certainly still be real. So this year's question is, how do I, how do any of us, interpret the passion in such a febrile political climate? How does the Brexit emergency colour the way we "lift high the cross" in liturgy, preaching and prayer?

Of course, that's putting the question the wrong way round entirely. It falls straight into the Brexit trap of seeing everything from our own limited perspective. What matters infinitely more is, how does God see things? How does the cross itself interpret our national politics at this turning point in our history as a people? More than that, how does the cross judge our collective and individual motives, attitudes and choices at this critical time in our history, and indeed all of the time? I almost said at this crucial time in our history, this “crossroads” that is subject to the judgment of the cross of Jesus Christ.

I'm clear that in Holy Week, the preacher is called "to know nothing but Christ and him crucified", as St Paul puts it. Yet in the powerful passage from which I’m quoting (1 Corinthians 1.18-2.5), Paul directly contrasts "the foolishness of God", that is, the wisdom of the cross, with what he calls merely "human wisdom". He concludes that faith must rest on the power of God that is the ultimate judgment on all human activity. So the proclamation of the cross places all human thinking and action under divine scrutiny. And that includes the politics of every nation, people and society at all times in all places.

Let me say straight away that I don't intend to mention the B-word explicitly at Southwark. I don't see it as the preacher's role in Holy Week to weary long-suffering listeners by expatiating on Brexit. But just because I won’t inflict my Remainer opinions on people, it doesn’t mean that I’ll apologise for them if asked - which, I suppose, is conceivable. It’s true that I've argued with some passion that as an established church, the Church of England can and should take a view on this nation's future in relation to the European Union. It should be as committed to shaping opinion as it is to reflecting it, because Brexit is a matter of public theology, morality and social ethics. But Holy Week is not the time to do it from the pulpit.

However, it doesn't follow that the passion narrative sits above politics. Far from it. In all four gospels, it’s clear just how deeply political this story is. While it's true that the cross is the ultimate demonstration of how "God was in Christ reconciling the world to himself" (St Paul again, 2 Corinthians 5.19), the particulars plunge us inextricably in the politics of first century Palestine and the complex public interactions of the Jewish people with their Roman overlords. Whatever else Jesus' death means spiritually and theologically, we can't evade the historical fact that the crucifixion was the direct consequence of political decisions.

Given that the divisive politics of our own day is the context in which we shall be commemorating the cross this year, it would be surprising if we didn't hear all kinds of political echoes and resonances in the passion story. Some of the themes that have haunted the rhetoric of the Brexit debate are clear in the narrative. We could think of financial inducement and betrayal (Judas and the thirty pieces of silver); the strain on personal relationships ("Are you not one of his disciples?"); the naked populism of the crowd that sucks everyone into its craving for a victim ("Crucify him!"); the indecisiveness (some might call it non-alignment) of the political leader who could have saved the victim (Pontius Pilate who found no fault in Jesus but for all that turned him over to be crucified). And so on.

None of these is "about" Brexit, of course. Rather, both Brexit and the passion narrative reflect atavistic aspects of human beings that act out archetypal patterns. In particular, the theme of the scapegoat, the victim that is driven out of a community carrying with it its pain, conflict and dysfunction has been extensively explored by the theologian-anthropologist Rene Girard as an important insight into the atonement. Such behaviour seems to underlie the desire to attribute blame that is pervading so much of our politics right now. When feelings are running high, finding a victim on whom to project our ambivalence or anger, our hatred or distress, our longing for revenge is a basic human instinct. Annas and Caiaphas, Herod and Pilate, the religious authorities and the wayward crowd all fit this template. Laid across the passion, the Girardian template yields illuminating insights.

In all these ways, human politics turns out to be deeply implicated in the passion narrative. I'm pretty sure that without trying very hard, we Holy Week preachers and listeners will find ourselves attuned to the political nuances of the story this particular year. As I've said, it isn't a matter of explicitly alluding to our Brexit dilemmas. It will be implicit in our reading and preaching of the texts if we are sensitive to the layers of meaning the evangelists are conveying. Context is everything for both preacher and listener. What are called "reader-response" approaches to the interpretation of texts have highlighted the importance of understanding the context of the listener, whether political, social, cultural or personal. We need to be aware of whom we are preaching to, and what kind of assumptions (not to say fears and worries) they will bring to our Holy Week and Easter services.

