Article
Community
Mental Health
Romance
4 min read

Forget rapturous romance, friendship is the love that feeds the relationally malnourished

Look beyond the commercialised celebration of Valentine’s Day.

John Wyatt is the author of Transforming Friendship. He also writes on ethical, philosophical and theological challenges caused by advances in medical science and technology.

A hand held out is gentle grasped by a turning person.

It’s Valentine’s Day yet again – the annual commercialised binge of flowers, chocolates, tacky pink cards and heart-shaped balloons. This year US consumers alone will spend an estimated $26bn expressing their yearnings for someone or something. A special person that will make their dreams come true, a magic chemistry that will bring meaning and fulfillment, or maybe just plain old-fashioned lust. Valentine’s Day provides an annual and unavoidable restatement of the message that the royal route to personal fulfillment and relational intimacy is mind-blowing sex and romantic endorphins.  

A time traveller from a previous era would look at these excesses with astonishment. How was it that sexual ecstasy and came to be seen as the route to human fulfilment, meaning and intimacy? For most of our history, sexual attraction and coupling has been regarded as a relatively minor part of life. Important for reproduction and continuation of the species, no doubt, but hardly the meaning of existence.  

There is a pervasive sense of relational deficit, a longing for genuine intimacy that remains unsatisfied. 

Dr Freud, obsessed with the hydraulic metaphors of the age, invents the idea of libido, a powerful but unruly fluid which provides the ultimate motive force for the personality. Sexual repression is essential to civilization but also the source of neurosis and other discontents. For decades Freudian psychology remains a minority interest for psychotherapists and creative artists but with the rise of the sexual liberation movement in the 1960s, the invention of the contraceptive pill and the commercial exploitation of sex for marketing, it has become the unquestionable orthodoxy of the age. The conviction formed that sex in all its forms is good for psychological health, that control and frustration of sexual drives leads inexorably to mental illness. That celibacy is a deeply unrealistic and potentially dangerous state, that the impulse for sexual pleasure lies behind much if not all human motivation, that our very identity is defined by our sexual drives and interests – these seem to be such obvious and scientifically authoritative ideas as to be self-evident and unchallengeable. They are part of the agreed presuppositions of twenty-first century culture, and they are all traceable to Freud. Valentine’s day is the ultimate celebration of libido in all its multifarious forms.  

But for many of us, February 14th is a painful reminder of what we don’t have. Whether unattached but aching to be romantically involved, or trapped in a dysfunctional relationship, the glossy merchandise packing out the supermarket aisles only seems to twist the knife. Surveys have indicated that half of UK adults report feeling lonely, and seven percent of the population experience ‘chronic loneliness’. The popularity of transactional dating apps, and the surprising rise of simulated AI partners, reflect a desperate longing for something, a relationship that will satisfy our deepest yearnings, bring purpose and fulfillment. There is a pervasive sense of relational deficit, a longing for genuine intimacy that remains unsatisfied. 

It is friendship with its genuine concern and caring for the other that must absorb our pain and meet our needs, just as we, in turn, meet the needs of others.    

How can we recover and celebrate an older, deeper and more lasting form of intimacy between human beings? To the writers, sages and philosophers of the past, friendship - covenantal, committed, intimate, self-disclosing - was the highest form of human love.  To Cicero, friendship was the most joyful gift of life and those who deprive life of friendship ‘seem to take the sun out of the universe’. To JC Ryle ‘Friendship halves our troubles and doubles our joys.’   

Our culture’s tendency to read a sexual dimension into all close adult relationships, implies that we have forgotten that non-sexual and yet powerfully intimate, joyful and committed unions can exist between two people. Healthy covenantal friendship, in which our deepest fears, vulnerabilities and longings can be accepted, seen, known, and loved by the other, is inexpressibly beautiful and life-affirming, a form of intimacy which is open to all, unlike marriage or romance. Friendship is the love that our relationally malnourished, lonely society cries out for. Where so many in our society lack biological family or marital ties, it is friendship with its genuine concern and caring for the other that must absorb our pain and meet our needs, just as we, in turn, meet the needs of others.    

Romantic love and sexual attraction have their place in our lives, but they have become twisted out of proportion and made into ultimate goals. Sex was never designed to bear the weight of every human need and desire. In a strange and poignant quirk of the calendar, this year Valentine’s Day coincides with Ash Wednesday, the first day of Lent, a reminder of mortality and death -ashes to ashes - but also the first day of the great Lenten journey which leads to Easter sacrifice and resurrection. It’s a reminder that ultimate meaning for human beings made out of dust may be found not in libidinous excess but in love and hope that affirm and transcend our mortality.   

Review
Culture
Music
Resurrection
Romance
Taylor Swift
6 min read

Taylor Swift proves Mr Bennet right

Romanticism: ruining lives since 1800. And we love it.
Hand-written poetry on a page
Memo: to JA from TS.
@taylorswift Instagr

In Pride and Prejudice, Mr Bennet has a conversation with his favourite daughter, Lizzy, about her older sister’s heartbreak. He says,  

‘Your sister is crossed in love, I find. I congratulate her. Next to being married, a girl likes to be crossed a little in love now and then. It is something to think of, and it gives her a sort of distinction among her companions.’ 

It’s one of those lines, genius as it is, that I would hate were it not written by Jane Austen. But it was, so I don’t. I do, however, like to think that his words are outdated. His thoughts, an artefact. That such a notion may have been true when women were unable to have any kind of aspirations that transcended romantic (and not-so-romantic) attachments, but we’re definitely over that now. I sit smugly in the knowledge that Mr Bennet’s words are a jibe that I can affectionately roll my eyes at; witty, yet redundant.  

