Essay
Creed
Monsters
Spiritual formation
11 min read

A story of home

Why was the world created? By examining the nature of home, and identifying the monsters we let invade it, Miroslav Volf seeks answers to one of life’s big questions.

Miroslav Volf is Professor of Theology at Yale Divinity School and is the Founder and Director of the Yale Center for Faith and Culture.

Planet Earth viewed in totality from space. Africa and Arabia are visible under some cloud in the south.
Captured by Apollo 17, the Blue Marble image is credited with influencing how humanity viewed our home.
NASA.

“Why did God create the world?” For Christians, or in fact for anyone, this is  one  of  the  most  important  big questions we almost never ask. Maybe there are good reasons we don’t bother with it. For one, it is dauntingly big. It seems impossible to answer. How would we know what was in God’s mind when God decided to create the world? And didn’t the prophet Isaiah say that God’s thoughts are as far from ours as the heavens are from the earth?  

Second, even if we could answer it, the question might not be that important. 

Why God created the world seems far removed from our ordinary lives, like the famous philosophical question: “Why is there something rather than nothing?”—interesting to philosophical and theological geeks, but insignificant to the rest of us. Better devote our energies to more consequential and urgent tasks, like improving the lives of the 2.6 billion people who live on $2 a day or less. 

Those 2.6 billion poor, are extraordinarily important. I will return to them in a moment, and to how our big question matters for them. But first, let me ask you a question, a personal one. Why do you exist? I am not asking how you came to be born. We all know the basic biology involved. I am asking about the purpose of your life. 

Christians,  and  theists  more  broadly, have always believed we don’t simply choose the purpose of our lives as it suits us, the way we may choose an outfit for a party. Our purpose is woven into the fabric of our being as God’s creatures. And that takes us back to our question: “Why did God create the world, each one of us included?” You and I are part of the web of creation, and our human purpose, like our flourishing itself, is wrapped up with the purpose of the whole creation. To ask why God created the world is at the same time to ask how to live rightly in our planetary home and what our vocation is in it. 

So why did God create the world? 

Two books of the Bible, Genesis and the Gospel of John, start with the words ‘In the beginning…’ and then go on to state that God created all things. Neither says right away why. But if you trace the big story they tell that starts with creation, a clear and unified answer emerges: God created the world to be the joint home of God and humans. Here’s how the story goes in each version 

The arc of the story that starts at the beginning of the first book of the Bible, closes at the end of the second. God creates and declares creation good, humans sully its goodness, God calls Abraham, God delivers the children of Israel from slavery in Egypt—and all this is to fulfil the one promise: “I will dwell among the Israelites, and I will be their God”). When the glory of the LORD fills the tabernacle at the end of Exodus. God has come to dwell with the people—and led them to the promised land. God’s dwelling in Israel, in the people and in the land, is the capstone of creation. 

In John’s Gospel, the very last words Jesus says before he is arrested, condemned, and crucified explain why the world came to be. God creates all things, comes to dwell in Israel, takes on human flesh in Jesus Christ, reveals God’s character, bears human sin and conquers evil with a single overarching purpose: so that the love with which the Father loved the Son before the foundation of the world may be in Jesus’s disciples. In fact, so that the Father and the Son themselves may come to the disciples and make their home with them and in them.  Put simply: God created the world to dwell in it. 

Once the big stories of the Bible have opened our eyes to see God’s homemaking purpose, it becomes obvious that the Garden of Eden at the beginning and the New Jerusalem at the end are about home. Why did God create the first humans and place them in the garden of Eden? To help the garden flourish as their home. And why did God come to walk in the garden at the time of the cool of the day? Because the garden was meant to be God’s home, too, and not just Adam’s and Eve’s. 

The Bible makes the same point at its close. At the very end of Revelation, John of Patmos sees the New Jerusalem coming down from heaven to the renewed earth. To make sure that John doesn’t miss the meaning of what is before his eyes, a loud Voice from God’s throne explains: “See, the home of God is among mortals. He will dwell with them; they will be his peoples”. God and the peoples of the earth now have a home together. 