But the glory of the cross in the New Testament is how the politics of God and the politics of mortals intersect in a story that turns out to be about reconciliation, redemption and healing. Even in the subterfuge and chaos, the falsehoods, betrayals and thirst for violence, the passion narrative tells of God's purposes to bring about the salvation of the world. All our churches have expressed the hope that even in our divisions over Brexit, people of good will may come together and find that our differences are transcended by our shared humanity and our resolve together to seek the common good. That is where we Christians can make common cause with people of other faith communities or of no faith, but who, like us, care about the welfare of the human family. That will be healing in itself.

In the Fourth Gospel, Jesus speaks about how when he is "lifted up from the earth" he will draw all humanity to himself (John12.32). This is what we must allow the cross to do to us and for us this Holy Week. As we celebrate the paschal mystery of Jesus' cross and resurrection, we shall, I'm sure, find ourselves also drawn closer to one another in wonder, love and praise. We shall want to listen to others' stories about what the cross means to them, and to share our own. Those stories have implications for the whole of life, including social justice, public life and politics. To worship together at the foot of the cross is not somehow to iron out our differences and make everything “all right”. It’s certainly not to extricate religion from politics. But it is to acknowledge that the cross summons us to the search for truth and justice. It’s to recognise that God cares as passionately as we do about the politics of peoples and nations. It’s to bring politics with us to the cross and seek a new purity of vision for our life together in society. And that could transform the quality of the discourse as we go on debating Brexit after Easter.

Maybe you were hoping that Holy Week would mean a few days' retreat into the peace and tranquility of personal piety from the turbulence of politics in the public square. If so, I'm afraid you can't have been paying attention to the gospels!

Lent with St John's Gospel

I'm working on a series of Holy Week addresses that I'm giving at Chester Cathedral. Once again I'm immersed in the Gospel of St John. Not specifically the Passion story this time (I preached through it a few years ago, which is how my book The Eight Words of Jesus originated). This year I decided I would offer addresses on the seven "I am" sayings in the Fourth Gospel. In the order in which they occur, they are: the Bread of Life, the Light of the World, the Door, the Good Shepherd, the Resurrection and the Life, the Vine, and the Way, the Truth and the Life.

Believe it or not, I have never preached specifically on any of these great sayings, though I've often alluded to them in sermons on St John - you can hardly avoid it when they illuminate so much of his gospel. (Actually, that's not quite true. I did once write a sermon on the Way, the Truth and the Life,  but had to abandon it when some big event in the parish supervened and I needed to preach in a different way.) So this has been a voyage of discovery for me. It's been inspiring and stimulating to research the Greek text of St John with the commentaries, something retirement gives me time to do (even if it also brings the despondent reminder of no longer possessing key books I'd have been glad to consult because they were left behind in Durham when downsizing my library).

We've been companions for half a century, the Fourth Gospel and I. I blogged about the St John Passion a few years ago and said something about the part it played, together with the music of J.S. Bach, in my coming to conscious faith. In that blog, I wrote about the last word from the cross in the gospel, "It is finished" and how significant that single Greek word tetelestai is for the author. The cry of accomplishment, triumph even, because Jesus has completed the work God gave him to do, strikes an entirely different tone from the last words in the other gospels. There, it's much more a case of abandonment and desolation ("My God, my God, why have you forsaken me?" in Matthew and Mark), or resigned trustfulness ("Father, into your hands I commit my spirit" in Luke). In John, Jesus is not the tragic victim who is "done to" by others. He is the sovereign Lord who lays down his own life as an act of the will. It makes all the difference to the way we hear the story.

My challenge this Holy Week is to show how the "I am" sayings point towards the cross - and towards the resurrection as well, for in John, the cross-and-resurrection is a single hyphenated event as Jesus "goes to the Father" as John puts it. The ancient liturgies of Easter celebrated the cross and resurrection, not as two separate moments in Jesus' career, but as a unified redemptive event, the Pascha, the Lord's Passover. As it happens, at Chester they were keen that my addresses should remind congregants that Holy Week represents the last phase of our Lenten commitment to prepare for the celebration of Easter. That seemed to fit well into the way St John handles and interprets the "I am" sayings.

