Article

Comment

Trauma

9 May 2024

5 min read

Bitterness and weaponised words can’t soften scars

Finding peace for Daniel Anjorin, Salman Rushdie and Bishop Mar Mari.

Krish Kandiah

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

A man sits being interviewed and holds a hand to the side of his face, one lens of his glasses is tinted black.

Salman Rushdie discusses his attack.

BBC.

Knife crime around the world is unacceptably high, and with around 50,000 offences expected this year in the UK, it is sadly no surprise when we hear tragic news stories involving knives and sharp instruments. Recently, it was the terrible circumstances of the death of Daniel Anjorin that made the headlines. The gentle, much-loved, 14-year-old boy was on his way to school in East London when he, along with several others, was randomly attacked by a man with a sword. He died from his wounds shortly after being taken to hospital.

I happened to be in the middle of listening to Knife, a memoir by Salman Rushdie, when the news broke of that tragedy. It is another heart-rending story. Rushdie describes how, in 2022, during a speech he was giving about the need to protect writers, a man ran onto the stage and frantically stabbed him 15 times. Rushdie was airlifted to a hospital and survived the attack but lost an eye. Then began his difficult physical and emotional journey towards recovery, documented in the book he never wanted to write.

It was not the first time Rushdie had been the victim of aggression. In 1988, following the publication of his novel The Satanic Verses, the Iranian government called for Rushdie’s death by issuing a fatwa against him. His book was perceived to be blasphemous to the Islamic faith, and despite ten years of round-the-clock police protection in London, he faced several serious assassination attempts.

The fatwa was lifted in 1998, but twenty-four years later, Rushdie was clearly still not safe. He recounts the moment when he saw the man running at him in the darkness as he gave his lecture.

“My first thought when I saw this murderous shape rushing towards me was: So it is you. Here you are…. It struck me as anachronistic. This was my second thought: Why now? Really? It’s been so long. Why now after all these years? Surely the world had moved on, and that subject was closed. Yet here, approaching fast, was a sort of time traveller, a murderous ghost from the past.”

I can’t imagine how I would cope in his shoes. I have not had to experience the daily fear of assassination for decades as Rushdie has. In all my years of delivering speeches and sermons on stages around the world, I have never had cause to even contemplate the possibility of an attempt on my life. Nevertheless, I was surprised to hear in Rushdie’s voice, the words he chose to say to his attacker:

“If I think of you at all in the future it will be with a dismissive shrug. I don't forgive you. I don't not forgive you. You are simply irrelevant to me, and from now on, for the rest of your days, you will be irrelevant to everyone else. I'm glad I have my life and not yours and my life will go on.”

Rushdie admits that his words are his weapons – and he certainly uses them to good effect. They are sharp. They are designed to eviscerate. They are calculated to cause pain. They express derision towards his attacker. Part of me cheers him on: a defenceless man in his seventies who walked into a lecture hall expecting to give a speech to rapturous applause but left barely alive as the victim of a brutal frenzied attack. Like the plot of every action movie I have ever seen, the story seems to have a happy ending – the hero is saved, the bad guy is locked up and justice is seen to be done.

But there is another part of me that knows these Hollywood endings can’t be trusted. Those 27 seconds of violence have clearly left Rushdie reduced to spitting insults at a young man in prison. He claims his life now is “filled with love”, but sadly there is little evidence of it in the way he addresses the radicalised 24-year-old. Bitterness and weaponised words, however eloquent, can’t soften the scars, nor do they make the world a safer place.

Indeed, I have found it difficult to forgive the comparatively trivial experience of being metaphorically stabbed in the back.

I can’t help but compare Rushdie’s reaction with that of Bishop Mar Mari Emanuel. The day before Knife was published, the Iraqi-born bishop was preaching at his church in Sydney, Australia, when he too was attacked by a young man with a knife, and, like Rushdie, ended up losing an eye. The attack was an overt terrorist act against Bishop Mar Mari, a controversial figure who has spoken dismissively about the Islamic, Jewish and LGBTQ+ communities.

