Article
Creed
Mental Health
4 min read

Have our worries changed over time?

A pep talk to teachers reveals whether our fears are age-old or not.
In an egg box sit two eggs with faces drawn on them with marker pen. One looks worried, the other looks on.

‘You’re not going to mention the psalms!’ my colleague said. ‘Are you?’ 

She was doing alarmed eyes at me, the sort which show white all round. I could see why really. We were on our way to give a talk at a big secondary school in Birmingham – multi-cultural, multi-ethnic, multi-faith. The sort where praying had been banned as divisive, and the wearing of crosses discouraged. Hijabs too, for that matter. Not the kind of place where you chat lightly about a part of the Christian bible, on the whole, unless you’re trying to be provocative. 

I did mean to mention them though. ‘I can’t think of another example,’ I said. ‘And anyway, it’s too late now – I sent the slides through last night.’ Deep breaths. 

Just to explain a little, as counsellors, my colleague and I had set up a programme of talks and workshops for schools in the area, aimed at improving mental health in the aftermath of the pandemic. We’d seen all the warnings about the ‘tsunami of mental health issues’ threatening to deluge the country and decided to take action. Recognising that we couldn’t get to every individual child who might need help, we’d focused our efforts on the adults in the schools. Steady the grown-ups and you steady the children, was our thinking. The young take their wellbeing largely from the pattern set by their elders, even in this age of smart phones and social media, and the levels of despondency were very high among teachers and school staff in our experience. Lots of people burning out and leaving the profession. Not a steadying influence then. Hence our topic for today: ‘How to feel better in difficult times’. 

I was nervous as I stood in front of the large hall full of people. Several hundred of them, all ages and stages. Some looking attentive, many expressionless, a few sleepy. I could see my colleague at the end of a row near the front. She had one hand up to the side of her face and was making herself small. Great, I thought. Very reassuring. But too late now, so on we go… 

I introduced myself. I introduced my colleague. I introduced our work. And then I mentioned the thing that needed no introduction. It was already familiar, a regular inhabitant – present here in the room, but also everywhere else we went: our homes, our classrooms, our friends’ houses, the streets, the supermarkets. Fear. Horrid fear, drifting through the air like smoke. I gave them some awful statistics I’d found, about the rates of anxiety and depression. About the levels of self-harm, about the fact that suicide is now the second biggest killer of children between 10 and 15. I let these sink in a bit. 

Then I asked, ‘So what are we afraid of, exactly?’  

It is accepted practice in all mental health disciplines to try to identify the causes of fear and face squarely up to them as that’s the only real way to defuse their power, I said. I was going to read them a list of potential causes – and while I was doing so, I’d like them to try and guess where the list had come from. Call out your guesses please. 

‘Getting old,’ I started. ‘Drinking too much. Tyrants swooping on other people’s countries. Teaching our children to be better than we are…’ 

‘Twitter!’ someone called out. 

‘Cutting down the forests. Loss of friends. Waking up sweating in the night. Other people saying awful stuff about us…’ 

This Morning!’ came another voice. 

‘Feeling very alone. No sign of things getting better. Envying the rich. Death. Food being short…’ 

‘The news this lunch time!’ 

‘Plagues and pestilences. Being in despair. Cruel words. The evils of the class system. Not having work. Feeling low. Feeling weak…’ 

‘It’s got to be The Daily Mail,’ someone else shouted. Laughter. 

I looked up. ‘Good guesses,’ I said. ‘All of them, thank you. Only they’re a bit out of date. By about four millennia, give or take!’ 

Surprise fizzed through the room. 

I had wanted to find out what people used to worry about, I explained. To see how that differed from our current worries. I hadn’t known where to look though, until I suddenly remembered the psalms. ‘Some of you might be familiar with the psalms,’ I said, ‘but for those of you who aren’t, they are 150 ancient songs full of moaning.’ They varied in age, but the oldest were thought to have been written the best part of 4,000 years ago – making them older than the pyramids. I’d taken twenty of these songs out of the middle of the book – Psalms 60-80 – and listed the things they were moaning about… as just demonstrated. 

A lot of the sleepy faces were looking more alert now.  

Since this ancient list is more or less identical to our own, we can draw two conclusions, I said. Both very good news. The first is that, clearly, these are the things we worry about – if we’re human. People from a totally different culture/ period in history/ part of the world/ ethnicity/ stage of economic development/ political system/ level of education and so on and on, worrying about the same things as us? Doesn’t it show that… er, it’s normal? For living, breathing, average, sentient human beings like us? 

And secondly it proves, surely, that we’re designed to survive this kind of worrying. We’re wired to cope. Our brains are built for it. Because – ta da! – here we all are, FORTY CENTURIES later, still moaning about exactly the same stuff! 

I looked at my colleague again. Not only were both her hands now down in her lap, but like a lot of the rest of the room, she was smiling. 