To do this properly, we need to look carefully at each saying's background in the Hebrew Bible. Take for example the saying "I am the bread of life" (John 6.51). This was the obvious text to assign to Maundy Thursday evening and the liturgy of the Last Supper. Here is John's key eucharistic text ("Those who eat my flesh and drink my blood abide in me and I in them"), this in a gospel that unlike the others does not record Jesus breaking the bread and sharing the cup in the upper room. That's already a substantial sermon in its own right. But I couldn't do it justice without noticing how Jesus' feeding of the crowd that introduces this saying is intended to remind them of how God fed their ancestors in the wilderness with manna from heaven. Much is made of this in the dialogue between Jesus and the crowd that forms the substance of this chapter. Once we grasp the significance of Jesus' saying "I am the bread of life" at Passover time (John 6.4) when that wilderness journey was remembered in a ceremony of the breaking of bread, we realise how profound the symbolism is.

In a way I find miraculous, this is how the text of the Fourth Gospel works from start to finish. It is the most densely textured of the four gospels, with layer upon layer of symbolism, key words and phrases (including the "I am" sayings), and references to the Hebrew Bible not only through direct quotation but by allusions that trigger associations in the mind of the reader. These are a bit like Wagnerian Leitmotiven - musical themes that associate to particular characters, objects, events or destinies. Their role is subliminally to enable listeners to navigate a long and complex story by reminding them of the past, foreshadowing the future or setting the appropriate mood. In St John, certain words function as archetypes that are present throughout the text: explicitly here, implicitly there, for example light, life, love, glory, work, end (as in purpose), ascent (being "lifted up"), way, king, water, bread, wine and so on.

And I am is one of those. As I shall try to explain during Holy Week (no easy task!), those words derive from the story of Moses at the burning bush (Exodus 3.1-15). As he takes off his shoes (for this is holy ground) and gazes into the fire that burns without being consumed, he hears God addressing him. The voice discloses God's name: "I AM WHO I AM....Thus shall you say to the Israelite, I AM has sent me to you." This is the origin of the divine name in Hebrew, YHWH, or in its debased English form, Jehovah. What does it mean? That God can only be spoken about or described in terms of himself. For he is the essence of what it means to exist, to be alive. The theologian Paul Tillich spoke about "the ground of being". So when Jesus takes the emphatic Greek words ego eimi on his lips, "I am", John takes him to be identifying directly with the God worshipped by the Hebrews, the God of Abraham, Isaac and Jacob. Jesus does this explicitly in a passage that records an argument with the community's leaders who accused him of blasphemy. He makes the extraordinary claim, "Before Abraham was, I am" (John 8.58). No wonder they tried to stone him there and then!

Enough for now. In this blog, I only really wanted to point to the infinite richness of this wonderful Fourth Gospel. I'm looking forward to being in Chester Cathedral for Holy Week and preaching through the "I am" sayings as a small act of gratitude for what has felt like a lifetime of friendship with St John. I'll publish the addresses as I give them (at http://northernambo.blogspot.com) and put the links on social media.

A Sermon in Stone: on being back in Coventry Cathedral

We spent last weekend in Coventry. I'd been invited to speak at the Cathedral on Sunday morning and at Warwick Parish Church in the evening. The Midlands are at their best in spring. The roads were lined with blackthorn. There was a profusion of magnolia in parks and gardens, and dandelions on every lawn.

April 1 was 30 years to the day since we moved to Coventry from Northumberland. I can be certain of that since the date we left Alnwick is recorded on a sampler we have on the kitchen wall. I remember thinking how lovely Shakespeare's county looked that spring. A few weeks later I was installed as a canon of the Cathedral. The abundant cherry blossom was breathtaking seen against the pink sandstones of the city and its churches in the clean washed light of spring. It was the weekend Coventry City won the Cup Final, so there was Sky Blue on every building too.

Last Sunday, then, I preached a sermon at the sung eucharist. The text was the raising of Lazarus in St John's Gospel (11.1-45). Looking back through my sermon archive, I was amazed to discover that I had never preached on this famous story - how could that be in 42 years of ordained ministry? So I welcomed the opportunity to put it right. (It's never too late to learn.)

I was struck by a coincidence of two texts. One was from the story itself: “This illness does not lead to death, rather it is for God’s glory.” The other was inscribed into the fabric of the Cathedral itself, in uneven letters just by the glass wall at the west end, “To the glory of God this Cathedral burnt". They were of course linked by the word glory which is what leapt out of the page as I imagined myself speaking from the Cathedral pulpit. But I was intrigued by an apparent connection of meaning in elliptical nature of both statements. How could you find  glory in either a mortal sickness, or in a mortally destructive act of violence?  

