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Creed
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Trauma
4 min read

The healing power of forgiveness

From Parliamentary Prayer Breakfasts to post-apartheid South Africa and fourth-century desert monks, Julie Canlis explores the benefits of relentlessly pursuing forgiveness.

Julie connects Christian spirituality with ordinary life in Wenatchee, Washington State, where she teaches and writes.

Eastern Orthodox icon depict the Prodigal Son
Eastern Orthodox icon depict the Prodigal Son displayed on Forgiveness Sunday

Last week, the National Parliamentary Prayer Breakfast convened with a focus on the power of the F-word in public life. In our cultural moment, we prefer score settling and retribution to what was once a cherished value: Forgiveness. Can the Christian story offer anything to an era which is caught in endless cycles of violence, conflict, injustice, and vengeance?  

In our lifetime, we have seen the experiment of what happens when a whole country dedicates itself to forgiveness. In South Africa, overcoming the trauma of apartheid did not mean forgetting but choosing to remember collectively. Evil was named. But could this kind of truth set one free? There were no shortcuts to forgiveness. There was no quick wiping the slate clean that avoided the truth. Instead, perpetrators were faced with real people and stories of what they had done. Victims recounted their trauma, but in a new way that enabled them to stop being the victim of what had happened to them. In South Africa, forgiveness was not religiously sanctioned denial. It offered the victims agency, and release from the cycle of vengeance. 

From South Africa, we learned the power in sharing trauma stories. We discovered the importance of looking for underlying causes and ideologies that are contributing factors. But that was not the end. We also watched the power of restorative narratives, testifying to the beautiful fragility and hope of reconciliation. Without forgiveness, no relationship on a personal or national scale can be sustained. What would it look like to begin to create a forgiveness culture amid a culture of hate? 

In the fourth century, there were communities of Christians who fled the Roman empire and set up shop in the desert. They gave their life to prayer and forgiveness because they found that despite fleeing from the “sins” of Rome, they could not escape themselves. They were in the desert with a handful of other people, and yet their hearts still contained hatred. They did not have muscle memory oriented toward forgiveness.  

For others, hearing that they are forgiven forty times finally cracks through a self-defeating wall. 

And so, they relentlessly practiced forgiveness. They practiced it by stopping the incessant outward glance at other peoples’ faults. They asked forgiveness constantly, in a bold attempt to own their own culpability and blindness. And they ritualized this practice in a once-yearly “Forgiveness Sunday” which makes many of us squirm just to think of it. The Sunday before Lent, everyone in the community would extend a word of forgiveness to each person, and beg their forgiveness in turn.  

Forgiveness Sunday is still practiced annually in Eastern Christian churches (often Greek or Russian) where you can still wander in on the Sunday before Lent, and work on your F-word muscle memory. In case you find yourself in one of these churches, the script goes something like this: 

Person 1: Forgive me, sister. 

Person 2: God forgives you. And so do I. Forgive me brother. 

Person 1: God forgives you. And I forgive you. 

Of course, this exchange can be rote. But for some for whom there has been anything amiss, eyes well up with tears. Perhaps it is the letting go of an exhausting grudge. For others, hearing that they are forgiven forty times finally cracks through a self-defeating wall. And for everyone, it is a commitment to not constantly ruminate on the wrongs of others, reliving incidents to keep the anger going. If done rightly, it allows for the recognition of wrong, while not allowing it to perpetuate itself in you. In essence, it is the cheapest mental health shortcut, available at a church near you. 

Back in the fourth century, Forgiveness Sunday arose as a circumstantial necessity because these desert dwellers would retreat even further into the desert for Lent. Call it a detox camp. Call it a therapeutic immersion. Call it a technology fast. Regardless, due to the dangers of the desert (wild animals and a hostile environment), these Christians wanted to receive the forgiveness of their brothers and sisters (and offer it) in case they did not return to the community to celebrate Easter. For us, a modern equivalent might be simply to enter the liturgical time of confession and forgiveness on a regular Sunday. And to lean more deeply into the well-worn phrase to “forgive us our trespasses, as we forgive those who have trespassed against us.” Would it be possible to treat these words with a whole new level of personal responsibility and vulnerability?   

Forgiveness Sunday is the humble declaration that we are both victims and perpetrators.

Forgiveness, when taken seriously, is a process that takes time. Forgiveness involves great courage, but also the great humble realisation that we could have just as easily done the very act that needed forgiving, under different circumstances. Forgiveness involves neither appeasement nor grovelling. For the church, the ritualised understanding of Forgiveness Sunday is the humble declaration that we are both victims and perpetrators. And that, somehow, Christ accompanies us in the grief of both. 

