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. 

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8 min read

Paris 2024 and Christianity’s opening ceremony

A subversive Olympic opening relies on Christianity’s own beginnings.

Tim is an associate vicar of King’s Cross Church (KXC), a London-based Anglican church.

A painting of the Last supper showing Christ and the disciples at a table.
da Vinci's Last Supper.
Public domain, via Wikimedia Commons.

The opening ceremony of the 2024 Paris Olympic Games, held on the River Seine, has unsurprisingly caused controversy. Such moments, where one nation through pageantry and spectacle performs itself to all others, never fail to draw comment. The 2024 ceremony has drawn various detractors, not least those claiming the ceremony was an “attack on Christianity.” 

You might remember the masterful opening to the London 2012 games. Director Danny Boyle’s theatrical spectacle told a symbolic story of nationhood. By depicting the bucolic, the industrial, and the NHS, he considered the UK in both dark moments and at its brightest. With a great exhibition of British humour, James Bond appeared to parachute out of a helicopter with HRH Queen Elizabeth II, while Mr Bean entertained the whole wordlessly through sardonic single-finger piano playing.  

Widely held to be a creative triumph, Boyle was preceded by the Beijing Olympics where its opening ceremony, CGI fireworks put to one side, wowed the world with unprecedented size and scale, reminding us that we live in an era of Chinese power. 

Tokyo 2021, delayed by a year due to the Covid-19 pandemic, involved 1,800 drones filling the skies – a faultless demonstration of a technological age where Japanese engineering has been indispensable. 

The sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture. 

In 2024 Paris, the weather was perhaps the greatest focus of attention, which suited the British commentary perfectly. We Brits surely are the world experts in making light-entrainment out of describing rain. Soggy athletes sailed the Seine on a variety of uninspiring looking barges. Sanguine but soaked, the athletes dutifully waved and smiled; adorned not in gold, silver or bronze but flimsy ill-fitting plastic ponchos. 

Overshadowing this athletes’ parade were the creations of theatre director Thomas Jolly, mastermind of the whole ceremony. Boldly deciding to choose the city as a stage, rather than make use of the conventional choice of a stadium, the sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.  

Although the weather somewhat thwarted proceedings, it was the content of the performance that drew criticism.  

Far-right politicians decried Jolly’s offering as a violation of French nationhood. Conservative pundits focused their criticism on Jolly’s elevation of LGBTQIA+ culture. 

Christian commentators have, with various degrees of rancour, condemned a strange scene where Leonardo da Vinci’s famous painting of the Last Supper was subverted by a pastiche of ostentatiously queer characters. At the centre of which was not Jesus Christ but a robust-looking figure resembling Lady Liberty.  

Elon Musk spoke up in protest too, posting that it was ‘extremely disrespectful to Christians.’ Full-throttled cries of blasphemy resound, and probably for good reason. What we witnessed was Christ being usurped and replaced by the insurgency of self-expression and the currently sacred idea of diversity and inclusion. 

Ahead of the ceremony, Jolly told British Vogue about the heart behind his creation: “there is room for everyone in Paris. Maybe it’s a little chaotic, it’s true, but that allows everyone to find a place for themselves.” The opening ceremony will be a success, Jolly says, “if everyone feels represented in it.”  

I guess this isn’t the case for the thirty per cent of the world who would identify as Christian. That’s because every family and flavour of Christianity would recognise that Holy Communion, the central act of Christian Worship for 2000 years, the institution of which is depicted in da Vinci painting, was being publicly and globally vandalised.

When Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. 

How can we make sense of this moment? Is there anything more for the Christian to contribute other than indignation or outrage?   

Whenever something like this occurs it reminds me of the central role Christianity has played in Western culture. The intelligibility of the ceremony’s controversial scene rests on the idea that da Vinci’s painting is a globally recognised symbol. Otherwise, we would have just been watching a really strange dinner party with no food. But with Da Vinci’s famous painting in our mind the subversive power of Jolly’s scene hits hard.  

The view, popularised by the historian Tom Holland among others, would go as far as to suggest that Christianity’s effect on Western culture is so pervasive that even moments of protest and subversion, as we saw in the Paris ceremony, are cultural phenomena inherited from the Protestant Reformation.  Regardless of how far you agree with Holland’s thesis, Jolly's subversion only makes sense because of the dominant role Christianity has played in shaping the western imagination, and that is a position of latent power that should cause pause for reflection. 

