Easter 2020: fear and hope in a landscape of death

Public was death, but Power, Might
But Life again, but Victory
Were hushed within the dead of night
The shuttered dark, the secrecy.
And all alone, alone, alone,
He rose again behind the stone

Alice Meynell’s poem is haunting me this Easter. ‘All alone, alone, alone’ is precisely how much of the human race finds itself during these weeks of Coronavirus lockdown. Despite all the ways in which we are digitally connected to one another as never before, this enforced isolation from physical human contact is still hard for many and for some, almost impossible to bear. We feel especially for those cut off in even more extreme ways because they are seriously ill, unconscious or facing death, and for those who love them. These are terrible times.

The poem underlines what’s said in all the Easter stories in the gospels, that no-one was there to witness Jesus being raised from the dead. All there was to show for it was an empty tomb from which the beloved body had gone. The resurrection narratives all begin there, not with joyful meetings with the risen Lord but with emptiness, bafflement and fear. They begin at the threshold of profound mystery, in a strange and disturbing place where nothing is quite as it seems.

The painting captures the paradox of Easter. It’s an extraordinary work of art from the same altarpiece I wrote about in Passiontide by Matthias Grünewald, the early sixteenth century German painter whose masterpiece this is. This resurrection panel is not as famous as the crucifixion but I find it just as remarkable. The colours for a start - this could have been painted by William Blake three centuries later. The way Jesus’ head seems to dissolve into the aureole of light surrounding it - that could be Turner. The beautiful curve of his diaphanous robes traced out by his rising up into the sky; the vibrancy of the risen Lord presiding majestically over a landscape of death with the wreckage of the rent tomb centre-stage: it all makes for a painting that’s as dramatic and compelling as anything in religious art. As an imaginative journey it takes us where no theologian would dare to tread.

I keep coming back to the aloneness of this risen Christ. Perhaps I wouldn’t have been tuned into it before we went into self-isolation. But I’m struck by how the painter pointedly does not include a heavenly panoply, a host of angels to celebrate the resurrection. Nor have the women yet arrived at the tomb. True, there are human figures in the painting, but the guards could not be more lifeless, strewn like broken toys across the foreground, When Lazarus stepped out of his tomb, his sisters and Jesus his friend were waiting to greet him. When it’s Jesus’ turn, there’s no-one. He is ‘alone, alone, alone’. Whatever has taken place on Easter night has happened out of sight, hidden from all human gaze.

The theological point is that the event of resurrection is unknowable. It can’t be witnessed or conceived, or even spoken about. It is a mystery, a work only God can do. ‘I trod the wine press alone’ says Isaiah, imagining a warrior returning after a great victory (Isaiah 63). He is bloodied but unbowed, triumphant, ‘announcing vindication, mighty to save’. Did Grünewald have this passage in mind when he tried to capture in paint the rending of the tomb and Christ the victor ascending in his gorgeous red robe, and his battle-scars, the marks of the nails, for ever branded on his hands and feet? ‘I looked, but there was no helper, so my own arm brought me victory.’

We’re struck by the purity of the risen Christ’s skin. In the crucifixion panel, Jesus’ body was terribly defaced by scars, boils and pustules; as I pointed out in the blog, this painting was commissioned for a convent whose vocation was to care for people with skin diseases. It was to reassure the sick that Jesus had suffered as they were suffering, identifying with them in their pain. But now, all this has been healed. Resurrection brings healing, transfiguration and beauty to our disfigured humanity. The sky may still be black and the landscape sombre, but the rainbow colours of Christ rising from death point to a transformation that is coming upon the world. Easter changes everything.

********

I think this painting encapsulates where we find ourselves just now if we are Christians. Faith affirms that God raised Jesus from the dead. We profess it in the creeds and try to live by its promise. But like the altarpiece, our lived experience may take us into very bleak landscapes. The sterile ground may show no green shoots of spring, the dark vault of heaven may hold no hint of dawn. Our worlds may be strewn with wreckage and destruction. This radiant resurrected Christ gazes straight at us as if to say, hope against hope. A better future is promised. And we want to hope, desperately. We want to defy the despair we’re tempted to fall into. Even at the grave we want to sing ‘alleluia’. But the barren earth beneath us and the inky sky above seem to say: whatever this promise means, it is not for now. It is not yet.

