The common sense driving local charity

Catherine Jupp and her friends give furniture to those who need it at no cost. Ryan Gilfeather explores what motivates them.

Ryan Gilfeather

Ryan Gilfeather explores social issues through the lens of philosophy, theology, and history. He is a Research Associate at the Joseph Centre for Dignified Work.

A group of people stand in front of the side of a van marked 'Furniture Friends.

Catherine Jupp and her Furniture Friends.

It will come as little surprise to the UK public to hear that Christians are involved in charity. In times of great need, several high-profile Christian charities offer help. For example, after the devastating earthquake in Turkey and Syria last year, the UK’s Disaster Emergency Committee pooled the resources of 15 leading aid charities to provide relief. Of those charities, four explicitly identify as Christian: Tearfund, Christian Aid, CAFOD, and World Vision. Anyone following these efforts would easily grasp that Christians are involved in large-scale charitable activity that helps those in need.

Outside of the public gaze, however, are ordinary Christians serving the marginalised in their local communities. Around the country, they are running warm banks, food banks, and other enterprises helping those unable to provide for themselves or their families. Despite how hidden these efforts are, they make an enormous difference to their local communities. The collective impact of all these different groups is vast.

My colleague, Catherine Jupp is one of these faithful people. Catherine and I both serve our parish church in rural Hertfordshire, I as a priest and she as a lay minister. In her previous life, she taught in a secondary school in a challenging area. Now, alongside her ministry, she and her husband run a local charity called Furniture Friends.

Their mission is simple: to give furniture to those who need it at no cost. Day to day, this involves volunteers who work with them driving around in a van, collecting beds, sofas and other items from people who have no more use for them. They take calls from a network of social workers around Hertfordshire, asking for particular things for certain people. And, they go and deliver furniture to these individuals and families in need.

Catherine speaks of the challenging circumstances their clients live in: families living without any furniture. Furniture Friends makes a massive difference to these children who can now sleep on beds and families who can sit on a sofa. One recipient said to them,

“Yesterday all I had was a mattress and a camping stove, today I have a bed and a beautiful chair. I feel like a queen, thank you so much.”

A social worker praised their work with these words:

“I just wanted to let you know what a difference you have made to our families. I visited my client today and for the first time in four years the children were dressed and clean, the house was tidy and organized. Your help and donations have given this family a new direction and a sense of pride in their home which has had a huge impact on the children and their wellbeing.”

Over the past year, she has shared her concern about the huge increase in referrals as the cost of living crisis sunk its teeth in. From the outside, I see how they have responded to this increasing need. Working as hard as they can, they deliver a significant amount of furniture around the local area. Although they are one small charity, they have a significant impact.

She also often talks about what drives her to this work. Catherine is theologically trained and taught ethics for years, so she could offer a theologically complex account of her motivation if she wished. However, she has no need to. She simply says that it is the most obvious thing in the world that she ought to do this work. “It’s just what you do,” she says. By this, she means, that it is the clear outworking of her Christian faith.

I often hear this expression when speaking with Christians leading social justice enterprises and movements. When I dig a little deeper, they tend to say that growing up in Church, they regularly heard in sermons that serving those most in need comes hand in hand with loving God. Christians believe this because the Bible repeatedly expresses that God has a special concern for the poor and that we must too. When one hears this message week after week, year after year, it becomes common sense to us. Hence, when Catherine says she delivers furniture to those who most need it, because “It’s just what you do,” she means that for her, love for God and love for neighbour must always come together. It is for this reason that Catherine does this work, outside of the public gaze, which makes all the difference in the world to the many people she serves.

Article

Books

Comment

Community

15 October 2024

6 min read

The elegies that fail the forgotten places

Storytelling’s not about giving people a voice, it's about listening to what they’re singing.

Elizabeth Wainwright

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A book's front cover beside a portrait of the author, JD Vance

J.D. Vance book promotion, 2017.

Does it matter who tells the story of a place? It’s a question I’ve sat with as a writer, a community worker, and as someone who returned to my native West Country after a long time away. My departure and return to this place brought with it a sharper awareness of the labels this rural region could invite; of the way its people could be portrayed; of how easily they can be reduced to a one-dimensional stereotype that fosters little understanding.

And I am both reducer and reduced. I am a proud Devonian, rooted in soil thick with my ancestors, whilst also craving the culture and variety of elsewhere. My story of life in this place is complex. It’s a story that’s mine to tell, and not representative of anyone else from here – just as the people I’ve worked with in communities here and across sub-Saharan Africa taught me too: this person is not this place. This story is not this people.

Stories matter – stories told; stories hidden. They shape our identity, our opinions, our possibilities. John Steinbeck wrote that:

“A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice…”

Stories told reflect stories carried, like light refracted through a prism. A story’s colours tell us something about who tells the story and how they see the world. Which is one reason perhaps that JD Vance’s memoir Hillbilly Elegy: A Memoir of a Family and Culture in Crisis came under scrutiny, especially since he was named Donald Trump’s vice-presidential running mate in the forthcoming US election.