At least, that’s what I did think. Now, annoyingly, I’m not so sure. What changed my mind? Well, Taylor Swift’s latest album dropped. And now I think that Austen, as usual, was onto something. 

The Tortured Poets Department has broken more records than I can count, many of which were broken before it was even released. Love it or hate it (I happen to be in the love it camp), Taylor is going to make it pretty darn hard for you to ignore it. Housed within this juggernaut of an album are thirty-one songs that seek to remind us that it’s better to have loved and lost, than to have never loved at all. Thirty-one songs that offer a masterclass in melodrama. Thirty-one songs that prove Mr Bennet right.  

Somewhere along the line, have we been taught that tragedy is a signifier that our love is some kind of epic thing that is happening in the universe? 

Here’s the theory, the premise, the pop-culture context you need to understand this album’s intentions: ‘The Tortured Poets Department’ was/is a WhatsApp group that Swift’s past-love, Joe Alwyn, was/is a part of. And so, this album is their story; it’s the story of their relationship crumbling, their hearts breaking, their understanding of one another disintegrating. Whether the lyrics are filled with fact or fiction, it doesn’t really matter. We’re soaking it up - every reference, every hint, every clue. These tortured poets have captivated us.  

Agony, tragedy, ecstasy, torment, regret: that’s the currency this album deals in. Heartbreak, I suppose. This record-shattering album is about heartbreak. And it got me thinking, why are we so obsessed with love hurting? Why are Romeo and Juliet something to aspire to? Why is tragedy some kind of signifier of ‘real’ love? Why, as Mr Bennet says, do we like being ‘crossed in love now and then’

The key lyric that holds the first song on Taylor’s album together sums it up pretty well, as Taylor melodramatically declares – ‘I love you, it’s ruining my life’.  

Firstly - no it’s not, Taylor. You’re Taylor Swift, a life less ruined no-one could find. But secondly, why is that tumultuous kind of love something to idolise? I’m genuinely wondering. Because, admittedly, I’m as guilty of this as anyone.  

Maybe it’s a way in which we feel as though we’re living a meaningful story, it’s our main-character-syndrome rearing its head. Somewhere along the line, have we been taught that tragedy is a signifier that our love is some kind of epic thing that is happening in the universe? That our relationship is re-arranging the cosmos somehow? That this pain is so powerful, stories will be told of it? Afterall, many of the greatest love stories end in agony, do they not? Would we care about Titanic’s Jack and Rose, La La Land’s Mia and Sebastian, or Fleetwood Mac’s Stevie and Lindsay had they lived happily ever after? Perhaps not. If a beige life is to be avoided at all costs, the torture of heartbreak is, I suppose, a particularly vibrant shade.  

Taylor’s whole album is an ode to Romanticism: its lyrics are dramatic, beautiful, grand and religious. 

Or perhaps it’s a sensation thing, akin to our obsession with jumping out of airplanes or walking over hot coals. Maybe we just want to feel. And according to most psychologists, heartbreak is one of the most powerful and emotive experiences one could face – a plane could not get high enough, nor coals hot enough, to compete. The science behind it is fascinating. I truly had no idea.  

Which leads me onto my second question – why don’t we care for the science of it?  

Why, when it comes to explaining what we’re feeling, do we declare our ‘heart to be broken’ as opposed to ‘the right side our brain is experiencing a deeply distressing emotional sensation following a shattering of an emotional attachment, triggering feelings of loss and inadequacy’? 

Interesting, isn’t it? How that second definition somehow feels less true. Maybe we have Romanticism to blame for that - the poets, philosophers and writers who shunned reasonable, practical, scientific language in favour of the tragic, the grand, and the sublime. Taylor’s whole album is an ode to Romanticism: its lyrics are dramatic, beautiful, grand and religious.  

In her song, Guilty as Sin, Taylor writes –  

What if I roll the stone away? They’re gonna crucify me anyway. What if the way you hold me is holy… I choose you and me, religiously.’ 

Yes, she’s comparing her crush on a man to the crucifixion of the Son of God. If this isn’t over the top, I don’t know what is. In many ways, this album knows it’s being silly, over-dramatic and naïve. But it also knows that to be those things is to be as honest as possible. It is shunning human-sized explanations of heartbreak, and is instead desperately searching for the deepest, highest, grandest language it can find - because that kind of language just feels truer. And I find it pretty fascinating that such language still has Jesus all over it.  

All of it has got me thinking, we don’t really want everything controlled, measured and understood, do we? We don’t really want to be the most powerful thing we know. I think that’s a myth. A convincing one, I grant you. But one that has cracks in it. Romanticism is one such crack. School of Life says this about the Romantics, ‘Romantics don’t believe in God, but they go in search of the emotions one might find around religion’. Awe. Transcendence. Our own small-ness in the face of something great – that kind of thing.  

They don’t believe in God, but they crave him. Interesting.  

I think maybe that’s (at least partly) why we want our love stories, the good and the bad, to engulf us, to be something we must succumb to, to be written in the stars – predating our awareness of it and transcending our control over it. We think, at least to an extent, that love and heartbreak, they happen to us. They’re a sacred hand that we have been dealt and must grapple with. This is Romanticism - and apparently it hasn’t gone anywhere, Taylor Swift and her band of tortured poets have just proved it.  

Perhaps Mr Bennet was right after all; perhaps we do have an odd thing about heartbreak. But hey, don’t blame women. Blame the Romantics and that God-shaped hole within them… and within us too, apparently.