Despite the striking similarities between the two men’s terrible ordeals, the contrast in their response couldn’t be starker. Speaking just two weeks later at a Palm Sunday service, Bishop Emanuel affirmed that he had forgiven his teenage assailant:

‘I say to you, my dear, you are my son, and you will always be my son. I will always pray for you. I’ll always wish you nothing but the best. I pray that my Lord and Saviour Jesus Christ of Nazareth, to enlighten your heart and enlighten your soul your entire being to realise, my dear, there is only one God who art in heaven…. the Lord knows it is coming from the bottom of my heart. I’ll always pray for you and for whoever was in this act. In the name of my Jesus, I forgive you. I love you, and I will always pray for you.”

Woven into the fabric of every form of Christianity is a commitment to love and forgiveness, clearly exemplified for us here by Bishop Mar Mari. His words resonated around the world this week as he returned to the pulpit where he was stabbed, bandage over one of his eyes, to speak out with kindness and compassion.

I am deeply challenged by the bishop’s response. I have never experienced the physical pain and emotional trauma of a knife attack. Indeed, I have found it difficult to forgive the comparatively trivial experience of being metaphorically stabbed in the back. I know how hard it is, to be gracious to those who deliberately cause pain to me or to my family members through their actions. Like Rushdie, I sometimes I would like nothing more than to see them locked up, living a loveless, meaningless, irrelevant life. But this is not the Christian way. I follow Jesus who forgave the soldiers driving nails through his hands and feet, so I must strive to be compassionate to those who do us much lesser harm, as well as seek, in his name, to tackle the underlying causes for the greater dis-ease in society.

The issues that lead to knife crime are many and complex. They include poverty, fear of victimisation, gang culture, radicalisation, distrust of authorities, lack of education, experience of violence in childhood, and much more. Whatever we can do to tackle these problems, we do for the sake of love and peace in our world. Perhaps as we seek to overcome these things together, we can work towards a day when what happened to Daniel Anjorin on 30th April can never happen again.

Interview

Art

Culture

S&U interviews

5 April 2024

11 min read

How to look at our world: Aaron Rosen interview

In a visual culture how we gaze becomes more important.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

Aaron Rosen.

Lisa Helfert.

As a writer, curator, and non-profit leader, Aaron Rosen is respected internationally for his work in the public humanities, interfaith dialogue, and the visual arts. With his book What Would Jesus See: Ways of Looking at a Disorienting World he brings a fresh lens to the Gospels, informed by his varied experiences, as well as his life as a practicing Jew married to an Episcopal priest.

He began his career teaching at Yale, Oxford, and Columbia Universities, before becoming Senior Lecturer of Sacred Traditions and the Arts at Kings College London and Professor of Religion & Visual Culture and Director of the Henry Luce III Center for the Arts & Religion at Wesley Theological Seminary, Washington, DC. Currently, as Executive Director of The Clemente Course in the Humanities, a national non-profit in the US, he is involved in delivering transformative, free college courses to low-income adults.

Having particular expertise in art and religion, he has also curated dozens of exhibitions around the world, including an international Stations of the Cross initiative. Together with his wife, Revd Dr Carolyn Rosen, he is founding director of the not-for-profit Parsonage Gallery in Maine which explores ecology and spirituality. He is also arts editor for Image Journal and author or editor of a dozen books including Art and Religion in the 21st Century, Imagining Jewish Art, and Brushes with Faith.

These varied and, in many cases, boundary-crossing experiences have led Aaron to a range of interesting perspectives on the question of Jesus as a visual thinker. Interfaith dialogue features significantly in his experiences and has necessarily been part of his relationship with Carolyn. He thinks the seeds of What Would Jesus See are found in aspects of the journey they have been on together:

‘I always joke that when my wife married a Jew, she converted from Catholicism---just not to Judaism. A bit more accurately, after we were married, Carolyn was received into the Church of England by an Anglican priest, Rev Edward Bailey, a sociologist who had presided over our interfaith wedding. So interfaith dialogue was a part of our relationship, and Carolyn's spiritual journey, early on. Once Carolyn became an Anglican/Episcopalian, the opportunity to become a priest opened up in a way that of course wouldn't be possible in Catholicism. From the moment Carolyn could become a priest, in my mind she started to become one.