In the Christian tradition, Jesus founded his new order upon forgiveness. Jesus knew that the unforgiving heart is closed to not just giving forgiveness but to receiving it – it is sealed up like a tomb. That those who are least forgiving also live daily with the fiercest critic – themselves. In other sayings, Jesus highlights that forgiveness is not merely an interior disposition, but also one honours the integrity of the process of working through an injury. And finally, Christians believe that Jesus practiced what he preached: he forgave his enemies (and died for them) to secure divine forgiveness for everyone. For his followers, they had no choice but to forgive – and many of them ended up founding communities of forgiveness. 

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Sport
8 min read

Paris 2024 and Christianity’s opening ceremony

A subversive Olympic opening relies on Christianity’s own beginnings.

Tim is an associate vicar of King’s Cross Church (KXC), a London-based Anglican church.

A painting of the Last supper showing Christ and the disciples at a table.
da Vinci's Last Supper.
Public domain, via Wikimedia Commons.

The opening ceremony of the 2024 Paris Olympic Games, held on the River Seine, has unsurprisingly caused controversy. Such moments, where one nation through pageantry and spectacle performs itself to all others, never fail to draw comment. The 2024 ceremony has drawn various detractors, not least those claiming the ceremony was an “attack on Christianity.” 

You might remember the masterful opening to the London 2012 games. Director Danny Boyle’s theatrical spectacle told a symbolic story of nationhood. By depicting the bucolic, the industrial, and the NHS, he considered the UK in both dark moments and at its brightest. With a great exhibition of British humour, James Bond appeared to parachute out of a helicopter with HRH Queen Elizabeth II, while Mr Bean entertained the whole wordlessly through sardonic single-finger piano playing.  

Widely held to be a creative triumph, Boyle was preceded by the Beijing Olympics where its opening ceremony, CGI fireworks put to one side, wowed the world with unprecedented size and scale, reminding us that we live in an era of Chinese power. 

Tokyo 2021, delayed by a year due to the Covid-19 pandemic, involved 1,800 drones filling the skies – a faultless demonstration of a technological age where Japanese engineering has been indispensable. 

The sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture. 

In 2024 Paris, the weather was perhaps the greatest focus of attention, which suited the British commentary perfectly. We Brits surely are the world experts in making light-entrainment out of describing rain. Soggy athletes sailed the Seine on a variety of uninspiring looking barges. Sanguine but soaked, the athletes dutifully waved and smiled; adorned not in gold, silver or bronze but flimsy ill-fitting plastic ponchos. 

Overshadowing this athletes’ parade were the creations of theatre director Thomas Jolly, mastermind of the whole ceremony. Boldly deciding to choose the city as a stage, rather than make use of the conventional choice of a stadium, the sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.  

Although the weather somewhat thwarted proceedings, it was the content of the performance that drew criticism.  

Far-right politicians decried Jolly’s offering as a violation of French nationhood. Conservative pundits focused their criticism on Jolly’s elevation of LGBTQIA+ culture. 

Christian commentators have, with various degrees of rancour, condemned a strange scene where Leonardo da Vinci’s famous painting of the Last Supper was subverted by a pastiche of ostentatiously queer characters. At the centre of which was not Jesus Christ but a robust-looking figure resembling Lady Liberty.  

Elon Musk spoke up in protest too, posting that it was ‘extremely disrespectful to Christians.’ Full-throttled cries of blasphemy resound, and probably for good reason. What we witnessed was Christ being usurped and replaced by the insurgency of self-expression and the currently sacred idea of diversity and inclusion. 

Ahead of the ceremony, Jolly told British Vogue about the heart behind his creation: “there is room for everyone in Paris. Maybe it’s a little chaotic, it’s true, but that allows everyone to find a place for themselves.” The opening ceremony will be a success, Jolly says, “if everyone feels represented in it.”  

I guess this isn’t the case for the thirty per cent of the world who would identify as Christian. That’s because every family and flavour of Christianity would recognise that Holy Communion, the central act of Christian Worship for 2000 years, the institution of which is depicted in da Vinci painting, was being publicly and globally vandalised.

When Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. 

How can we make sense of this moment? Is there anything more for the Christian to contribute other than indignation or outrage?   

Whenever something like this occurs it reminds me of the central role Christianity has played in Western culture. The intelligibility of the ceremony’s controversial scene rests on the idea that da Vinci’s painting is a globally recognised symbol. Otherwise, we would have just been watching a really strange dinner party with no food. But with Da Vinci’s famous painting in our mind the subversive power of Jolly’s scene hits hard.  

