Essay

Creed

Eating

8 September 2023

7 min read

The meaning of meals

Food is the nexus of relationships. Matthew Croasmun notes that food, and all created things, are most themselves when they are more than merely themselves.

Matthew Croasmun

Matthew is the author of five books including the New York Times bestseller Life Worth Living: A Guide to What Matters Most (with Miroslav Volf and Ryan McAnnally-Linz). He is an Associate Research Scholar and the Director of the Life Worth Living program at the Yale Center for Faith & Culture.

Around a table, against a backdrop of fret-cut wood, three people talk and listen to each other with great interest.

Inside Lina Ghotmeh's À table pavilion at the Serpentine Gallery.

Serpentine Gallery.

This summer’s Serpentine Pavilion in Hyde Park, À table, designed by Lebanese architect Lina Ghotmeh, invites us “to the table.” The extraordinary, long tables ringing the pavilion invite us to a meal and to conversation. To connect with one another and with the Earth that sustains our lives.

Ghotmeh’s invitation is an important one, if we have ears to hear. Through seeing what meals are, what they ought to be, and what they invite us to imagine, we discover what we are and what we ought to hope for.

Meals help us understand what we are. We can sometimes rush past questions about our materiality. Attending to meals won’t allow us to do that. Food, after all, is fundamental to life. We are what we eat and drink.

Early in the biblical stories of the life of Jesus, Jesus is confronted with this fact of human life. Hungry after forty days of fasting in the desert, Satan suggests Jesus miraculously produce some food for himself out of the rocks at hand. His response, a quotation from Hebrew scripture, “the human does not live by bread alone,” might at first seem like a hyper-spiritual attempt to deny our bodily dependence on food. But I take it that Jesus isn’t proposing that the human live without bread. He’s asking us to take a closer look at bread to see that it is more than merely bread. What he invites us to see will yet affirm that we are profoundly interdependent within the natural world of which we are a part. Our hunger and the food that satisfies it is one of the most visceral reminders of just this fact.

To desire a good meal is to seek to attend to the many relationships at our tables and to pursue nourishing mutuality.

Food, however, is more than merely food. Food is a nexus of relationship. The rest of the verse Jesus cites goes on to insist that food comes by the “word that comes from the mouth of the Lord.” Even as we live by bread, we live by Divine words, because the bread we eat—the bread we are—comes to us as a Divine gift. In the biblical imagination, everything comes from God. In the beginning, God spoke and there was. That’s true of the wheat and rye and barley or whatever else we use to make our bread, and it is true also of the human cultures and traditions through which these natural goods come to be bread.

Bread is more than merely bread; it is a Divine gift. In fact, it turns out, that every good thing is like bread in this way: created things are most themselves when they are more than merely themselves. This is just the sort of thing the creation is. It is an interrelated, connected whole, marked by relationship within and without. Created things are most themselves in right relationship to one another and to the God who created them. As a created good, food is more than just food.

And, of course, meals are more than just food. Meals are sites of relationship. Particularly in our globalized world, our simple tables often conspire to hide fantastically complex networks of relationship implicated upon them. These networks interweave relationships among people and places—seen and unseen.

The people implicated at our table include those around the table; those who foraged for, grew, transported, and prepared the food; those whose cultures for generations cultivated the plants, animals, fungi, dairy products and all the rest that find their places on our table; those whose histories and cultures gave rise—through creativity, necessity, or both—to the cuisines that weave together these natural and cultivated elements; and those absent from our tables who yet hunger for food. The places implicated include the fields and wilds and rivers and seas whence the food itself comes; the lands whence the cuisines and cultures hail; and the places we occupy as we share the table.

So, meals are more than just food. But then, meals most worthy of the name are more than just meals. Meals are not just sites of any old relationship. At their best, they are sites of nourishing mutual encounter between people, places, and the God who created them all. To desire a good meal is to seek to attend to the many relationships at our tables and to pursue nourishing mutuality. To seek the good of the wilds and streams from which our food has come—to seek a way of relating to these places such that those relationships are mutually nourishing. To seek the good of the people seen and unseen but nevertheless “present” inasmuch as they are implicated at our tables.