I say in my perspective because there was still a whole period in which she had to prove herself to the church. I never doubted she would make an amazing priest, but she had to overcome a lot of obstacles. Perhaps the most egregious was when a priest assigned to guide her in the process told her that she doubted Carolyn's commitment to Christ--and especially mission--because she had married a Jew, and still not managed to convert him! The same priest came to our house to interview us together, and proceeded to tell me that she knew a lot about Jews, including how "they celebrate Passover every week." Needless to say, this person was not exactly an expert in interreligious dialogue! But Carolyn and I stuck it out together and she was able to move forward in the process. In an unlikely turn of events, I found myself as a Jew advocating to Christians why my wife was the ideal ambassador for Jesus! Telling this story, I think the seeds of the current book were sown then, even if I didn't realize it.’

‘I was at the art fairs in New York City this fall and people asked me about my latest book, some people were rather gobsmacked I'd written a book about Jesus!’

With What Would Jesus See, Aaron is participating in a long tradition of what Susannah Heschel has called ‘reversing the gaze’ i.e. Jews (including artists) looking at Jesus in order to provide an unexpected window on identity. I asked him what he has gained personally from being part of this tradition and how he has been able to open up those insights more broadly:

‘I do see myself within a surprisingly long tradition of Jews looking at Jesus, and often quite sympathetically. Many people might expect that Jewish artists, writers, and theologians would simply reject Jesus since--whether he intended to or not, and indeed probably not--he led to the founding of Christianity. But Jewish thinkers and creatives have actually been obsessed for centuries with exploring Jesus' identity as a Jew, often casting him as a sort of role model, whether ethically or creatively. As a scholar of art and religion, I often return to the example of Marc Chagall, who felt deeply in the most traumatic points in his life that only Jesus could really understand or symbolize his anguish as a Jew and an artist; a feeling which gave birth to Chagall's masterpiece, The White Crucifixion. When I set out to write this book, I wanted to introduce and participate within this tradition of imagining a Jewish Jesus. And I wanted to do so in a way that could speak to Jewish and Christian audiences, but also those who stand outside of those traditions.’

He ends the book by saying that, in its writing, he had been surprised by the unpredictable and subversive nature of Jesus. Interestingly, the book’s reception has also revealed ‘that Jesus is more subversive in some contexts than others’, as when ‘I was at the art fairs in New York City this fall and people asked me about my latest book, some people were rather gobsmacked I'd written a book about Jesus!’

As a result, he's not getting us to look at Jesus so much as to look with Jesus. For today's generation of visual thinkers this is an approach that may resonate strongly.

We discussed some of the underpinning approaches he has utilised in writing and structuring the book including ‘reception exegesis’ and ‘relating the given to the found’. I asked what he meant by reception exegesis and how it impacts the way he explores the Gospels:

‘I have always been fascinated by primary texts and images. So, I have a sort of canonical impulse, you might say. But one of the dynamics that interests me most about canonical materials is that they refuse to remain static and contained. They imprint themselves constantly on new communities, and of course have their meanings changed dynamically in that process. When it comes to the Gospels, I am interested not only in how these scriptural texts speak to us, but how they do so through the prism of reception. For example, the great painter Caravaggio left such a powerful imprint on our imagination, it's hard to visualize the story of the calling of St Matthew without thinking of Caravaggio. And then even Caravaggio's images have themselves been reinterpreted again and again, quite interestingly, for example, by contemporary artists from minority communities. So, the process is never-ending and recursive. I certainly don't offer a survey in my book--there are plenty of great commentaries that do--but my readings are informed by such histories of interpretation. Recalling your earlier question, I am probably helped in this process by the interpretive freedom that comes from being a Jew. I am far less burdened by policing 'original' or dogmatically correct meanings of the New Testament than some Christian writers.’

Regarding relating the given to the found, he said he needed to give credit ‘to a dear friend and one of my favourite Christian theologians, Ben Quash, who wrote a book called Found Theology’. A key insight from this book is found where Quash writes, “In God, human beings are constantly invited to relate the given to the found”. Quash then elaborates further: “The givens come alive only in this indefinitely extended series of encounters with new circumstances, and the Christian assumption ought to be that no newfound thing need be construed as a threat to what has been given, for we have to do with the same God both in the given and in the found."

