Article
Change
Mental Health
7 min read

Love is easy to say but hard to live

Love is not a one-time event. It is a practice.

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

A man stands and looks at a neon sign reading 'need love and... '
Chester Wade on Unsplash.

Over Easter, Christians contemplate the love that the cross represents. But what does love mean now, in the world as it is – and how do we live it?   

Love is one of those words that feels easy to say but hard to live. Like interdependence, like justice, like forgiveness. It is a word that can quickly get bent out of shape – mistaken for romance, twisted into desire, flattened into niceness, reduced to an emotion or a feeling. Still, we reach for it, or an approximation of it. We know we need it; we know it is a good and important thing. And yet for something so important we are never taught how to do it. Author and critic bell hooks (sic) said, “schools for love do not exist. Everyone assumes that we will know how to love instinctively.”  

The times we live in, though, are calling out for people who know how to love – for people who love well and who love much and who love like it has the power to heal and guide us – because the times we live in ask a lot. The forces and systems and ways of being that we’re so entangled with now are, I think, strengthened by lovelessness. Never-enough consumption, divisive politics, ruthless economics are all bolstered by lovelessness — by loneliness and othering and fear and greed. Still, like hooks, I think we “yearn to end the lovelessness that is so pervasive in our society.” She goes on: “To open our hearts more fully to love’s power and grace we must dare to acknowledge how little we know of love in both theory and practice…” 

Sometimes though, it seems Christians are as clueless about how to love as anyone. 

Christians should know something of love in theory and in practice. In the Bible, love is a command, love overcomes death, love serves, love lays down its life, love is God. Love is the cornerstone of all of it. Jesus calls another world into being when he tells his followers to not only love their neighbours, but to love their enemies too. He was consistently community-oriented in his teaching and living and loving, demonstrating love for his closest companions as well as for strangers and social outcasts. Love in the gospel is practical, unromantic, beautiful.  

Sometimes though, it seems Christians are as clueless about how to love as anyone. If non-believers see judgement, infighting, division, or other signs of lovelessness when they look at the church and its members — when we Christians feel these things ourselves — then we know there is work to do. There is of course always work to do, even when we love well, because love is not a one-time event; it must keep flowing, it is a way of being, it is a practice.  

A couple of the churches I went to early on in my Christian journey made me feel unwelcome. They were glossy, wealthy – not necessarily bad things in themselves, but here they felt like a silent sifter of belonging. Once, someone only half-jokingly corrected me for cutting the ‘nose’ off a wedge of cheese at a church event. I never felt relaxed, never myself. This was partly me, too – I realise lately that I have declined many invitations to belong. But the church we go to now is what I think perhaps an ideal church looks like. It’s an eclectic, scrappy group of people who tolerate some big differences in opinion and belief because they believe that love is bigger than those differences. There is no cancel culture, no shutting people out, though often it would be easier to do that than to stay, to keep coming back. A few weeks ago, I gave a sermon and in it, referenced the fact that over 30,000 people had been killed in Gaza, 70 per cent of whom were women and children. I said that if we were led by love – which is not selective, which is not reserved only for people we like the look of, which is never on the side of war and oppression – perhaps we might be doing what we could to make this dying stop: rage, protest, petition, pray. As I expected, the Minister had a complaint – that church shouldn’t be political, that I had been one sided, and so on. This is not an essay about that topic, but the reason I share this is because I knew some people would disagree with me, and I knew that would make me furious, and yet I also knew that our church holds the space for all this. I knew we would still all keep showing up, keep living alongside each other, keep encountering each other and being together in our unity, even when we infuriate each other. 

In the age of the individual, healing and development has become a personal mission, peddled as products by distant companies that do not really care about our hearts and souls and lives. 

There are other fault lines in our church – political, theological, economic, creative. But, just as fault lines on the Earth cause violent earthquakes yet still enable the plates to move and exist alongside each other, shaping and reshaping and evolving this one shared planet, so I think do the fault lines in church, in community, in the world. Perhaps they provide edges along which we can encounter each other, along which we can shape and reshape humanity. Fault lines can bring quakes and tremors, but they can also bring new shapes, new realities, if we’re willing to do the work. Rather than turn away, perhaps these fault lines offer the chance to choose to stay, to be curious, to encounter, to listen — to practice love.  

bell hooks again – she speaks so thoughtfully on the topic of love – said: “I am often struck by the dangerous narcissism fostered by spiritual rhetoric that pays so much attention to self-improvement and so little to the practice of love within the context of community.” I am struck by this too — in the age of the individual, healing and development has become a personal mission, peddled as products by distant companies that do not really care about our hearts and souls and lives. In our church though, and in the similarly infuriating and beautiful town it is in, I see – not always but often – how love blazes brightest in the context of relationships and community. It is a commitment, a deeply practical virtue that fosters togetherness, even along fault lines if we believe it can. Love lives in relationships that nurture us and challenge us, that shape us. And I think that is how the kingdom comes — not through grand gestures and money and tech, but person-by-person, through the everyday and lifetime work of love. 