In days like ours, our tables are sites of mutual encounter, but the encounter is not nourishing to all involved.

At times, a good meal in this broken world will take the form of fasting in solidarity with or materially for the sake of those who hunger for what we so readily waste. In attending to our interrelatedness with the people and the places God has created, we begin to understand what it is also to attend to our relatedness to God at the table. Each of us—human, plant, animal, field, river, sea—we become most what we are when we become more than just ourselves. We become most ourselves when we attend to our relatedness to one another, when we attend to the God who created us for mutual flourishing.

It is in these complex webs of interrelationship that what we are begins to suggest to us who we are: we are sharers of God’s home, members of God’s family, citizens, as Jesus put it, of God’s kingdom. The Kingdom of God is just this: all things flourishing in right relationship with one another and with God their creator. One of Jesus’s favorite metaphors for the Kingdom was that of a heavenly banquet. Seated at God’s table, our citizenship, our kinship, our mutual interdependence is plain.

And yet we are not all flourishing. When I visited last year’s Serpentine Pavilion, Hyde Park was bleached from drought and heat. The would-be lawns felt like deserted wastelands; it was disorienting. Such sights testify to our profound interrelatedness, though against our flourishing. On the Black Sea, wheat that may never become bread, because it is trapped by war offers an analogous testimony. Our lives are deeply intertwined; just so, we are not flourishing. In days like ours, our tables are sites of mutual encounter, but the encounter is not nourishing to all involved.

If all Jesus offered were a vision of the table as it could be—as it should be—our reflection would have to end here. “Look at what our meals might be,” we might say. “Let us make them so! Let us build the Kingdom of God.” War and climate catastrophe, beware!

But Jesus never instructed his followers to build the Kingdom. Rather, he invited them to receive it, and in so doing, participate in its coming.

One of Jesus’ most common ways of inviting people to receive the Kingdom was by inviting them to a meal. These were meals in all our ordinary senses. They were sites of relationship. Particularly as Luke, one of the four gospel writers, tells it, Jesus was constantly offering advice about who to invite to the table. He warned about which absences revealed life-denying alienation. He convened and commended gatherings of rich and poor, religious and irreligious, nevertheless gathered for nourishing mutual encounter.

These meals are not only revolutionary social projects (though they were and can still be exactly that). In the ministry of Jesus, meals become announcements and enactments of the Kingdom of God. Meals become invitations to and demonstrations of the ultimate Home that God is making for God and God’s creation to flourish together. It is this Home that Jesus invites us to inhabit with him. When we share meals that are more than mere meals, when we allow God to transform our relationships with one another and within the natural world, our meals, too, can become sites of God’s transforming presence—the Home of God coming to be among mortals.

So, when we come to the table—whether Ghotmeh’s table or the table in our homes—let’s be aware of the opportunity presented to us. At the table, we are invited to know bread that is more than mere bread, even as we are more than merely ourselves. At the table, we are invited into mutually nourishing encounter with one another, within the natural world, and with the God who created it all. At the table, we are invited to be at home with one another in the presence of God in whom all things are finding their Home.

Review

Culture

Film & TV

7 August 2024

9 min read

Deadpool and Wolverine admit there’s only one story worth telling

Here's why a knowing take on post-modernity's void strikes a chord.

James Lawrence

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

Two superheroes, deadpool and Wolverine, stand and crouch respectively, in a desert like place.

'A desert of criticism and a wasteland of cynicism.'

Disney.

Can Marvel Jesus save a dying cinematic universe? That's the key question for the latest film from Marvel Studios and, it would seem at least from the box office, that the answer is: yes!

Deadpool & Wolverine, the snarky buddy comedy odd-ball team-up between Ryan Reynolds and Hugh Jackman, made over $590 million in its first week. That’s the sixth biggest opening of all time.

What follows is not a traditional review, you can find plenty of those online already. Instead, I want us to consider Deadpool & Wolverine as a cultural artefact that displays some of the key themes of our society. The stories that we tell, including the films that Hollywood produces, can act as a mirror to our culture, giving us an opportunity to see trends that we might have otherwise missed. 

As a mirror to this cultural moment, I want to suggest that Deadpool & Wolverine presents us with a cynical and nihilistic take on the end of an era in which all the protagonists can do is barrage the audience with an endless stream of jokes and quips.