Easter in lockdown may feel a bit like that. What hope does it bring to people who are lonely, frightened or very sick, or who have lost people they love? Or who are overwhelmed by worries about what the virus may mean for their homes, jobs and finances? Or who are burned out with the tasks of caring for others? Bring it close to home. Any of us could die in the next few weeks. Easter won’t make any difference in this strange and terrible year. Will it?

It would be easy for us to see Easter as the happy issue out of all our  afflictions, to allude to a prayer for the sick in the Book of Common Prayer. We want our tragedies to end in triumph, our tangled chaotic experiences to achieve resolution and come to rest. We wouldn’t be human if we didn’t crave a good ending to all this misery. Or at least, could glimpse some light at the end of this long dark tunnel. ‘Easter brings us hope’ will be the message of every online sermon preached today. But what does it mean? What difference does it make?

Let me say what I think it doesn’t mean. Easter makes no promise that things will get better, or that we’ll pull through this crisis because we’re resilient. It really doesn’t. You don’t tell someone who’s been terribly injured or is terminally ill or about to lose someone they love that ‘everything will be all right’. We don’t know if it will. It may not be. Worst fears may be realised. It’s a pastoral mistake in my view prematurely to quote Mother Julian’s ‘all shall be well’ as if it neutralised suffering here and now. Indeed, she wrote: ‘He said not, “Thou shalt not be tempested, thou shalt not be travailed, thou shalt not be dis-eased” but he said, “Thou shalt not be overcome”’.

When the desperately sick patients in the convent looked at Grünewald’s resurrection, I don’t think they necessarily believed that the risen Christ would cure their diseases and put everything right again.What did they look for then?

I think they found strength. That is to say, they were comforted by this luminous painting, given a strength that was not their own, resources with which to face suffering and death. Comfort isn’t a soft palliative word. It comes from confortare, to make strong, invigorate, en-courage. It’s about fortitude. Perhaps they recalled St Paul’s words about not being overwhelmed by trials beyond our capacity to endure, how God’s strength is revealed in human weakness. And surely they thought back to the words spoken by the empty tomb when the women were terrified, ‘do not be afraid’ (Matthew 28.5). And his final words in that Gospel, ‘I am with you to the end of the age’. The world’s age, yes, but my own too, whenever and however my life comes to its close.

I don’t underestimate the hope the painting’s message would have brought to the dying. The vision of God is at the heart of Christian faith and the resurrection opens a door on to our communion with ‘the love that moves the sun and the other stars’, to quote the marvellous last line of Dante’s Paradiso. The dying can feel very alone, especially when death comes because of this virus. As Jesus rises alone, up above the desolate landscape of death, his risen aloneness touches and transforms our loneliness. The rainbow colours of glory and the garland of stars promise that while there are tears in things, they do not have the final word.

That conviction could not be more comforting, more empowering. It imparts confidence, reassures me that my faith, fragile and faltering though it is, beset by ‘fightings and fears, within, without’, will hold whatever may come. Dietrich Bonhoeffer who was executed by the Nazis 75 years ago this month, said: ‘only the suffering God can help’.  When we read the resurrection painting in the light of the crucifixion, when we understand Easter in the light of Good Friday, we glimpse how suffering love is also the love that ultimately triumphs. We can be comforted, strengthened, by the truth that lies at the heart of all of life, amor vincit omnia, love overcomes all things. It feeds the hope that dares to imagine how things could be different for our world and for us all.

So my Easter prayer is that God may look with mercy on his suffering world and be close to every human child. That God will give us strength to persevere through this crisis, endure suffering, care well for one another. And that we hold on to our hope for the time we long for when ‘all shall be well, and shall be well, and manner of thing shall be well.’ And that the risen One who rose ‘alone, alone, alone’ will bring comfort to us all by reassuring us that because of Easter we are never alone.

Mary: an Advent Meditation

About suffering they were never wrong,
The Old Masters: how well they understood
Its human position: how it takes place
While someone else is eating or opening a window or just walking dully along.

I had to study that poem at school. It was my first introduction to any great twentieth century poet. I've never forgotten it. Auden takes Breughel's painting The Fall of Icarus as an example: the ploughman carries on ploughing, and the ship that has somewhere to get to sails calmly on; and all this while a boy falls catastrophically out of the sky. Disaster strikes: someone you love dies, or you are diagnosed as being terminally ill, or your marriage breaks up, or you lose your job. And you wonder how, just outside your universe that is disintegrating, another, ordinary world just carries on uncaring, oblivious.