The reason why God created the world is not obscure at all: God explained it—more than once. God the creator is a homemaker God. 

'We need both wealth and power to have a home. And yet, when they become distorted... they undermine our flourishing and undo our sense of common belonging.’ 

We can now return to the 2.6 billion impoverished people, many of whom are either homeless or live under conditions that are hardly worthy of the name “home.” Starting with poverty, I will briefly discuss four major forces opposing the original purpose of creation, obstacles to God’s homemaking project. 

Let’s think first about the economics of home, specifically about the distribution of wealth (though we could equally well explore the distribution of opportunities). How would you feel about a home in which a child and their mother lived on $2 a day, one sibling lived on $20 a day, another, more privileged sibling on $200 a day, and the father had $2,000 a day for his sole use? (If you do the math you will see that I left out the super-rich from my example; they matter less than we tend to think, and often serve to relieve the bad conscience of people like you and me who belong to the global middle and upper classes.) 

Imagine their meal. At one end of the dining room table, two family members in thread-bare clothes with half-full bowls of plain rice and a pitcher of polluted water, while at the other end of the same table the father and the other sibling, dressed in the latest fashion, enjoy culinary masterpieces and exquisite wine? If that happened in your neighbor’s home, my guess is you’d be scandalized. As the story Jesus told about the Rich man and Lazarus attests, God would be scandalized as well. 

And yet, you and I live in just such a home, our single planetary home. Even if you are at a loss about what exactly to do about the issue, as I am, discomfort with how far we are from God’s purpose for the world is what we should feel. 

The politics of home closely tracks its economics. The malnourished and shabbily clad group at the one end of the table will cast longing looks toward the other side of the table. How could you blame them for wanting to partake of that sumptuous meal? As to the feasters, if they even dignify the other side of the table with their attention at all, it will be with a sense of their own superiority—and to ensure that the poor are kept at a distance. For the proximity of the ‘tribe of Lazarus’ could endanger their superior standing and the benefits of their privilege. 

Eventually, some kind of wall would go up and security apparatus would be put in place. What was a single home would be divided. Lazarus, perhaps with bitterness and anger simmering in his soul, would end up in some make-shift abode. The rich man would build himself his fortress, a testimony not just to his wealth but to his fear as well. Both would be homeless, though each in a different way—one locked up in the gilded prison of his luxury and false superiority, the other mired in a life of languishing and precarity. Fundamentally, the two are brothers (Abraham’s children, in Jesus’s story). God created each. God meant for both to live in a single home. 

From the dawn of history until the present day, wealth and power have been thwarting God’s homemaking purpose. More specifically, our inordinate love for wealth and misuse of power have done so. For we need both wealth and power to have a home; indeed, we could not even exist at all without some form of wealth and power. And yet, when they become distorted, when they acquire the monstrous features of what the Bible calls Mammon and Leviathan, they undermine our flourishing and undo our sense of common belonging. 

The monsters in our home

Mammon and Leviathan are ancient foes of God’s home. It is important to be on the lookout for specifically modern foes of God’s home as well. I will note here only two. Being modern, they also have modern - sounding names: escalation and reification. The fancy names notwithstanding, we experience these un-homing forces every day—and they, too, are monsters like Mammon and Leviathan. 

Let’s start with escalation. To survive in modern societies, you have to live the way you ride a bicycle: moving forward. The moment you stop, you fall. And the thing is, it’s not enough just to move at whatever pace suits you or you are able. You are in a race whether you want to be or not, and you have to keep moving faster and faster. That’s escalation. Call this monster Cursus, the racer. He distorts our experience of both time and space. 

'We are always running behind, always running.'

First, the pace of life is accelerating. We never have enough time. Describing the phenomenon, sociologist Hartmut Rosa writes: ‘“Amidst monetary and technological affluence, [citizens of modern societies] are close to temporal insolvency.’” For short, we are always running behind, always running. Whether we are on the poor or rich end of the table, we mostly rush through our meals, worrying about what we have left undone, catching up on the news, multitasking. Meals, like the rest of our lives, are just the speedy steps of a hamster whose wheel is spinning faster and faster. And a hamster wheel can never be a home for us humans. 