The third instalment of the Deadpool trilogy is the first to be set in the Marvel Cinematic Universe (MCU) since Disney acquired the rights to 20th Century Fox for $71.3 billion. Until now all the X-men movies, the Wolverine movies, the prequels and the Deadpool movies have been produced by 20th Century Fox. But it’s the start of a new chapter for the X-men franchise.

The Disney executives hope for a new lease of life for the MCU, which has been struggling to find its way ever since the epic conclusion to Avengers: End Game. Of course, ordinarily, this sort of corporate back and forth would be irrelevant when thinking about the themes of a movie, but, in this case, the business backdrop is effectively a major plot-point of the film.

A significant portion of the dialogue is spent discussing the acquisition of the X-men franchise by Disney. Deadpool talks about what Kevin Feige (president of Marvel Studios) will and won’t allow in his films. A major action set-piece takes place next to a ruin of the 20th Century Fox logo. Deadpool jokes with Wolverine that he is joined the MCU when they are in a bit of a slump, and, when Deadpool is asked to save the universe, he takes this to mean that he should save the entire MCU franchise describing himself as ‘Marvel Jesus’. The movie knows that this film is the product of a business deal, and it wants its audience to know that too.

So, this film takes place at the end of an era and to highlight this throughout the film, a series of high-profile cameos are made by actors and characters from the last 24 years (no spoilers here). They are brought into the movie so that they might be given a final send off. A heroic on camera action hero death, one last valiant fight before the curtain falls. In a sense, Deadpool & Wolverine is a eulogy to the comic film industry, an era has passed away, we live only in the ruins of a once great edifice and all we can do is joke around and reminisce about the good old days

Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

The scepticism Deadpool and Wolverine exhibits about the movie industry, correlates neatly with a post-modern disposition to be suspicious about the role of power. Deadpool knows, and points out to his audience, that it is only the vested interests of corporate power that allow this film to take place, and he revels with delight when these corporations seem to be failing. He is under no illusions that the studios are benign entities who merely hope to make worthwhile art - Deadpool is a cynic, the jester, who takes great satisfaction in declaring that the emperor has no clothes.

Coupled with this is the constant breaking of the fourth wall. This is one of Deadpool’s foundational characteristics, he has been breaking the fourth wall since his earliest appearance in the comics and the previous two films. Deadpool uses this ability to deconstruct and point out some of the quirks of the superhero genre. For example, in the first film when a villain jumps into the scene from a great height, Deadpool says to the audience: “Superhero landing. She's gonna do a superhero landing… You know, that's really hard on your knees.” (This joke is repeated in Deadpool & Wolverine).

The deconstructionist tone contrasts sharply with Marvel’s previous movies, particularly the grand narrative which spanned 22 films and culminated in Avengers: Endgame- an unashamed mythic narrative about the defeat of evil and the triumph of good over bad. Yes, there were jokes and subversive elements in the MCU before Deadpool, but in the main the characters like Captain America are sincere and the movie takes them and their motivations seriously. Deadpool in contrast delights in deconstructing the narrative: Marvel’s grand narrative is over, Fox’s cinematic universe is over, and it is unclear if they will be able to successfully tell another epic mythic story.

All of this, I imagine, sounds quite dystopian and that is not just how the film feels but also serves as the set piece for the middle section of the story. The misadventure of Deadpool & Wolverine lands both characters in “the void at the end of time” a place described as a Mad Max set, a barren desert where only the strongest survive by dominating the weak. In this hellish environment, Deadpool is completely unphased, he continues to make joke after joke, despite multiple characters in the movie telling him to ‘shut up’, and he displays zero remorse when his joking around results in other characters being killed. The humour of this film is the final element which makes it feel very post-modern and nihilistic. Deadpool and Wolverine are left in a hellscape and all they can do is fight with one another and make non-stop sarcastic quips. Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

Paul Ricoeur, the French Christian and philosopher describes in his work two instincts in modernity: a ‘willingness to listen’ and a ‘willingness to suspect.’ The willingness to suspect is best exemplified by the three ‘masters of suspicion’, Karl Marx, Friedrich Nietzsche and Sigmund Freud. Following these masters of suspicion, modernity has learnt to be critical and to criticise texts, narratives, motives and power. Ricoeur thinks that we need both instincts, we need to be able to listen and we should be able to suspect, but, he cautions post-modern society that it is possible to find yourself in a desert of criticism in which there is nothing symbolic, nothing sacred, nothing but power and will. I have never seen a better depiction of the ‘desert of criticism’ put to film than Deadpool’s void at the end of time.