Hillbilly Elegy tells the story of Vance’s white working-class family, from his grandparents in the Appalachia region of Kentucky to his own coming of age in Middletown, Ohio. Vance raises questions about how local people, including his own family, are responsible for their own misfortunes, including poverty and addiction. His book came out in 2016, at just the right time to give many Americans an insight into why so many people like Vance’s relatives and past neighbours had voted for Donald Trump. It was painted as the voice of a forgotten community, and it became a bestseller, admired by some for its portrayal of Appalachian culture by someone from the inside. But reading people who know the places he talks of, it becomes clear that the book is “rife with stereotypes and classic Republican talking points peddled under the guise of lived experience,” as one commentator said.

Sarah Smarsh, author of books including Bone on Bone: Essays in America by a Daughter of the Working Class, said in a Guardian piece published in 2016,

“that the media industry ignored my home for so long and left a vacuum of understanding in which the first glimpse of an economically downtrodden white is presumed to represent the whole.”

A Bitter Southerner article responding to Hillbilly Elegy said that generalisation means that “…complexity gets simplified, the edges get rounded out[…]Appalachia has been written about and photographed in such a compelling (if fabricated) way that the descriptions of passersby took on more weight than the lived experiences of the people being described. What remains is a concept of a place that is both wildly romantic in its natural beauty and backward enough to justify the destruction of that very nature.”

We live in divided times, but often I find it hard to discern real division versus the media-created story of division. Theirs is a story that gets things wrong. Smarsh reflects how “countless images of working-class progressives…are rendered invisible by a ratings-fixated media that covers elections as horse races and seeks sensational b-roll. This media paradigm created the tale of a divided America…” This is why it matters that we hear stories that do not fit that paradigm. A many-voiced 2019 publication Appalachian Reckoning: A Region Responds to Hillbilly Elegy offered some of those stories in response to Vance’s painting of Appalachia.

Vance thought he could write the story of a 13-state region, but many Appalachians were unhappy about him becoming their spokesperson, especially when he seemed to blame the poor for their poverty. Appalachian Reckoning is a graceful counter to this: not silencing Vance’s own story but offering many more views and stories from Appalachia. Its co-editor Meredith McCarroll said she wanted to “complicate any singular view simply by including multiple ones. I wanted to create a chorus of voices, “each singing what belongs to him or her and to no one else,” to borrow from Walt Whitman’s view of place.” The publication offers cultural nuance, emotional connection, and a “context for some of the claims Vance makes in his book when it moves beyond memoir, and to pass the mic to a wider range of writers, poets, photographers, activists, and artists who make Appalachia a place far too complex to capture and far too dynamic to die.”

This approach feels important now, in the world as is it, with a media that often overlooks nuance, and with a culture that has become so visual that the way things are styled and framed and presented to us online can often be quite different to the reality. It is important to know the difference, and stories can help us discern that.

This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear.

There are stories that are easy to peddle and easy to buy into. In charity work, I saw how the story of the benevolent professional outsider could shape things, leaving little room for local stories and experience. In politics I saw how the story of opposition got in the way of all the people getting on with the everyday work of restoring and caring for their communities across lines of difference. We can, unknowingly, make a place and a people shrink or even disappear with the stories we carry or amplify, or ignore.

Stories wielded unwisely can shrink faith as well as people and places. The Jesus who I did not grow up with but came to know slowly as an adult is a Jesus of nuance, compassion, and deep listening. He would not, I think, recognise the brand of Christianity that can be used to justify particular politics. That religion and politics have in places become so intertwined is perhaps a reflection of the reduction of the vastness of the Bible and the many diverse voices it contains into one story that serves a particular group of people. Jesus again and again subverted what empire and hierarchy and tradition expected of him. He invited people into his story over and over, curious about their own story but never using it as a reason to include or exclude.

When I think about who tells the story of a place – or of a people, a time, a faith – I see that really, there is never one story anyway. There is a chorus of voices, each a little different, each part of a vast harmony that – if we have the ears and heart to hear it – sings a song of challenge and joy, of despair and illumination. Former US president Woodrow Wilson said, “the ear of the leader must ring with the voices of the people”. Storytelling is not about giving people a voice – something I heard a lot in charity work. It is about listening to what they’re already singing. This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear, of biased framing and selective storytelling. It can sing us back to ourselves, helping us see each other. And isn’t that what softens hearts, isn’t that why we tell stories? Author Kazuo said in his Nobel acceptance speech that “stories are about one person saying to another: This is the way it feels to me. Can you understand what I'm saying? Does it also feel this way to you?” Stories are not tools of manipulation or power, but pathways to encounter, to relationship, to understanding. They are, perhaps, the only way through divided times.