Second, the scope of our activities is expanding. When I was a student, we used to joke about the president of our college. What’s the difference between God and Dr. Kuzmič? God is everywhere and Dr. Kuzmič is everywhere except here. Students today could not tell that joke without becoming themselves the butt of it. With a smart-phone in their hand they, too, are everywhere except here! “Always somewhere else!” means, “Never really at home!” 

Home needs time, and home needs presence. The logic of escalation, the monster Cursus, makes both hard to come by. The story that it keeps telling us is this: Where I am and what I do, who I am and what I have, are never good enough. The consequence? With Cursus running our lives, there is no time when I feel at home and no place where I am at home. 

'To a person with a tool, all things become manipulable objects.'

Now to reification, the second modern monster, whom I will call Medusa, one who turns things into stones. Another term for reification is ‘thingification'—everything that surrounds us, all God’s creatures, turned into cold, lifeless things! This dynamic is all around us. It’s there in the sciences, which tend to treat all entities as things, part of the network of mathematically calculable causal relations. Modern technology does the same. To a person with a hammer, all things look like a nail, the saying goes. To a person with a tool, all things become manipulable objects. Modern medicine is a case in point. It is very successful, but that is in part because it tends to treat human bodies as 'machines' to be fixed. 

For a smaller-scale example of Medusa’s reifying work, return with me to Lazarus at one end of the table and the rich man at the other. Lazarus sits on a scratched-up wobbly plastic chair fished out of a dumpster. It is a mere replaceable thing for him; it serves its purpose, although rather badly. It is not an “old friend” with which he resonates so that when he sits on it he feels at one with it, at home with his chair. The rich man sits in his armchair as a king on his throne, but for him, too, the chair is not an old friend. It’s a thing whose essential purpose is to underscore his superiority. If anyone at the table had a better chair, he’d discard this one and go buy himself an even better one. When people and things matter to us only as means but not in their own right, we don’t have a home. 

'We humans can be what we are created to be only together.'

So we have our answer to that very big question: Why did God create the world? 

God created the world so that it might be God’s home and ours. But we also have these four home-destroying monsters: Mammon, Leviathan, Cursus, and Medusa. 

The conflict between God’s homemaking and these monsters is the site of both the Christian and human calling. Jesus was God in the world on the mission of planetary homemaking. He gave the disciples his Spirit so that they would continue his mission and do their part in helping make the world into God’s home and ours. Why? Because we humans can be what we are created to be only together and when each of us becomes a nodal point of genuinely home-like relations. Granted, we can’t ever make the world into God’s home. We can’t even make it fully into our home. But we can live in more homelike ways. We can take the time to build resonant relationships with people and places. And we can work to heal the fractures caused by those unhoming forces. We can struggle against homelessness in our cities, or work for more participatory politics and equitable economics. We can open ourselves to God’s transformative presence. We ourselves can be homes of God and home-makers with God while we await the coming home of God. 

And that is why you need to know why God created the world. 

Review
Awe and wonder
Creed
Easter
Film & TV
5 min read

Heading Home: a pilgrimage that breaks out beauty along the way

We can learn a new language together as we travel.

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

A shaft of light from an opening in a dome lights a cross on a pedestal.
Church of the Holy Sepulchre.
Kieran Dodds.

This film, this pilgrimage, this story begins in Jerusalem in the rotunda of the Church of the Holy Sepulchre with its Aedicule, a small chapel, containing the tomb from which Jesus rose.  

Jesus' resurrection was revolutionary because it is the first fruits of a wider resurrection into a new heaven and a new earth, the new Jerusalem, where all that is harmful on earth is transformed into eternal glory and beauty. 

The Church of the Holy Sepulchre holds that vision within its walls, a vision that was then transported throughout the world through pilgrimage and creatively replicated in other locations so that all who entered their local church or cathedral would be transported through art and architecture to the New Jerusalem.  