But about ecstasy the artists and poets are never wrong either, and it is the same truth. You are in the seventh heaven, surprised by joy: you fall in love, or find a new friendship, or have a child, or meet God. And not far away, the rest of the human race is not aware of you, still less cares about what for you is making creation sing. It is as if in both agony and ecstasy, time is attenuated, given a new quality, seems to stand still. Einstein's theory of relativity talks about dilation when space-time is distorted close to the speed of light. It takes on a new quality. But everybody else's "ordinary" time just carries on as it always has. In a sense, it's as if we are living in different worlds until the ecstasy subsides or the agony begins to be healed, and the extraordinary merges with the ordinary once more.

Paintings and sculptures of the Annunciation often depict this double world. Inside her house, the Virgin Mary is rapt in contemplation, heaven reflected in her face as she is overwhelmed by the power of the Most High that has come from beyond the farthest star to visit her. On the other side of the window sheep are grazing, people buy and sell in the streets of a town, a farmer gathers his harvest. Something of this is what I see hinted at in Josef Pyrz' sculpture of the Annunciation in Durham Cathedral's Galilee Chapel. Rapture, toughness, acceptance, pain even are written into her face and body in a physical, tactile way. I used to encourage visitors to caress the sculpture to gain a sense of the complex emotional and spiritual power of this marvellous piece.

 

Edwin Muir captures it like this:

Outside the window footsteps fall

Into the ordinary day
And with the sun along the wall
Pursue their unreturning way.
Sound's perpetual roundabout
Rolls its numbered octaves out
And hoarsely grinds its battered tune.

But through the endless afternoon

These neither speak nor movement make,
But stare into their deepening trance
As if their gaze would never break.

Beauty and tragedy are the soil in which contemplatives are made. Mary knew both: beauty her encounter with the angel of the Annunciation; tragedy in the sword that pierced her heart as she gazed on her Son at Golgotha. But it needed more than beauty or tragedy to make her the one we honour as Theotokos the God-bearer. Many people experience beauty and tragedy but are none the wiser for it. Their souls are not enriched, their capacity for contemplation is not deepened. What then was Mary's secret?

I think it was her gift for openness to the new thing that God was doing. Words like sensitivity and awareness come to mind, the gift of realising that the world is, as they say on Lindisfarne, a thin place, and that on the other side of that almost transparent membrane lies another realm, the realm of the spiritual, the heavenly, the transcendent. You see into the life of things, to quote Wordsworth. It is what Moses turned aside to see in the blazing bush and what Elijah heard in the still small voice, and what Mother Julian of Norwich understood in the hazel-nut she held in her hand that, she said, only existed because God loved it. And what the mystics down the centuries teach us is that ordinary life can become transparent, if we learn to see it in a new way, train our faculties of sensitivity and awareness in order to discover the world as a sacrament. After all, that is precisely what we do each Sunday at the eucharist, when we take ordinary things and find them to be divine. Lesser annunciations, you might say, are waiting to happen all around us, waiting to show us the new thing that God wants to do in our lives.  
 

And what about us? God wants us, I think, to become like Mary: each of us a  theotokos, a bearer of God to others. Outside Salisbury Cathedral is a statue of Mary by Elizabeth Frink. It depicts her walking vigorously away from the Cathedral, not because she doesn't like the worship there, but because she is taking the good news to the world. This is the Walking Madonna, the Mary of the Magnificat whose contemplative vision has turned her into a woman of action who is passionate for justice, for a world where wrong is righted, the hungry fed and the downtrodden exalted.

Whatever annunciations we are given, whatever angel we glimpse when time stands still, whether it is tragedy or joyous rapture, agony or ecstasy, there is call to be obeyed. Behold the servant of the Lord: let it be to me according to thy word. So that when the time comes for the angel to depart from us, and we return to our ordinary days, it will be with God conceived, so to speak, within us, so that we can lovingly bear him and bring him forth to a world that longs to be happy and that needs him so much.

Ave Maria, gratia plena
Hail Mary, full of grace, the Lord is with you. Blessed are you, and blessed is the fruit of your womb Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death.

Musings on Mars Hill

Last week I stood on Mars Hill in the centre of Athens. Above me, the Acropolis stood proud, its Propylaea, Temple to Athens Nike and Erechtheion glowing in the afternoon sun. Below you could see the Ancient Agora with the Temple of Hephaestus an island of white marble amid a sea of foliage; and on the lower slopes of the Acropolis, the cluster of famous olives that echo the lone olive tree that stands on the rock by the Erechtheion, said to be the gift of the goddess Athene to her city. Far away was the glint of ocean, the “wine-dark sea” Homer called it, but on this luminous afternoon more like a golden frame surrounding a tableau of marble sculptures.

