Intermittent fasting? Try the 5th century playbook

Lent is upon us – those 40 days of voluntary masochism that we moderns have mercifully put behind us. Or have we?

Julie Canlis

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

A wine glass of water sits on an empty clean plate.

Daylight fasting.

Jean Fortunet, CC BY-SA 3.0, via Wikimedia Commons.

Fasting, at least in the health world, is no longer a derogatory term but one in vogue. Particularly the merits of the restricted diet, in which you limit the amount of time you eat either to a day (e.g. to an eight-hour window) or a week (e.g. skip eating on two different days). The latter approach, maybe surprisingly, follows in the footsteps of our religious forebears, who fasted every Wednesday and Friday. Could it be that they’d figured out a practice we are just discovering? And what else were they trying to achieve?

To a medieval peasant in Britain, Lent ratcheted up the twice-weekly fast. It was 40 days of a vegan diet, that often increased in intensity as the body adjusted (though the pregnant, young, sick and old were exempt). Lent also issued in much cultural creativity. Who knew that Cathedral at Rouen was a Lenten by-product, as those desperate for butter could get a dispensation by contributing financially to the Butter Towers (as they became known)? And Britons may have Lent to thank for both black peas, a Lancastrian delicacy, and fish & chips, as cooks were challenged to keep Lenten menus interesting.

Despite our caricatures of Lent as a dour and draconian time, it was essential to the enjoyment of medieval life. The purpose of Lent was not the denial but the renewal of pleasure. Maybe it’s precisely that aspect that has echoed through the centuries, manifesting now in our punishing diets, Tough Mudder races, and endurance stunts. Isn’t that a bit part of why we (well, some of us) do them?

This article was first published on March 15 2023.

'One of the principal rhythms of medieval life was this move from feasting to fasting to feasting again.'

Our modern fascination with fasting can also receive wisdom from Lent, which is that fasting for its own sake will always lead to something unhealthy. It must be for the purpose of something greater. Our forebears worried that physical practices could become idolatry, when wrenched out of their context of repentance. As G. K. Chesterton remarked,

'Physical nature must not be made the direct object of obedience; it must be enjoyed, not worshipped.'

The Old Testament prophets were particularly grumpy about this, insisting that fasting would do no good if it did not also help you love your neighbour more. Or as the early third-century Christians who fled from Roman excess into the deserts remarked,

'If you fast regularly, do not be inflated with pride; if you think highly of yourself because of it, then you had better eat meat.'

Fasting on its own will not make us better people, though we might shed a few pounds. Fasting is to restore the pleasure not only to eating, but also to the soul in need of God. Interesting that one of the primary biblical metaphors for a lively spiritual life is that of feasting and eating. Fasting resets the soul with repentance. It is praying with our body. It is not a negation but a purgation of desire – not denying our desires but resetting them. C.S. Lewis wondered whether our desires are not too strong, but too weak.

'We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered to us, like an ignorant child who wants to go on making mud pies in a slum because he cannot imagine what is meant by the offer of a holiday at the sea. We are far too easily pleased.'

So if you’ve considered intermittent fasting, or even if not but you feel you might need a more balanced perspective on pleasure, consider the Lenten playbook. Feast and fast cyclically. Do it for a greater purpose than just losing weight. Let it change and reset your true desires. And maybe, just maybe, you might discover God waiting for you at the root of all your desires.

Review

Culture

Film & TV

6 March 2024

7 min read

Perpetually present in Palm Springs

A movie's time loop explores the meaning in the mundane.

Beatrice Scudeler

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here.

A young couple lounge on floating rings in a swimming pool.

Cristin Milioti and Andy Samberg ponder time.

Hulu.

I first watched Palm Springs on the evening of my wedding day. It was the very beginning of what would be a peaceful and relaxing honeymoon, sandwiched in-between planning a pandemic wedding and finishing graduate degrees, and planning a move across the Atlantic to Canada, where my husband had just got a job – which was quickly followed by getting pregnant for the first time. Those two weeks were the only restful time we got in the whole of 2021 -- and arguably to date! It felt like time stood still for a while. We walked on Cornish beaches, talked about our future, ate ice-cream. It’s the closest I’ve ever felt to a deep sense of peace.

It’s quite fitting that, at such a quiet moment in our lives, we watched a film about getting stuck in a time loop at a wedding. Palm Springs’ time loop premise is familiar from cult classics like Groundhog Day. Tala and Abe are getting married on 9th November. An earthquake opens up a strange cave that traps any unwary visitors into a time loop. Nyles, one of the wedding guests and the boyfriend of Tala’s friend Misty (yes, these are their actual names), enters the time loop by accident. Every day, Nyles wakes up in Palm Springs, and every day is 9th November, again, and they’re celebrating Tala and Abe’s wedding, again. He can leave Palm Springs and travel anywhere he likes. But if he falls asleep or dies, the time is reset to the morning of the wedding.

An undetermined amount of time passes, until two more guests get stuck in time: Abe’s cousin Roy, a middle-aged, disillusioned family man, and later Sarah, Tala’s sister. Roy takes revenge on Nyles by torturing and killing him every few ‘days’; he was lured into the cave by a Nyles high on drugs and is furious that he’ll never get to see his kids grow up. In one iteration of the wedding day, Roy finds Nyles and shoots him with a crossbow. As Nyles re-enters the cave to make the day reset and escape another gruesome death at Roy’s hands, Sarah follows him in, not heeding his warning to stay away. She gets stuck in time, too.

