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4 min read

In search of Martin Luther King

Wanting to put flesh on the bones of a much-fabled tale, Ian Hamlin begins a journey in search of his hero.

Ian Hamlin has been the minister of a Baptist church since 1994. He previously worked in financial services.

A street mural of Martin Luther King quoting him.
An MLK commemorative mura.

Stories define us. Especially genesis stories, stories of formation, of how things began.  Because beginnings often harbour within them all the seeds of future growth, defining so much of what’s to come, size, shape, colour, character even, and, what’s true of the natural world, is also, so often, true for our own life journeys. 

As I embark upon a particular journey, in many ways the centrepiece of my three-month sabbatical break from my life in Christian ministry, I find myself reflecting on a bigger, longer, greater journey that has, consciously and unconsciously, shaped a good deal of that whole life. 

I’m writing these words on a train, from Boston, Massachusetts to Washington DC, eight hours through a variety of weather, landscapes, and a whole variety of provincial, and city stations, some of them famous, others vaguely familiar, still more completely unknown.  I’m off in search of flesh on the bones of a story, a much-fabled tale, of a man and his life.   

I came across a book, a thin tome and looking pretty sorry for itself, clearly already well thumbed.  I started to read it and quickly became transfixed. 

But first, more of mine. I grew up, the youngest of four children, in a pretty traditional working-class family in Bristol that, by virtue, of my parents owning their own home and my two older brothers having gone to university at the end of the 60’s, now found itself, contrasted starkly with all of my Aunties and Uncles, knocking on the door of middle-class comfort.   

By the early 80’s however, as I was preparing to leave school, that all looked, and felt, a little different. Not having acquired sufficient spiritual credits to attend the city’s church school, and with my brother’s academies having long since migrated to the private sector, I’d meandered my way through the local comprehensive, with enough wisdom to avoid most of the outcomes for which it was renowned, but not enough application to really supersede them all. What I did learn though, was a strong sense of justice, together with a certain perplexity as to why this wasn’t more universally shared and even, in some cases its absence appearing to be celebrated.   

In our playing fields and its environs there was a pretty regular flow of what today would be called ‘racially aggravated incidents’. I vividly recall one boy in my year having his legs nastily broken. What I also remember though, was the daily ritual of being handed a National Front promotional leaflet at the school gate. Difference begetting antagonism, spawning violence and demanding retribution, seemed to be the story, I hated it, and instinctively railed against it.        

My response was hardly dynamic or revolutionary. I think I went on a march or two, I remember buying a mug once, yes, I was that sort of kid, oh, and I put a poster on my wall. Again, a fairly generic image, probably bought from Athena, of a man, half a generation older than me and a whole world away. A man, on a platform, speaking, and some of the words he spoke, super-imposed over the top of him, ‘I have a dream …’   

A short while later, at a friend’s house, I came across a book, a thin tome and looking pretty sorry for itself, clearly already well thumbed.  I started to read it and quickly became transfixed, it was more speeches from this same man, yet these were different, they spoke more about motivation than outcomes, about the passionate ‘Why’ of action, more than the ‘How’ of achieving meaningful change. It was ‘Strength to Love’, a book or sermons for, I discovered this man was not a politician but a preacher.  

To cut a long story short, this encounter, these thoughts, along with a few others, caused me to translate my hitherto rather semi-detached relationship with my local Baptist Church into something more committed. Within eight years I was in London, training for ministry, and I‘ve now been in Church leadership for 30 years.  

For stories, rooted in truth, throw a spotlight on those lived, core beliefs, out of which glorious, effective, fulfilled lives develop. 

And so, our stories intertwine, mine and Martin Luther King’s, oddly, unexpectedly, yet profoundly, and so I find myself on a train, to DC, and then on to Atlanta, Montgomery, Birmingham, to dig more into his story, to discover more of my own.     

Because stories not only define us, they fuel us. Idealism is all well and good, but where does it come from, and how might it be sustained? Inspiration, is often illusive, a fiery necessity for a purposeful effective life, in any sphere, but it needs a source, something in which to be rooted.  A craving for justice, an attraction towards generous love, a passion for human fulfilment, and a whole host of other things, all seem like good and obvious things, in and of themselves, but why? And, given they are frequently costly and hard fought, from where might the motivation come to make the necessary sacrifices?  Martin Luther King did what he did because he believed what he believed, given that, it seemed obvious, inevitable, for him to act, whatever the cost. The Apostle Paul encouraged the first generation of Christian believers, living challenging lives at the heart of the empire, in Rome, to tell stories; ‘How can they hear unless someone tells them?’ he reasoned, and then, with a flourish, ‘How beautiful are the feet of those who bring good news!’ 

It seems we need preachers, storytellers, more than we do politicians.  For stories, rooted in truth, throw a spotlight on those lived, core beliefs, out of which glorious, effective, fulfilled lives develop.  With that knowledge in mind, I’m off on my journey, to experience tales, old and new, and see what they do to me, I’ll let you know what I discover.  

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6 min read

The elegies that fail the forgotten places

Storytelling’s not about giving people a voice, it's about listening to what they’re singing.

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

A book's front cover beside a portrait of the author, JD Vance
J.D. Vance book promotion, 2017.

Does it matter who tells the story of a place? It’s a question I’ve sat with as a writer, a community worker, and as someone who returned to my native West Country after a long time away. My departure and return to this place brought with it a sharper awareness of the labels this rural region could invite; of the way its people could be portrayed; of how easily they can be reduced to a one-dimensional stereotype that fosters little understanding.  