You can’t see the Parthenon itself from Mars Hill, but it is the unseen presence whose power permeates classical Athens. I had not visited it before, and was not prepared for its sheer immensity. It’s by no means the best-preserved of Greek temples, but it is one of the largest, and the one that is most freighted with symbolism. It is the emblem par excellence not only of ancient Greece, indeed of classical civilisation, but also of the modern nation as it emerged in the early nineteenth century from Ottoman rule. 

Last week I saw it twice close-to. On the first occasion, Greece was being deluged by torrents of rain thanks to a rare Mediterranean cyclone. The Acropolis was dark, brooding and windswept, somewhat forbidding, it has to be said, and not a place to linger. I doubt many tourists have seen it in those conditions though when you come from North East England you are perfectly used to visiting antiquities like Hadrian’s Wall in the pouring rain. We went back there at the end of our week in Greece. It was as the picture postcards said it should be. The Parthenon was ravishing and serene. You could understand its hold on the imagination of the romantics who came to Athens as part of the grand tour. And you could appreciate the sentiment that longs to see the Parthenon Marbles, removed by Lord Elgin and now in the British Museum, reinstated in the new Acropolis Museum just below the rock, one of the best museums I’ve ever visited.

But back to Mars Hill, the Areopagus or Hill of the god Ares. He was the god of war, and one thing you learn when you come to Greece is now bellicose classical Athens was. To succeed in warfare was everything. The defining myth of Ancient Greece was the Iliad and the Odyssey. I read some of Homer on my iPad while I was there, and was reminded how readily the blood flows in that great work. You are not spared the details of how good men and bad perish alike in war, thanks to the intervention of the gods who notoriously take sides in their support of either the Greeks or the Trojans in this decade-long conflict. At Delphi we saw a frieze depicting the Trojan War and the part played in it by the capricious deities whom the Greeks worshipped.

I had thought that the Areopagus was a proper hill with a ruined temple or two on top, and an open space for argument and debate. In fact it’s no more than a outcrop of the Acropolis, separated from it by a narrow fault. You clamber up a steep ancient stair cut out of the rock and emerge on an uneven plateau - perilously slippery for the marble has been worn smooth by twenty-five centuries of human footfall. I stumbled around for a few minutes until I decided that the least hazardous way of experiencing this place was to sit down for a while.

Up here climbed St Paul one day some time around 50AD. He was brought here by the Athenians, for Mars Hill was where philosophers had argued and debated since the days of Pericles five centuries before. Perhaps he had come down from visiting the temples of the Acropolis, or up from the Agora; either way, his mind was full of the vivid experiences this first and last visit to the city had given him. Athens has that effect on travellers. And the Athenians, who had learned curiosity from Socrates, wanted to know more about this strange doctrine Paul was propounding that seemed to point to new deities they had never heard of, “Jesus” and “Anastasis” (Resurrection). And of all the novelties the Athenians loved so much, nothing pleased them more than new ideas they could discuss among themselves on the marble Areopagus.

Then Paul stood in front of the Areopagus and said, Athenians, I see how extremely religious you are in every way. For as I went through the city and looked carefully at the objects of your worship, I found among them an altar with the inscription, ‘To an unknown god.’ What therefore you worship as unknown, this I proclaim to you. The God who made the world and everything in it, he who is Lord of heaven and earth, does not live in shrines made by human hands, nor is he served by
human hands, as though he needed anything, since he himself gives to all mortals life and breath and all things. From one ancestor he made all nations to inhabit the whole earth, and he allotted the times of their existence and the boundaries of the places where they would live, so that they would search for God and perhaps grope for him and find him—though indeed he is not far from each one of us. For ‘In him we live and move and have our being’; as even some of your own poets have said, ‘For we too are his offspring.’

Since we are God’s offspring, we ought not to think that the deity is like gold, or silver, or stone, an image formed by the art and imagination of mortals. While God has overlooked the times of human ignorance, now he commands all people everywhere to repent, because he has fixed a day on which he will have the world judged in righteousness by a man whom he has appointed, and of this he has given assurance to all by raising him from the dead.