US philanthropist and author Roberta Ahmanson thinks that American Protestants, in particular, have neglected this story because of the Reformation's preference for word over image. As a result, in 2022, she gathered an eclectic group of Christian college presidents, church pastors, and Christian creatives taking them on a pilgrimage from Jerusalem to London via Italy and Aachen while filming their responses to the visual history of the New Jerusalem as found in the churches they visit. In their two-week journey, the group cover almost 2,000 years of church art and architecture. 

Ahmanson explains that this search for the reality of the Kingdom of God as it is to be realised in the New Jerusalem at the end of time did not mean that pilgrims were to abandon the world. On the contrary, she says, "their job was to serve this world to make it more like the heavenly home where their ultimate citizenship lay." That remains the aim of this art and architecture as:  

“By studying the nature of that promised place, as artists and architects and writers of the past have sought to express it, we are schooled to live lives of wholeness and beauty right here on earth. The longing for beauty is ultimately a longing to be Home, to be in the place where we are whole.” 

The beauty of the churches visited on this pilgrimage provided a vision of the New Jerusalem to those who entered in order that they took that vision into their everyday lives when they left. Along the way, the pilgrims on this trip learnt how artists, architects and theologians worked in parallel for many centuries – from Saint Augustine’s vision of a New Jerusalem to Dante’s admonitions about the Last Judgment. 

The film combines scenes of beautiful interiors with explanations of their significance from Ahmanson and others, plus it shows the reactions of various of the pilgrims as they allow their sense of wonder and understanding of Church history to be expanded. David and Joy Bailey, founders of Arrabon which cultivates Christian communities to pursue healing and reconciliation in a racially divided world, are two of those to have spoken about the impact the trip had on the group of pilgrims.   

Joy said: “Everybody was very literate coming from these strong traditions of faith being either oral or written but to see it so visually impacting, it was breaking us all open and trying to find language for that took the entire trip.” David suggested that: “What the trip was helping you to see was this deeper rootedness, this long tradition that, I think, could actually be very helpful for us today because some of the things that were there were the understanding of humanity as plain on the outside and beauty on the inside, the glory that comes with the inward journey that reflects on Heaven as it is on Earth.”  

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience 

As we travel further from Jerusalem in the film, we are surprised to find that the template of the Holy Sepulchre continues to inspire and shape the experience of pilgrims. Ahmanson explains that: “In churches across the old Roman Empire, from Africa and Palestine to the furthest reaches of Britain, liturgy was created to tell the story and to bring the spaces alive in the telling. Pilgrimages to Jerusalem and later to Rome and then to the tomb of Saint James in Spain became a kind of geographic liturgy. When the trip became too long or … too dangerous, believers found alternative destinations. Across the continent, from Magdeburg in Germany and Constance in Switzerland, to Bologna and Pisa in Italy and London and Cambridge in England, round churches or smaller models replicating the Church of the Holy Sepulchre became pilgrim destinations.” 

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience, particularly during Lent and Holy Week. Walking labyrinths, Palm Sunday processions and Passion dramas, praying the Stations of the Cross, washing feet on Maundy Thursday, sharing a Passover meal, the Good Friday three-hour devotional, and the Dawn Eucharist on Easter Day are among the many ways Christians continue to follow in the footsteps of Jesus while remaining where they are during this most special season.  

Many of these practices provide the opportunity to go on pilgrimage while remaining at home. Just as with images of the New Jerusalem brought from Jerusalem to the churches of Europe, so with, for example, the practice of praying the Stations of the Cross which originated in medieval Europe when pilgrims were unable to visit the Holy Land, so instead “visited” the Holy places through prayer.  

The film, and other creative off-shoots including exhibitions of photographs from the pilgrimage taken by Kieran Dodds and performances by spoken word poet Street Hymns (one of the pilgrims), with his fellow poets Hanna Watson, Jasmine Sims, and Lo Alaman, in response to images of the New Jerusalem, provide viewers with a similar opportunity to experience, reflect and pray. The aim of all these initiatives is, as Ahmanson explains, what has always been the aim; “to serve this world to make it more like the heavenly home” where our ultimate citizenship lies, and to do so by “creating beauty in buildings and art and music and serving the suffering and those in all kinds of need”. 

 

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