And I am both reducer and reduced. I am a proud Devonian, rooted in soil thick with my ancestors, whilst also craving the culture and variety of elsewhere. My story of life in this place is complex. It’s a story that’s mine to tell, and not representative of anyone else from here – just as the people I’ve worked with in communities here and across sub-Saharan Africa taught me too: this person is not this place. This story is not this people.  

Stories matter – stories told; stories hidden. They shape our identity, our opinions, our possibilities. John Steinbeck wrote that:  

“A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice…”  

Stories told reflect stories carried, like light refracted through a prism. A story’s colours tell us something about who tells the story and how they see the world. Which is one reason perhaps that JD Vance’s memoir Hillbilly Elegy: A Memoir of a Family and Culture in Crisis came under scrutiny, especially since he was named Donald Trump’s vice-presidential running mate in the forthcoming US election.  

Hillbilly Elegy tells the story of Vance’s white working-class family, from his grandparents in the Appalachia region of Kentucky to his own coming of age in Middletown, Ohio. Vance raises questions about how local people, including his own family, are responsible for their own misfortunes, including poverty and addiction. His book came out in 2016, at just the right time to give many Americans an insight into why so many people like Vance’s relatives and past neighbours had voted for Donald Trump. It was painted as the voice of a forgotten community, and it became a bestseller, admired by some for its portrayal of Appalachian culture by someone from the inside. But reading people who know the places he talks of, it becomes clear that the book is “rife with stereotypes and classic Republican talking points peddled under the guise of lived experience,” as one commentator said.  

Sarah Smarsh, author of books including Bone on Bone: Essays in America by a Daughter of the Working Class, said in a Guardian piece published in 2016,  

“that the media industry ignored my home for so long and left a vacuum of understanding in which the first glimpse of an economically downtrodden white is presumed to represent the whole.”  

A Bitter Southerner article responding to Hillbilly Elegy said that generalisation means that “…complexity gets simplified, the edges get rounded out[…]Appalachia has been written about and photographed in such a compelling (if fabricated) way that the descriptions of passersby took on more weight than the lived experiences of the people being described. What remains is a concept of a place that is both wildly romantic in its natural beauty and backward enough to justify the destruction of that very nature.”  

We live in divided times, but often I find it hard to discern real division versus the media-created story of division. Theirs is a story that gets things wrong. Smarsh reflects how “countless images of working-class progressives…are rendered invisible by a ratings-fixated media that covers elections as horse races and seeks sensational b-roll. This media paradigm created the tale of a divided America…” This is why it matters that we hear stories that do not fit that paradigm. A many-voiced 2019 publication Appalachian Reckoning: A Region Responds to Hillbilly Elegy offered some of those stories in response to Vance’s painting of Appalachia.  

Vance thought he could write the story of a 13-state region, but many Appalachians were unhappy about him becoming their spokesperson, especially when he seemed to blame the poor for their poverty. Appalachian Reckoning is a graceful counter to this: not silencing Vance’s own story but offering many more views and stories from Appalachia. Its co-editor Meredith McCarroll said she wanted to “complicate any singular view simply by including multiple ones. I wanted to create a chorus of voices, “each singing what belongs to him or her and to no one else,” to borrow from Walt Whitman’s view of place.” The publication offers cultural nuance, emotional connection, and a “context for some of the claims Vance makes in his book when it moves beyond memoir, and to pass the mic to a wider range of writers, poets, photographers, activists, and artists who make Appalachia a place far too complex to capture and far too dynamic to die.” 

This approach feels important now, in the world as is it, with a media that often overlooks nuance, and with a culture that has become so visual that the way things are styled and framed and presented to us online can often be quite different to the reality. It is important to know the difference, and stories can help us discern that.  

This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear. 

There are stories that are easy to peddle and easy to buy into. In charity work, I saw how the story of the benevolent professional outsider could shape things, leaving little room for local stories and experience. In politics I saw how the story of opposition got in the way of all the people getting on with the everyday work of restoring and caring for their communities across lines of difference. We can, unknowingly, make a place and a people shrink or even disappear with the stories we carry or amplify, or ignore.  

Stories wielded unwisely can shrink faith as well as people and places. The Jesus who I did not grow up with but came to know slowly as an adult is a Jesus of nuance, compassion, and deep listening. He would not, I think, recognise the brand of Christianity that can be used to justify particular politics. That religion and politics have in places become so intertwined is perhaps a reflection of the reduction of the vastness of the Bible and the many diverse voices it contains into one story that serves a particular group of people. Jesus again and again subverted what empire and hierarchy and tradition expected of him. He invited people into his story over and over, curious about their own story but never using it as a reason to include or exclude.  

When I think about who tells the story of a place – or of a people, a time, a faith – I see that really, there is never one story anyway. There is a chorus of voices, each a little different, each part of a vast harmony that – if we have the ears and heart to hear it – sings a song of challenge and joy, of despair and illumination. Former US president Woodrow Wilson said, “the ear of the leader must ring with the voices of the people”. Storytelling is not about giving people a voice – something I heard a lot in charity work. It is about listening to what they’re already singing. This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear, of biased framing and selective storytelling. It can sing us back to ourselves, helping us see each other. And isn’t that what softens hearts, isn’t that why we tell stories? Author Kazuo said in his Nobel acceptance speech that “stories are about one person saying to another: This is the way it feels to me. Can you understand what I'm saying? Does it also feel this way to you?” Stories are not tools of manipulation or power, but pathways to encounter, to relationship, to understanding. They are, perhaps, the only way through divided times.