I read these words from Acts 17 on my phone and wondered what Paul thought he was doing, according to St Luke’s account. Some think that this attempt to engage with Greek culture was a one-off experiment that failed. Brilliant rhetorician that he was, quoting poets and philosophers and winning intellectual arguments on the Areopagus was not the way to promote the gospel. From then on, it is suggested, the Apostle resolved not to tangle with Greeks who sought wisdom, any more than with Jews who looked for signs. His sole task was “to know nothing among you except Christ and him crucified”.

Except that his time on Mars Hill, whether it was an hour or a day, was not seen as a failure by St Luke. When they heard of the resurrection of the dead, some scoffed; but others said, “We will hear you again about this.” At that point Paul left them. But some of them joined him and became believers, including Dionysius the Areopagite and a woman named Damaris, and others with them. A street below the Acropolis is named after Dionysius the Areopagite, said to be the first bishop of Athens. There is a strong memory that Christianity began to take root in the city. After the collapse of Roman civilisation in the fifth century, Christians occupied part of the Parthenon and worshipped there. Movingly, at the foot of the steps up the Areopagus you will see a bronze tablet displaying the Greek text of this story of Paul’s visit.

On this Thursday afternoon, there were not many philosophers to be seen arguing about religion on the Areopagus. But it was still a crowded place animated by lively conversation. There were throngs of tourists taking selfies, of course. But there were also a great many young people, some enjoying lovers’ trysts, others talking among themselves and enjoying the warmth of an autumn afternoon. Everyone had their mobile phones and were sharing photos and social media posts and for all I knew, reading and discussing Acts 17. 

What would Paul do if he came there today? The same as he did on that day nearly two thousand years ago. He would engage with the culture of the day, contemporary wisdoms that clamour to be heard in the market-place of ideas, try to point out how they both cloak and yet give clues to our fascination with unknown gods. He would draw out of anyone prepared to listen how the universal human longing is for truth and reality and meaning in life. “To search for the God who is not far from any of us” - “closer to us than our own souls” says Mother Julian - “so that perhaps we might feel after him and find him”. And yes, speak plainly about Jesus and the resurrection, and about the reckoning we must all face because know it or not, we are all accountable to our Creator. 

These weren’t new insights to me, what we call “contextual theology”. But they took on a new significance as I sat on Mars Hill for a while. Being “missional” is, I think, a more sophisticated task than we sometimes imagine. Especially has this become true in our complex digital age, as Pope Benedict said when he described contemporary media as the Areopagus of our own day. The environment is as slippery as the polished marble on Mars Hill. It’s easy to put a foot wrong.

But it’s heartening that there’s a new energy for faith-sharing today, and that includes the project of helping people with no explicit religious background - worshippers of unknown gods? - make sense of Christianity and discover intelligent religion. If local churches can place themselves in mind and imagination on Mars Hill and ask what it means to bear Christian witness in this place and at this time, there’s every reason to be hopeful for the future of Christianity.

The Spirituality of Solstice: Wintry Thoughts from the North

It's the winter solstice. Here in Northumberland, on Latitude 55 degrees north, the sun rises a full half hour later than it does in London. Today at the destined time of 8.32am, it was barely light. Squally rain was tipping out of a gunmetal sky as I waited at the church door for morning prayer. Arduously, the day succeeded in climbing clear of the long night, but at what effort. For a while the sun emerged, its horizontal light irradiating the valley to magical effect. (Which is why photographers love winter - the light is so much more magical than the glare of high summer.) Then the rain returned once more. By turns it's been bright and it's been sombre. And each has its different kind of northern beauty.

This year's solstice brings a change to the weather. Gone are the quiet high pressure days of the past week or so. You can tell that meteorologists don't care for calm weather when nothing much happens, however well that suits the rest of us. We have one in the village. He is also a retired priest. He takes daily readings of maximum and minimum temperatures, precipitation levels, cloud cover and wind speed, and issues a monthly bulletin to villagers who are interested. He admits that he likes eventful weather. And have you detected the glint in the eye of TV forecasters now that storm Barbara is on her way, just in time to blow away the festive travel plans of millions of people across the country?

But back to the shortest day. "'Tis the year's midnight, and it is the day's" wrote John Donne in his famous midwinter elegy (at the time he was writing before the reform of the calendar, the shortest day fell on St Lucy's Day, 13 December). Church of England people will know that in the Book of Common Prayer, the winter solstice day 21 December was observed as St Thomas's Day. Famously the doubting apostle, his themes of knowing and unknowing, certainty, questioning and faith seemed ideally suited to a day when darkness ruled. And though the season turns and the days grow longer again, it is so imperceptible to start with that you wouldn't know it - not for a week or two, anyway.