You can read the sermon to find out what sense I made of this intriguing alignment of texts. But I was also aware that it was Passion Sunday. So the placing of the story of Lazarus just before the events of Holy Week in St John is clearly reflected in the lectionary's placing of it on this Sunday of the year, a week before Palm Sunday. So this sermon would need to point forward to the events of Holy Week, the passion, death and resurrection of our Lord Jesus Christ.



And of that, both Lazarus and the Cathedral itself are powerful images. Let me speak about the Cathedral. The obvious conception of it is as the new rising, phoenix-like, out of the old. Provost John Petty always said that to walk from the ruins into the new Cathedral is to make the journey from Good Friday into Easter. I don't dispute that. But I think a deeper reading invites us to see how old-and-new belong together inextricably. Physically, this is represented by the way the architect, Basil Spence, linked the new Cathedral to the ruins of the old by an immense porch whose canopy overtops and embraces the north wall of the shattered medieval church. It's a mighty statement of how death-and-resurrection are a single redemptive event as Christian theology understands it.

And when you look out from the west end of the new Cathedral, what you see is the place of ruination and destruction: the bombed out medieval St Michael's of which all that survives are the tower and the walls. You feel a palpable sense of what Wilfred Owen called the pity of war. For Spence, it symbolised the idea of sacrifice. But that isn't all. Above is the great sky, like a huge crack in the fabric running from end to end. When I used to preside at acts of worship out there, I felt I was standing in some kind of vast empty tomb. This was especially true when we would stand before the Charred Cross, a symbol of Golgotha if ever there was one, and pray the words inscribed on the wall behind it, Father, forgive. That ruined sanctuary spoke as much about resurrection as it did about the passion.

Which is why it isn't strictly correct to talk about the old Cathedral and the new. They are one Cathedral whose message is: reconciliation happens when we enter into the paschal movement of God's love which Holy Week proclaims to us. The ruins are still a unified sacred space. Perhaps there's an analogy with the eucharist. In bread and wine, we rehearse and celebrate the whole work of God in Jesus, especially his death and resurrection. It's a feast of the cross but also of the resurrection, the memory of the Last Supper on the night before Jesus died, but also of the Supper at Emmaus on the evening of Easter Day, and of the breakfast by the lakeside a few days later.

In the same way, Coventry Cathedral is a truly paschal cathedral. The whole of it proclaims the three tenses of Christian faith. Love's work has been accomplished in Jesus' death-and-resurrection. It continues to be accomplished in the present as the risen Christ is among us to transform our ordinary days. It will be finally accomplished when "all things are put in subjection under his feet" and his kingdom is finally realised. Every eucharist at the high altar, beneath Graham Sutherland's tapestry of Christ in Glory looks forward to that consummation.

I love Coventry Cathedral for many reasons. But best of all is its capacity to be a sermon in stone about death-and-resurrection, a sermon for these solemn "days of awe" we are about to enter. It's a place where you glimpse the glory of suffering that is healed and transfigured. I think Lazarus would feel at home here.

Walking Into 2017

Today means getting back to work after the holiday. Even in retirement time has its ebbs and flows, is shaped and configured by the seasons. After Christmas and new year, ordinary time is here again (not liturgically I know - but it feels that way). A new term has begun and the caravanserai of school buses snakes past the house with youngsters from across Northumberland. My wife returns to her day-job with people to see. And I have some thinking to do.

It's a beautiful day: crisp, clear and sunny. The sky has that exquisite duck-egg hue you get in the north in winter and which it's almost impossible to capture accurately in a photo (I've tried). I need to walk, not so much to slough off Yuletide excess (there's a bit of that) as to limber up, get body and mind into shape for whatever awaits this new year. Walking is good mental and spiritual exercise as well as good for the body. It has a way of sorting things, putting them into their proper places. Pascal said: "just carry on walking, and everything will be all right".

I've said I have some thinking to do. So I find some classical music, plug in my earphones and head off up the hill. Who else finds that BBC Radio 3 is among the best of all walking companions? So enjoyable. So civilised. So stimulating. And most of the time, so harmonious in ways that in the open air suggest nature and art echoing each other in praise of creation's eternal harmonies. Every walk out of the village takes you up a hillside. When you live in a steep-sided valley, walks bring their rewards early on. Quiet narrow lanes criss-cross the hills with only the occasional tractor or post van to disturb the tranquility. The holly trees are thick with berries. Snowdrops are tentatively pushing through the hard ground. Mossy drystone walls glow green and silver-grey in the morning light.