Love asks – no, demands – that we root it in practice. It demands that we really see each other, that we encounter each other even along our messy and many fault lines. It demands that we listen, make space for dialogue and difference, seek to understand and be compassionate. This feels countercultural in a time when it can be easier to turn away than to stay. Love demands that we coexist together in our differences so that we are better able to see and unite against our real adversary — lovelessness, and all of its friends. This is holy work, I think, in the sense that it is about wholeness and that it really is work.  

At Easter, the cross we reflect on is a symbol of love, and it is also a critique of lovelessness, of empire, of religion that pretends to be about God and love. It is a looking glass, showing us who we are, and who we could yet be if we sought to embody the radical love that Jesus demonstrated even in his final moments, praying for his crucifiers “father, forgive them, for they know not what they do.” Love, I think, wants us to let it take more weight than we do – to trust it, to use it, to wield it like others wield weapons and hatred and judgement. This Easter and beyond, I am reflecting on what love really means in the world right now, and I am praying that we open ourselves more fully to its reality, its concreteness, its demands, its power, its practice. Finally, I am reading again the familiar but ever-challenging verses in St Paul's letter to a church in Corinth:  

Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonour others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. Love never fails. 

Review
Art
Culture
Identity
6 min read

How the incomer’s eye sees identity

A re-invigorated art gallery highlights synergies between ancient texts and current issues.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A painting depicts a round table in a room. Those sitting around it rise up as a Christ figure enters.
Horace Brodzky, Supper at Emmaus.
Ben Uri Gallery and Museum.

Ben Uri was founded in 1915 in London’s Whitechapel and was named after Bezalel Ben Uri, the craftsman who designed and built the Ark of the Covenant.  

Originally it was an art venue for Jewish immigrant artists who were unable to gain access to mainstream art societies at that time. Today it has been reimagined and relaunched, becoming an expansive digital platform designed to be the first stop for information on Jewish, refugee and immigrant artists, designers, dealers and scholars who have made significant contributions to the rich and diverse British cultural mosaic.  

In 2023, I curated an online exhibition for Ben Uri exploring migration themes in Biblical images drawn from their Collection.  

Themes of identity and migration feature significantly in both the Hebrew and Christian Bibles and images from these Bibles are a substantive element of the Ben Uri Collection. As a result, the exhibition that I curated, Exodus & Exile: Migration Themes in Biblical Images, includes a range of Biblical images from the Collection. This is in order to explore migration themes through consideration of the images, the Bible passages which inspired them and the relationship between the two. The images are presented broadly in the order that the stories on which they are based appear in either the Hebrew or Christian scriptures. 

The combination of images and texts I selected from the Ben Uri Collection enabled a range of different reflections, relationships and disjunctions to be explored. These include the aesthetic, anthropological, devotional, historical, sociological and theological. The result is that significant synergies can be found between the ancient texts and current issues. In this way, stories and images which may, at first, appear to be describing or defining specific religious doctrines can be seen to take on a shared applicability by exploring or revealing the challenges and changes bound up in the age-old experience of migration. This was important in writing for an audience including people of all faiths and none, and in writing for an organisation which seeks to surpass ethnic, cultural and religious obstacles to engagement within the arts sector. 

“Most of what we’d today call migration is in the Bible, and it’s through migration, not in spite of it, that revelation occurs.” 

Sam Wells

Engaging in a dialogue between images and texts and with an audience made up of people of all faiths and none, can be revelatory for all involved, particularly those doing the writing. In an essay related to the exhibition, about which I will say more shortly, I discuss the impact of émigré artists, many of whom were Jewish, who contributed artworks that greatly enriched British culture and churches. Another example of someone impacted by the insights of those from another faith community is that of Lord Maurice Glasman, who has written of the part played by Catholic social thought in restructuring his politics, ethics and orientation of thought. He writes that: “It established the Common Good – a negotiated settlement between estranged interests – as the ultimate end of politics. It is Catholic social thought that has guided me through the 2008 crash, Brexit and now the coronavirus. It has been my inspiration and I will be eternally grateful to Catholics and the Church. It was a very generous gift. In the darkest moments, it lights the way.” 