Painters call this chiaroscuro, the interplay of light-and-dark that masters like Caravaggio excelled at. The accentuation of contrasts often gives a painting or a photograph a strikingly dramatic quality (compare the genre of film noir which has given the cinema some of its greatest achievements in the era of black-and-white). But drama isn't what the technique is fundamentally about. Look at the dark areas of a great painting and you'll see that the darkness has as much vitality as the light with its attention to detail, its subtle treatment of muted colour, its "negative" response to the shapes that are illuminated, and as often as not, activity that is far from obvious that you wouldn't notice if you didn't stop to give your full attention to the canvas.

This gives me a metaphor of religious faith that I particularly prize in midwinter. It seems to me that "doubting" Thomas is the disciple who dares to inhabit chiaroscuro, is not afraid of the difficult or challenging truth that may emerge when you study the darkness carefully. That's true of our own personal darkness or "shadow" in particular. At the end of The Tempest, Shakespeare has Prospero say of Caliban, "This thing of darkness I acknowledge mine". It's a profound line that can be read at many levels. The misshapen, unlovely Caliban has plotted Prospero's death. And no doubt Prospero partly deserves it - he is no saint in this great play. But he has thrown away his staff and renounced the power of illusion. This recognition scene is the moment of truth-telling. In the same way, if we banish our fantasies and illusions and start telling the truth of our condition, if we recognise and acknowledge - even befriend - the darkness that is "mine", we find we are on the road to recovery, transformation and healing.

Spirits can sink low at the solstice. I'm not so much thinking of the affliction called SAD - seasonal affective disorder - brought on by too little light. It's more the spiritual ennui that can set in when hope is at a low ebb. This year, as 2016 comes to an end, it's easy to lose heart. We wonder what has become of our world, our nation and ourselves when there is so much bitterness, hatred and contempt around, and apparently, so little compassion to act as a life-giving antidote. It doesn't always help to quote too quickly Mother Julian's great saying "all shall be well". That's true, but it may not address the immediate present. In times of struggle and conflict, what counts I think is simply to know that we are not alone. To enter someone else's darkness and be present to them without the need to speak is perhaps the greatest gift we can bring them. In dark times, words, even the best words, can run out. But the touch of compassion - "suffering with" - never loses its capacity to make a difference.

It would take a St John of the Cross to do justice to the spirituality of chiaroscuro. But here's a solstice insight that helps me. On this shortest day, the meteorological outlook is full of stormy threats. And though I say it with a heavy heart, this seems just as true of the outlook for our world in 2017. Yet as we contemplate the future and possibly feel afraid, we also know that from now on the days are getting longer. We don't see it for a while, yet we know that it's true as an astronomical fact. Equally, to stop us taking things for granted at midsummer, we know that as the days grow warmer and holidays beckon, the nights are already drawing in. Winter's lightening-in-darkness, summer's darkening-in-light: this is chiaroscuro. It mirrors the light-and-darkness of our human lives. It helps us recognise the ambivalence of who and what we are. Above all, it stops us rushing headlong towards light when all along, God may be more present to us in the dark.

Henry Vaughan has a great poem, "Night". The last stanza makes the extraordinary claim that "there is in God, some say, / A deep but dazzling darkness". Earlier he has painted a picture of faith in this way:

 

Most blest believer he!
Who in that land of darkness and blind eyes
Thy long-expected healing wings could see,
When Thou didst rise!
And, what can never more be done,
Did at midnight speak with the Sun.

I don't pretend to have grasped the paradoxes of this way of believing. But it rings true to my experience. And, I guess from what we know about him, St Thomas's too. So at this winter solstice, I want to acknowledge the truth that lies hidden in the questions and doubts that feel so real and compelling. Sometimes I can't even be sure if it's my own personal despondency that I'm experiencing, or whether it's an empathic aspect of being part of a world in pain that any human being who feels anything knows only too well at times like these.

Into such a world an Infant was born. He came to give us back the lives we had lost. The Holy Child comes to us today as Immanuel, "God-with-us". That's the meaning and the promise Christmas gives to the solstice. "The people who walked in darkness have seen a great light" said the prophet in words we treasure in Advent. For if he is present among the dark wastelands we have made of our world, and if he is alongside us in own darkness, then our hearts can be strangely warmed, and our spirits begin to sing again.