The view, popularised by the historian Tom Holland among others, would go as far as to suggest that Christianity’s effect on Western culture is so pervasive that even moments of protest and subversion, as we saw in the Paris ceremony, are cultural phenomena inherited from the Protestant Reformation.  Regardless of how far you agree with Holland’s thesis, Jolly's subversion only makes sense because of the dominant role Christianity has played in shaping the western imagination, and that is a position of latent power that should cause pause for reflection. 

I’ve read half a dozen articles from a certain sort of right-wing journalist who parrot thoughts like, “they wouldn’t do that with the Quran”. That might be right, but it fundamentally misses the point. Blasphemy, let’s say, in Iran, would certainly not involve the Last Supper.  

The scene made sense only because of Christianity’s now diminishing position of power but it's a position of power, nonetheless. When you align Jesus Christ with the status quo, with the corridors of power, when Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. Especially for anyone or any group that feels persecuted or marginalised. I’m not for a moment defending what Jolly did but trying to understand why it happened. 

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity.

The kind of cultural power Christianity has had in the West comes at the cost of clarity because Christianity was itself originally a counterculture. Crucifixion, a supreme act of imperial domination, became the foundation of Christian thought and ultimately its greatest symbol. The original Christian movement was seen itself to be blasphemous for contradictory reasons by both the Jewish and Roman religious leaders of the time.  

The fundamental difference between Christianity and merely holding conservative values that should not be transgressed, is God. It was genuine belief in Jesus Christ as the long-awaited messiah of the Jewish people and the Saviour of the whole world - a belief that led his first bedraggled and bewildered disciples to live in such radical and counter-cultural ways that many were killed by the Roman Empire.  

It is right for his followers today to speak up and say how wrong it is when the special and sacred things he did for them are yet again trampled on in public, but it's also worth remembering that’s how the story started - with Jesus’ body brutalised and broken. That somehow, in moments like this, we miss the power of Jesus when we simply defend him on grounds of “decency” and “respect.” Instead, if we return to the original events themselves, Jolly’s depiction, in its mockery and subversion, actually reveals the power of The Last Supper.  

Da Vinci’s painting was not intended for a gallery but was originally painted on the wall of a fairly obscure monastery, transported to a gallery years later to become primarily art, it is more a foundational aid to the faithful to remember the original events Da Vinci is depicting.  

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity. Every time a Christian takes Holy Communion - the central act of Christian worship for over 2,000 years - they remember the opening ceremony where: 

“Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins”  

The most peculiar part of the opening ceremony of Christianity - more peculiar than any sight we saw last night - is the presence of Judas. The biblical accounts describe Jesus’ knowledge of Judas’ intentions to betray him to the Romans, and yet Judas is still welcome to the table. If there’s space for Judas, then there is space for all of us. The opening ceremony Christianity cannot be remembered without the presence of Judas the betrayer, and Peter the coward or Thomas the doubter.  The great irony and the big mystery of the Christian Faith is that you can’t out-sin grace. You can mock it and subvert it, but Christ died for the ungodly.   

Last night’s scene doesn’t come close to the original events. Not only was Jesus betrayed by his friends, he was then tortured, humiliated and executed publicly in just about the most excruciating way humans have devised. That was blasphemy of another level, but it was also victory because God was choosing to love inclusively beyond any human metric.  

Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence. 

This means that there’s nothing more inclusive than the opening ceremony of Christianity and yet, at the same time, nothing more exclusive. It is not us who provide the food but God. In Jolly’s performance, the Last Supper scene was concluded by the French actor Philippe Katerine, emerging painted head to toe in blue. Whilst this bearded smurf caused baffled sniggers across the planet, Katherine was apparently representing Dionysius, The Greek god associated with wild drunken parties. The food on offer by Jolly is wild desire and self-expression. In Christianity the food is God himself, his body and his blood. God’s love is given not simply expressed, even to those who will betray him.  

Moments like this will become harder for Christians to navigate. It feels like just as a wave of secular liberalism wants to finally vanquish the power position Christianity has painted for centuries, a new conservative vanguard of resistance is rising to protect or enrol it for its own means. From the mouth of Modi or in Trump’s tirades, a new religiously armed populism is raging. Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.  

Take us back to the opening ceremony, to the foundation of Christian faith. Take us to the waterfall, where the torrent flows straight down from the mountain, and save us from the slow-moving sludge of the wide river downstream. Take me back to the opening ceremony of Christianity. To the table where God welcomes a Judas like me, to the meal where the master became a servant and washed his followers' feet. Take me back to eat food I could never afford and wine I could not create.