Explainer
Creed
Time
4 min read

Real time

One Sunday time warped. Oliver Wright explores the conception of real time.

After 15 years as a lawyer in London, Oliver is currently doing a DPhil at the University of Oxford.

A sundial on a wall casts a small shadow on a painted list of numbers and symbols
The western sundial in the courtyard of the New Town Hall in Brno.
Kirk, CC BY-SA 3.0, via Wikimedia Commons

“Time’s going really slowly today!” 

“Golly – where’s that week gone?” 

“It felt like time stood still for a moment…” 

“Sorry, I lost track of the time.”

These expressions are common enough to be cliché. I’ve used each of them in the last few weeks. But do they actually make any sense? We all know that time is in seconds, minutes, days, weeks… very reliable, very constant, very scientific. We all know that time doesn’t stand still – how can it?! We know that, don’t we?  

But us modern, scientific cultures can often forget how recent these regimental patterns are. Of course, people and cultures have been measuring time for millennia – Ancient Egyptian sundials, early Medieval monks needing to fit in seven services a day. But time, even in those examples, always said more than just ‘keeping time’… a sundial was especially meaningful in a world where it usually shone every day, and was itself held up as a God; for life in a monastery, worship was the time-keeping device, worship was the rhythm of life.  

Time, and particularly our experience of it, doesn’t easily track onto our clocks. We are constantly experiencing time quickly, slowly, forgetfully, meaningfully. Could there be another account of time, not one governed by the Greenwich Meridian, which is – somehow – more real?  

The Ancient people of Israel were some of the first to realise that there is more to life than clock-watching. It’s hard for us to imagine how revolutionary the idea of a Sabbath is. But when it became the norm for the Jews to observe the Sabbath every seventh day – to keep it holy – this wasn’t just about being religious. This was about justice and the avoidance of exploitation. In a world where slaves and workers in the field were expected to work every single day, the idea that there should be rest and restoration said something distinctive both about the nature of work, and about the nature of what it is to be human. And it also said something distinctive about hope.  

For Christians, hope and the Sabbath are forever now held together in the story of Jesus’ resurrection – the very first Easter day. There’s much that could be said about this. But for our little topic of time, it’s quite explosive. The people of Israel had believed (we think) that death would be defeated by the return of God to his people at the end of time. But here was God – in the flesh – defeating death… and time is still marching on! What are we to make of this?  

Something of the end has come in the middle. Time is now warped.

 

Well, one of many things is that, when Christians confess their belief that ‘on the third day Jesus Christ rose again from the dead’, they are saying that something of God’s ultimate future, his promise one day to be with us forever, what the Sabbath had always pointed towards like a signpost, had now happened once and for all. Something of the end has come in the middle. Time is now warped.  

One of the first signs of this ‘warping’, was another day off. The early Christians by and large slotted into the ongoing Jewish observance of Sabbath. But then – treating it as the start of their week – they observed a second day off, a day of feasting and celebrating, and marching through the towns waving banners. The Lord’s day. Resurrection day. Day one – starting all over again, starting afresh, making something new out of the old.  

A second sign was this. Time held a new power – a new potency if you like. It wasn’t that the days had somehow changed duration, or our lifespans were altered. No – Christians think that there is a new expectancy in the air. They are to live, Paul writes, as if the fixtures which hold them to this world now no longer hold the same power. ‘Time is contracted’ he goes on (not ‘shortened’ as it’s sometimes translated) – ready to pounce like a cat.  

The third sign follows from the second. The Christian experience of time is constantly pulling backwards and forwards. In celebrations and worship, Christians look back and recite God’s mighty deeds from the past. In reciting them in the present, they re-present them. But the point of ‘re-presenting’ these mighty acts was not just to bring comfort to the present; it also reinvigorated hope for the future. Christians – as the Creed goes on – ‘look for his coming again’. The experience of time for a Christian (or, even, a philosophy of history) is not governed by a flat-line Hegelian aufhebung – that every day, every hour succeeds its predecessor. Instead, the past and the future works on the present in a constant swell of recall and expectation.  

Christians see their lives held by God’s time. They’re not a clock-watching, ‘progress-reliant’ people. In the resurrection, Christians believe that God has changed the way we view time once and for all. On that, all their hope is founded.  

That’s real time.  

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.