Perhaps the film is doing this because this is, in fact, the only story worth telling.

All of this was bubbling around in the back of my head when the film came to its final climax. It is my experience of the finale that made me want to write this review of the film. After almost two hours of post-modern nihilism, in the denouement, our two protagonists are faced with the classic superhero choice to sacrifice themselves so that they can save their universe from imminent destruction. And, of course, like good superheroes, they go willingly into danger and give up their lives for the sake of their friends.

I had such a strange set of emotions as I watched this part of the story unfold.

Firstly, I thought “Oh, right, this is the moment when the hero sacrifices himself- that is obviously what comes next.” I have been conditioned by decades of superhero films to expect this sequence of events at the end of the movie. But secondly, I found myself thinking. “This is so out of place with the rest of the film, this is pure sentimental heroics, we’ve just had two hours of cynicism and fourth wall breaking and the climax of the whole thing is a traditional superhero ending?!” And then, lastly, I found myself wonderful, ‘Perhaps the film is doing this because this is, in fact, the only story worth telling- that everything up to this point has only been playing at cynicism because, at a fundamental level, the filmmakers realise that cynicism and scepticism aren’t enough to make a compelling story.”

Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story.

Deadpool & Wolverine is a strikingly resonant film, it has struck a chord with contemporary culture. The film offers us a mirror to the contemporary society in which we live and I think we must look deeply into the mirror if we are going to accurately diagnose the ills of our current cultural moment.

Many people today feel like they are living in a desert at the end of time, devoid of meaningful symbolism and sustenance for the soul. The hollowing out of meaning in post-modern Western culture has resulted in a tinderbox which is ready to combust at a moment's notice. “Over the last month we have seen riots breakout across England caused by an incident in Southport that sent sparks flying.”. Relatedly, contemporary Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. Look at the average Netflix viewing figures to discover that many of us only enjoy watching re-runs of our favourite TV shows from 10 years ago.

The cynicism and scepticism of Deadpool & Wolverine resonates with many people in the contemporary West, and the film offers two ways of reacting to the pain of our cultural moment.

For most of the film Deadpool saunters through this nihilistic hellscape spouting a barrage of gags, sex-jokes and sarcastic quips- that is the first option, to laugh in the face of meaninglessness. But for the climax of the movie, it’s as if the writers knew that they couldn’t maintain the ruse. When the characters of Deadpool and Wolverine make the choice to sacrifice themselves for the sake of others they choose to live for something bigger than themselves. They admit in their actions that they aren’t the nihilists they were pretending to be, and the film acknowledges that in the final analysis there is nothing ultimately satisfying, nothing ultimately sustaining, in that way of being in the world.

Or, to put it another way, the only way that Deadpool could become ‘Marvel Jesus’ is by following in the footsteps of actual Jesus: by sacrificing his life for those whom he loved and by discovering that true life, resurrection life, is always and only ever found on the far side of death.

Paul Ricoeur writes that ‘beyond the desert of criticism, we wish to be called again’, called to a second, or post-critical naïveté. Naivete is a deliberately provocative term to use, no one wants to be considered naïve (even postcritically naïve!), so perhaps you might prefer to think of it as synonymous with restored or as experiencing a recollection of meaning. I think many people in the West today are waking up to the challenge of living in a desert of criticism and a wasteland of cynicism. The capacity to criticise is an important skill, but it has run rampant and left out society with a void of meaning in which nothing is sacred, nothing is enchanted.

Deadpool & Wolverine speaks of a culture desperately in need of a new story, a narrative within which meaning can be found. The film paints in vivid imagery the result of a society that has lost its narrative. And, in the end, Deadpool and Wolverine seems to admit that there is only one story worth telling: self-sacrificial death and resurrection.