I’ve read half a dozen articles from a certain sort of right-wing journalist who parrot thoughts like, “they wouldn’t do that with the Quran”. That might be right, but it fundamentally misses the point. Blasphemy, let’s say, in Iran, would certainly not involve the Last Supper.  

The scene made sense only because of Christianity’s now diminishing position of power but it's a position of power, nonetheless. When you align Jesus Christ with the status quo, with the corridors of power, when Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. Especially for anyone or any group that feels persecuted or marginalised. I’m not for a moment defending what Jolly did but trying to understand why it happened. 

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity.

The kind of cultural power Christianity has had in the West comes at the cost of clarity because Christianity was itself originally a counterculture. Crucifixion, a supreme act of imperial domination, became the foundation of Christian thought and ultimately its greatest symbol. The original Christian movement was seen itself to be blasphemous for contradictory reasons by both the Jewish and Roman religious leaders of the time.  

The fundamental difference between Christianity and merely holding conservative values that should not be transgressed, is God. It was genuine belief in Jesus Christ as the long-awaited messiah of the Jewish people and the Saviour of the whole world - a belief that led his first bedraggled and bewildered disciples to live in such radical and counter-cultural ways that many were killed by the Roman Empire.  

It is right for his followers today to speak up and say how wrong it is when the special and sacred things he did for them are yet again trampled on in public, but it's also worth remembering that’s how the story started - with Jesus’ body brutalised and broken. That somehow, in moments like this, we miss the power of Jesus when we simply defend him on grounds of “decency” and “respect.” Instead, if we return to the original events themselves, Jolly’s depiction, in its mockery and subversion, actually reveals the power of The Last Supper.  

Da Vinci’s painting was not intended for a gallery but was originally painted on the wall of a fairly obscure monastery, transported to a gallery years later to become primarily art, it is more a foundational aid to the faithful to remember the original events Da Vinci is depicting.  

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity. Every time a Christian takes Holy Communion - the central act of Christian worship for over 2,000 years - they remember the opening ceremony where: 

“Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins”  

The most peculiar part of the opening ceremony of Christianity - more peculiar than any sight we saw last night - is the presence of Judas. The biblical accounts describe Jesus’ knowledge of Judas’ intentions to betray him to the Romans, and yet Judas is still welcome to the table. If there’s space for Judas, then there is space for all of us. The opening ceremony Christianity cannot be remembered without the presence of Judas the betrayer, and Peter the coward or Thomas the doubter.  The great irony and the big mystery of the Christian Faith is that you can’t out-sin grace. You can mock it and subvert it, but Christ died for the ungodly.   

Last night’s scene doesn’t come close to the original events. Not only was Jesus betrayed by his friends, he was then tortured, humiliated and executed publicly in just about the most excruciating way humans have devised. That was blasphemy of another level, but it was also victory because God was choosing to love inclusively beyond any human metric.  

Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence. 

This means that there’s nothing more inclusive than the opening ceremony of Christianity and yet, at the same time, nothing more exclusive. It is not us who provide the food but God. In Jolly’s performance, the Last Supper scene was concluded by the French actor Philippe Katerine, emerging painted head to toe in blue. Whilst this bearded smurf caused baffled sniggers across the planet, Katherine was apparently representing Dionysius, The Greek god associated with wild drunken parties. The food on offer by Jolly is wild desire and self-expression. In Christianity the food is God himself, his body and his blood. God’s love is given not simply expressed, even to those who will betray him.  

Moments like this will become harder for Christians to navigate. It feels like just as a wave of secular liberalism wants to finally vanquish the power position Christianity has painted for centuries, a new conservative vanguard of resistance is rising to protect or enrol it for its own means. From the mouth of Modi or in Trump’s tirades, a new religiously armed populism is raging. Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.  

Take us back to the opening ceremony, to the foundation of Christian faith. Take us to the waterfall, where the torrent flows straight down from the mountain, and save us from the slow-moving sludge of the wide river downstream. Take me back to the opening ceremony of Christianity. To the table where God welcomes a Judas like me, to the meal where the master became a servant and washed his followers' feet. Take me back to eat food I could never afford and wine I could not create.