And here is where the story actually begins. All of this we find out as a shocked Sarah, having woken up on her sister’s wedding day for the second time, goes to Nyles for answers. For the rest of the film, the sci-fi premise is fairly incidental. Palm Springs is really about Nyles and Sarah coming to terms with their brokenness and their longing for permanence as they get stuck in time – and stuck in love. At first, Nyles acts very cynically. He’s been in the time loop for quite a while and fails to see the purpose of his existence. ‘Today, tomorrow, yesterday, it’s all the same’, he says. His advice to newly stuck-in-time Sarah is to simply ‘embrace the fact that nothing matters’. Sarah accepts the invitation, beginning to act erratically. She and Nyles drive around Palm Springs aimlessly, spend their time choreographing an 80s dance, and she even throws him a ‘millionth’ birthday party. In a darker moment, she intentionally gets run over by a truck, hoping – to no avail – to finally escape. They see their lives just like the lost souls in Dante’s Inferno, condemned by sin to relive the same punishment over and over and over again, for all time.

Love reenchants the aimless and the mundane for them. They’re no longer stuck in hellish infinity.

But something happens in the process. Because they know they can’t leave, Nyles and Sarah lower their defences. Their relationship essentially works as a marriage: they are stuck in it for the long term, and so they become honest. They get to know each other more deeply than they have ever known anyone, and they come to love each other deeply, too. Suddenly, they are no longer waking up dreading more of the same, but excited to see each other again, and spend another day together.

Nyles’ disenchantment slowly disappears. When he first met Roy, drinking at the wedding bar, he cynically quoted from T. S. Eliot’s Four Quartets, ‘What might have been and what has been/ Point to one end, which is always present’. But Eliot’s poem is not actually about the dull, hellish, infinite repetition of time. Rather, it’s about our desire to reach out to God’s eternity in heaven. It reminds us that, when we receive God’s grace, we stop experiencing our lives in a linear way, always looking ahead to new experiences and greater achievements, and instead start finding joy in the mundane. Nyles is finally learning this. He now enjoys Eliot’s perpetual ‘present’, because loving Sarah has allowed him to regain a childlike wonder at the world. As G. K. Chesterton argues in his wonderful book Orthodoxy, ‘Because children have abounding vitality’ they do not tire of repetition, but rather ‘want things repeated and unchanged’:

They always say, “Do it again”; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony.

Roy has learnt this, too. He stops trying to torture Nyles, and rather starts appreciating being able to spend every day – albeit the same day – with his wife and children. When Nyles visits him at his family home, it’s clear that Roy no longer sees repetition as a punishment, and that he’s found a sense of peace.

Finally, Nyles and Sarah realise that the time loop has instead given them the chance to mend their wounds, and come to terms with their mistakes. In a moment of despair, Sarah runs Roy over, causing him several injuries. ‘Nothing matters’, she tells Nyles as an excuse. But Nyles no longer agrees. ‘No. Pain matters!’, he tells her. ‘What we do to other people matters…It doesn’t matter that everything resets and people don’t remember. We remember. We have to deal with the things that we do.’

That’s exactly what Sarah spends the rest of the film doing. She deals with the consequences of her actions and attempts to repair her relationship with her sister Tala, whom – without giving away exactly what happens – she had deeply hurt and betrayed.

I won’t spoil for you whether Nyles and Sarah ever manage to escape the time loop and return to ‘real’ life, but that’s almost besides the point. But I will tell you that they stay together through it all (this is a rom-com as well as a sci-fi film after all…).

Love reenchants the aimless and the mundane for them. They’re no longer stuck in hellish infinity, but are rather looking ahead to the kind of eternal peace we hope to find in heaven, just like I did on my honeymoon.

I recently rewatched Palm Springs, a newborn baby girl in my arms, and it reminded me of when my other child, my son, was first born back in 2022. I remember walking down the street in downtown Toronto, where I was then living, and telling my mother that I felt like I was experiencing a taste of eternity. She was understandably confused by my sleep-deprivation-induced philosophical musings, but there was a reason I said that. Just as time had expanded on my honeymoon, each day feeling like everything stood still, and yet each day so full of variety, so the newborn days of my first experience of motherhood were both very busy and very quiet. But while my honeymoon had decidedly felt like a foretaste of heavenly peace, motherhood has been more complex than that. Sometimes it’s so repetitive that it can seem aimless – ‘how is his nappy full again?’ I often ask myself – and in this it can appear as static as Dante’s hell. As adults, it is very difficult to recapture the kind of joy and delight in repetition that Chesterton writes about. It can really feel like you’re stuck in a loop, every day bringing more of the same, more nappies, more bath time, and more baby food thrown at the wall. But motherhood is also full of the endlessly new little joys. When my son says a new word for the first time, or when my newborn daughter looks at me and smiles, I think that I’d be happy to relive this day forever, just like Roy.

Although I’m not actually stuck in a time loop like Sarah and Nyles in Palm Springs, it can sometimes feel that way. But perhaps it’s good thing. Perhaps that’s what reminds me that being a good parent means getting tired of your kids by the end of the day, then waking up the next morning, and loving them all over again. That’s what being a parent means, and that’s what marriage means, too. As Nyles says to Sarah right before they enter the cave for the last time, unsure if they’ll see each other, and whether their relationship can survive the mundane reality of domestic life, ‘We’re already sick of each other. It’s the best.’