I climb clear of the village outlier, an intriguing group of Northumbrian bastle houses gathered round a green in a place that clearly has a long defensive history in this land of border reivers. Here is where I set about getting my mind round the project I need to think about. It focuses on the three sets of addresses I have agreed to give in 2017. Why on earth did I take on so much in one year, my wife has asked me, as if to say, will you never learn? I respond, feebly, that favours are being called in here, and promises about how I would have so much more time to give in retirement. I hardly convince myself, let alone her. But on the other hand, I am honoured to be asked to do important things like these. I am glad still to be useful in my superannuation. And I shall enjoy the mental and spiritual stimulus of preparing for these assignments because I know how much I shall learn in the course of it.

The first is to preach through Holy Week in an English cathedral. I have always thought that the public proclamation of the cross is the year's most awesome undertaking, and I won't deny that even after all these years of preaching I am still daunted by it. The second is to lead the summer ordination retreat for deacons and priests in another diocese. This will feel private and intimate by comparison, but it is no less awesome to be ministering to men and women who are experiencing one the biggest turning-points they will ever have known in their lives. And the third assignment is to conduct the annual week's retreat for a community of monastics. It will be the first time I have lived and prayed with this particular religious community and the first time I have led a conducted retreat for monastics (as opposed to lay people or secular clergy). So this too will bring its sense of both privilege and challenge.

I figure that if I can have identified the central themes of each of these in good time, it will help me find some coherence in the considerable amount of preparation that lies ahead during the first half of this year. Recognising what I should offer in each place and how I should set about it is of course itself an act of spiritual discernment. Prayer comes into things, and so does conversation with those responsible for arranging these events. The last thing any preacher or retreat conductor wants to do is to speak into the vacuum of not knowing his or her audience, what their needs and expectations are, and why they have asked this particular person (me) to address them. At this early stage, my own thoughts and instincts are inchoate: morsels of bread cast on to the waters. But the process has to start somewhere. And I have wanted to take the first steps on my January Northumberland hillside.

I find (think? feel? believe? so many perhapses and maybes) that I am sensing a direction, a shape. As the lane twists round the little old church where centuries ago St Cuthbert's body once lay, I detect faint outlines of a discernible picture on each of the three blank canvasses. Below me, the village is laid out in the valley like a patterned hearthrug. I take in the majestic Tyne that has given our valley its shape and much of its history, and which flows swiftly across the tableau from right to left. I pick out the two bridges that span the river, the one old and narrow where the medieval bridge used to be, the other built more recently to carry traffic. I glimpse the parish church with its distinctive pagoda tower where we worship each week and where I join the Vicar for daily prayers. At the station a Newcastle-bound Sprinter has stopped to collect passengers. Wisps of smoke from a score of hearths (one of them mine) hang over the village in the stillness. The sun continues to shine. I am feeling warmed by my exercise.

"Angels whisper to you when you go for a walk" someone said. I regain my front door sensing I have been whispered to. I wish I could say that the big problems facing humanity could be resolved by an invigorating winter walk. We take off our walking boots and everything is manifestly not all right - yet. But I suspect everything has a way of looking a little different when we go for a walk. Is this what Pascal meant - that the sheer act of striding out has a way of getting us mentally and spiritually engaged, making us participants rather than bystanders? I think I've glimpsed that this morning. I have certainly been given a lot to think about.

Holy Week 2016: a reflection on pain and mercy

It's a strange Holy Week, this first one in retirement. How I miss the great liturgies and profound music of Durham Cathedral. By contrast, this year feels like "Holy Week lite": no services to preside at, no sermons to write. Here in the village the liturgy is simpler and sparser though the pattern is the same. The Vicar is introducing an early morning Easter Vigil and eucharist up at the Old Church, not quite at dawn though with the clocks going forward it will feel like it. So we shall have kept the Sacred Triduum "properly", and that's good.

What's different this year is that I have a lot of time to think and reflect, to read, pray and gather wool. (And write, I hear you sigh, but no-one's forcing you to read this....) But it's not idleness, at least it doesn't feel like it. It's "work" too - spiritual work. Let me try and say where my thoughts have been leading me.