‘If we can clear fear out of the way, it’s much easier to get on with sorting out problems,’ I finished. ‘So now, shall we talk about where we can get started?’ 

Review
Belief
Creed
Music
Wildness
5 min read

Did Nick Cave’s tour just take thousands to church?

He’s picking holes in the idea that religion is where freedom goes to die.
A rock star prowls the stage while behind hundred of faces tined red star.
Cave and the congregation.
Instagram/nickcaveofficial.

I recently went to Nick Cave and the Bad Seeds’ Wild God Tour.  

I was told that it would be a terrific show, and it was. I was told that Cave would be more charismatic and commanding than he’s been in decades, and he was. I was told that it would be some kind of spiritual experience, and it was… 

Kind of.  

Those who are likening it to a ‘spiritual’ (including ‘This Country’ actor, Charlie Cooper) experience are certainly onto something, the whole production is designed to be transcendent, it’s just that the adjective they’re opting for is a little too vague. Instead, I would suggest that the show is a religious experience.  

Now, hear me out - I know that we tend to feel nice and comfortable with the ambiguity of the former adjective, and much more cautious when it comes to rigidity of the word I’ve subbed it out for. If you just winced at the sight of the big, bad, R-Word, I get it. It comes with all kinds of wince-worthy connotations. A lot of it, deserved. Some of it, not. 

But, like it or not, I truly don’t think that Nick Cave is giving us the comfortable luxury of vague-ness.  

When I wrote about the Wild God album upon its release, I mentioned that the ‘Wild God’ to whom the record is an obvious ode is not abstract. Rather, the ‘wild god’ is the Christian god. The album attaches itself to a specific story, it finds its home within a specific paradigm. And the same is true of the tour. I would propose, if I may be so bold, that Cave and his Bad Seeds have spent the past few months telling the Jesus-story in every city they’ve found themselves, and subsequently, taking tens of thousands of people to church.  

I would hate for you to think that my objective here is to stick a flag on the hill of this album/tour/artist. It’s not my intention to claim Nick Cave for ‘team Christianity’; it’s not necessary, he speaks continuously and profoundly about his own faith. Rather, as someone who has lived her life according to the very same Jesus-story, I’m simply offering you a lens through which you can gaze upon this touring work of art.  

So, I’ll suggest it again – the Wild God tour is a religious experience.  

And I know that sounds too constrictive of an analysis, but I think that’s on us for ever kidding ourselves into thinking that ‘religious’, ‘Christianity’ and ‘church’ were small words.  

That’s certainly not the way Nick views them. In a recent issue of his Red Hand Files, he writes, 

‘ I experience a certain vague ‘spiritualness’ within the world’s chaos, an approximate understanding that God is implicit in some latent, metaphysical way, yet it is only really in church – that profoundly fallible human institution – that I become truly spiritually liberated. I am swept up in a poetic story that is both true and imaginative and fully participatory, where my spiritual imagination can be both contained and free. The church may appear to some as small, even stifling, its congregation herdlike, yet within its architecture, music, litanies, and stories, I find a place of immense spiritual recognition and liberation.’ 

Fascinating, isn’t it? The concept feels kind of upside down. How could confinement cultivate liberation? How could boundaries ever encourage freedom, or particularity somehow hold entirety?  

Can the ‘spiritual imagination’ truly be ‘both contained and free’? I think it can. In fact, I think that would be my own story, too. And, what’s more, I think the Wild God tour is some kind of proof of concept.  

Can art be bursting with rage and religion? I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. 

The whole show is framed by Cave’s joyous bewilderment at his own conversion – song by song, it tells the story of how he has been wading through the thickets of grief, his eyes steadily fixed on the God who rescued him ‘just in time’. 

 It’s specific. It’s religious.  

And here’s the funny thing: the show having such a specific story to tell doesn’t seem to have a narrowing effect. Instead, songs about storms in the tiny town of Tupelo and girls who live on Jubilee Street seem to be swept up into a story that’s big enough to hold them, big enough even, to imbue them with yet more meaning. Doubt also sits comfortably here. As does anger and profanity.  

Can something be sweary and sacred? Can art be bursting with rage and religion? 

I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. He’s finding holes in the idea that religion is a place where freedom goes to die, picking a fight with the claim that ambiguous spirituality, or even outright irreligion, is more freeing.  

It’s a big old fight he’s picked, one that’s been fought – in one way or another – since the beginning of time. I guess, as a Christian, it’s a fight that I have picked, too. I have placed my life (and, if we’re going to get weird with it, my afterlife) within the confines of a particular story. Am I certain that I’m right? Of course not – otherwise my faith would be faith-less, no? Nevertheless, I too have chosen to place my understanding of the eternal in the confines of the particular. I, too, am trusting that within the boundaries of the Christian story, there’s space for me to run free.  

The word ‘religion’ is roomier than we are often urged to believe. Need convincing? Nick Cave is your man.