Sam Wells, Vicar of St Martin-in-the-Fields, argues that the Bible itself is founded on six journeys, all of which have a bearing on themes of migration: “Jacob and his entourage migrate to Egypt in the midst of famine. This is an economic migration, but really it’s a journey of survival. Moses and the children of Israel migrate from Egypt to the Promised Land. They leave as refugees to flee slavery. They take 40 years to reach their destination, and, when they get there, they face a very hostile environment indeed. Judah loses a battle and is displaced 500 miles to Babylon. There, as Daniel shows, exiles play a vibrant role in public life, and bring unique qualities, represented by the ability to interpret dreams. Jesus travels from Galilee to Jerusalem. He’s living during the occupation by an invading power, Rome. Finally, Paul migrates from Jerusalem to Rome. He’s searching for legal protection in an empire where citizenship transcends geography.” His conclusion is that “most of what we’d today call migration is in the Bible, and it’s through migration, not in spite of it, that revelation occurs”. As a result, we don’t get Judaism or Christianity without migration. 

Many of these artists were part of a remarkable generation of refugees from Nazi-dominated Europe who contributed artworks that greatly enriched British culture and churches. 

Wells’ approach is one that I adopted in exploring migration themes through Biblical images in the Ben Uri Collection and many of the journeys he mentions feature in the exhibition images. The images I chose, begin with an L. Michèle Franklin watercolour of Adam and Eve. In her image they are naked with heads in hands, lamenting their loss, as they leave Eden. This is an archetypal image of forced migration, with those who have become migrants mourning the loss of the home they loved. The creation stories contained in the Bible quickly lead to a founding act of exile as Adam and Eve are banished from the Garden of Eden. One reading of this story suggests that we are all migrants, outside of a truly harmonious relationship with the world we inhabit but looking to return to our harmonious origins. 

The exhibition ends with Horace Brodzky’s 'Supper at Emmaus', an image which comes at the end of a journey and depicts the moment of realisation that the one who had been lost and mourned had in fact been with the travellers throughout their journey. As a result, the realisation comes that what we seek may be with us on the journey or Exodus we undertake, rather than awaiting us at the end. This realisation results in a new journey for the exiles and a return to their people and purpose.  

In between come stories of migration in the lives and experiences of the artists who created the images included in the exhibition, with aspects of those stories becoming entwined with the Biblical narratives depicted. Attention is drawn to René Girard’s mimetic theory, whereby imitation of one another gives rise to rivalries and violent conflicts that are then temporarily solved by scapegoating others. Some artists of Jewish origin included in the Collection addressed their experience of persecution through crucifixion imagery and, thereby, played their part in exposing and subverting this scapegoating mechanism.  

Many of these artists were part of a remarkable generation of refugees from Nazi-dominated Europe who contributed artworks that greatly enriched British culture and churches. After the Second World War, there was an almost unprecedented expansion of the number of church buildings containing works of art, as churches were repaired or built with new work installed in them. This was a time of impassioned artistic activity, in which the catalyst for the Church was, to a significant extent, émigré artists, many of whom were Jewish. I explore the contribution made by this group of artists in a related essay called Debt Owed to Jewish Refugee Art which is also available through Ben Uri Online.  

Will Hutton, writing in The Guardian in 2015, noted that refugees “are, as migration specialist Ian Goldin characterises them, ‘exceptional people’”. He continued: “Over centuries, as [Goldin] painstakingly details, it has been immigrants and refugees who have been part of the alchemy of any country’s success: they are driven, hungry and talented and add to the pool of entrepreneurs, innovators and risk-takers. The hundreds of thousands today who have trekked across continents and dangerous seas are by any standards unusually driven. They are also, as Angela Merkel says, fellow human beings. To receive them well is not only in our interests, it is fundamental to an idea of what it means to be human.” The history of émigré artists in the twentieth century, and the part of that story I explore in this essay and exhibition, reiterates and demonstrates the continuing relevance and significance of that message.  

In relation to the story told in my essay, it is a story in which the Church is at the heart of welcome and hospitality, combined with awareness of the immense contribution that refugees make to the culture and economy of their host countries. Our current lack of appreciation for that story, these artists, and their works, is, perhaps, symptomatic of the place in which our nation’s conversation about immigration is currently stuck. My hope is that this exhibition and essay can play a small part in changing that situation. 

 

View the Exodus & Exile: Migration Themes in Biblical Images exhibition.