First, there's how much this week means to me, how it lies at the very centre of my Christian faith. I've written many times before about this but it's reassuring in an odd way to find that even though I am living as a lay person under the ministry of others, it hasn't in the least taken away the profound sense that without faith in Jesus' cross and resurrection, Christianity is nothing. I come back constantly to one of the greatest verses in the whole Bible, St Paul in Galatians (2.20-21): "I have been crucified with Christ; and it is no longer I who live, but it is Christ who lives in me. And the life I now live in the flesh I live by faith in the Son of God who loved me and gave himself for me." You could feed off that magnificent affirmation for a lifetime. 

There are the familiar personal rituals of this season, chiefly to listen to both the Bach Passions at least once each during Holy Week. Like Galatians, they are inexhaustibly rich, so full of pain and pathos, yet charged with an exquisite confidence in tender mercy and undying love. This morning Angela Tilby spoke on BBC Radio 4's Thought for the Day about the final bar of the St Matthew Passion where Bach lingers on a dissonant passing note before resolving it into the last chord of this monumental work. There is a whole theology in that bar, she said. She is right: all of this week comes down to a painful dissonance and its ultimate resolution. Today I listened to the St John, a work I've written about in previous blogs. The same is true there, except that the conclusion is less tentative, less inclined to linger on the pain, more confident, even rapturous - precisely the difference between the two evangelists that Bach, one of the greatest theologians of the western church, understood so well.

But to go back to that dissonance: this has been a shocking Holy Week as we know. The atrocity in Brussels has left in its wake so many wrecked human lives: deaths, terrible injuries, trauma, loss and bewilderment. How self-professed adherents of a noble world faith, Islam, could carry out such destructiveness in God's name is just beyond comprehension. Elie Wiesel once said of the Nazi Holocaust, maybe even God himself doesn't understand it, let alone we humans. How to speak of such events with integrity without resorting to clichés and conventional expressions of sympathy, is hard. Like Job's friends, we would be better to remain silent like the mourners standing alongside one another in the Place de la Bourse. I think there must be silence in heaven in the face of such suffering and grief. What is there for God to say?

For me as a person of faith, this is where Holy Week comes in. The Passion Narrative echoes so many of the themes we are so familiar with. Fear, betrayal, cowardice, political compromise, the power of the mob, the oppression of the innocent are all sharply-etched on the page and in the music. Most of all the suffering of the victim.  In the St Matthew Passion he is not the obedient martyr of St Luke nor the victorious king of St John. In Matthew (and Mark) he is the lonely, agonised victim who cries out in agony "My God, my God, why have you abandoned me?" How true to experience. And like so many who are plunged inexplicably into terrible suffering, he gets no reply. He is alone in this long and terrible darkness. Hearing Bach this week, it couldn't fail to echo Brussels and Srebrenica and Istanbul, Syria and Iraq, the continuing refugee crisis and so many other horrors past and present we have heard about in recent days. That question comes back: what is there for God to say? What is there for us to say?

But faith wants to respond: God has not been silent, even though we didn't realise it at once. He is speaking out of the very heart of suffering to all the world, especially to those whom events have led directly into the reality of crucifixion. The broken Man of Golgotha is that Word of truth, mercy and the love that loves, as St John says, "to the end". Here's how one of the best modern hymns puts it.

And when human hearts are breaking

Under sorrow's iron rod,

Then they find that self-same aching

Deep within the heart of God.

It's the good news that is old and familiar and well-tried, but forever fresh and new in its capacity to bring strength and courage to face the days ahead. Once again it's St Paul's "faith in the Son of God who loved me and gave himself for me". This Holy Week I wonder like everybody else what ordeals the coming days and weeks will bring for our world and for each of us. But what we need to do is to hold the passion and resurrection in our hearts as the truth to live and die by. These "days of awe" from Maundy Thursday to Easter will strengthen us as we tell the story that lies at the very foundation of our faith. And point to the eventual resolution of all our sorrow and dissonance, and give us back our hope.

Andy Walton, writing in Christianity Today, quotes Coptic Bishop Angaelos whose church members have encountered fierce suffering in recent years in Egypt: "The darkness we encounter daily makes us not only realise the value of the Light, but pursue and hold onto It as our only hope and strength." His faith is a true inspiration. In that spirit I wish you a holy festival, and when it comes, a happy light-filled Easter, and "even at the grave", joyful alleluias.