Aaron loves this insight ‘because it takes the ground away from the kind of conservative Christianity I often encountered growing up in America, which was animated by a fear of what was new, and the assumption that it was somehow anti-Christian’. He says: ‘Ben invites us to look instead at how new realities can instead propel Christians back to earlier revelations. I also think that Jesus himself was open to this process. With a Christian theological lens, one might say he finds the very realities which he himself gave the world as its creator. Now of course as a Jew I don't personally see Christ as that ultimate or first giver, so to speak, but I appreciate the beauty and productivity of this kind of Christian thinking.’

In the book, Aaron applies Jesus's unique ways of seeing the world to key challenges facing society today and, as he does so, utilises a fascinating breadth of examples drawn from his varied experience. These include art (such as the example of Chagall), current events (where he looks at transgender issues, among others), and popular culture (including #LogInYourEye). His invitation to his readers is to use their own imaginations to explore with him how Jesus saw, what he saw, and why that is important for us today. Among the aspects he examines are Jesus's eye for spectacle, his strategies for attentiveness, and his tools for discerning truth amid the flurry of false appearances.

He argues that the way Jesus looks at people and the world is radically different because, “Few people in the history of the world have understood as clearly and intuitively as Jesus that the way we look at people is intimately entwined with how we treat them”. He suggests that paying attention, discerning truth, and recognizing others summarize the vision of Jesus – “At the core of his short ministry was a recurring call to look at the world — and especially its most disadvantaged denizens — with new eyes”. As a result, he's not getting us to look at Jesus so much as to look with Jesus. For today's generation of visual thinkers this is an approach that may resonate strongly.

There are some people and communities of course who are exemplifying admirable empathy. But there are so many groups who simply cannot conceive of suffering except on their own 'side.'

He summarises these aspects of the book as follows:

‘In the book, I suggest that there are three main ways in which Jesus invites us to practice looking: with attention, discernment, and recognition. I certainly accept there might be other ways of approaching the topic, but to me these categories help capture the primary ways in which Jesus looks at his world and especially the people in it. I'm probably not spoiling the plot if I say that Jesus certainly attends to every aspect of sight with a spiritual proclivity (does he do anything that isn't spiritually inclined?).’

In the chapter on ‘Paying Attention’ he notes Simone Weil’s suggestion that paying attention to the present moment - in ways similar to that of Jesus and the creative experience of artists and poets - equates to prayer. He also notes in the book that “This emphasis on attentiveness, and its myriad challenges, runs through non-Western religions as well” as “Buddhism, Hinduism, and Jainism are replete with stories that affirm the importance of mindful contemplation”. Since publishing the book, he has found himself continuing to reflect on some of the questions he raises, and that's been especially true of the chapter on paying attention:

‘Recently, I've learned more about collectives and organizations specifically devoted to increasing and refining our dulled capacity for attention, like the Strother School of Radical Attention, whose faculty are especially attuned to the intersection between spirituality and creativity. I've also witnessed the power of prayerful attention in my work leading The Clemente Course in the Humanities. When I was sitting in on one of our courses in Harlem the other day, it struck me just how closely students listened to one another as they read their creative writing assignments. Not just because they were being polite or wanted good grades. They understood the spiritual importance of listening, and creating a space for their peers to reveal deeper truths.’

At the heart of Jesus's ministry, Aaron suggests, is a call to look at our world--especially those who are most disadvantaged--with radical empathy. He suggests that we are living in a time when our eyes have grown weary and unfocused, and, perhaps surprisingly, Jesus offers us the chance to see the world with renewed vision, focused particularly on those who need us most. As a result, he asks us to imagine what Jesus would see if he looked at the world around us today.

With that in mind, I asked why it is so essential in the exceptional times in which we live to highlight the way Jesus’s vision provides strategies for radical empathy:

‘It's hard to see anything happening right now in the world and not think it would benefit from deeper more energetic empathy! Right now, the world is riven by so many disturbing, tragic conflicts, but the one that seems to divide the most people and communities is the Israel-Hamas conflict. There are some people and communities of course who are exemplifying admirable empathy. But there are so many groups who simply cannot conceive of suffering except on their own 'side.' Now I want to be very careful not to suggest that Jesus is somehow the answer to everything that ails society, especially in a complex conflict involving multiple religions and cultures. But certainly some of his tactics, like taking time to pause, look, and deliberate, would be beneficial to all.’

Aaron Rosen, What Would Jesus See: Ways of Looking at a Disorienting World, Broadleaf Books, 2023.