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Monastic life

13 November 2023

8 min read

There’s much more to ‘monk mode’ than productivity hacks

In the heart of London Lianne Howard-Dace spent a year trying to live a simpler, slower life with others.

Lianne Howard-Dace

Lianne Howard-Dace is a writer and trainer, with a background in church and community fundraising.

A group of young people wearing white habits stand and laugh with each other.

Community of St Anselm members and the Archbishop of Canterbury.

CoSA.

Six years ago, I stood in white, full of nervous excitement, in front of a priest to make a vow. But it was a prayer robe, not a dress, and the priest happened to be the Archbishop of Canterbury. I was not getting married but joining a religious community.

The Community of St Anselm (CoSA) was founded by Archbishop Justin Welby in 2015, and I was amongst the third cohort of young Christians, aged 20-35, committing to spending a year together. Some of my fellow community members came from across the globe, entirely stepping away from their everyday lives. They spent the year living in Lambeth Palace, devoting their time to prayer, study and service. Others, like me, remained in our homes and jobs, whilst also trying to reorientate our lives around those three worthy pastimes.

By committing to a pattern of living, giving up on the idea that I was in control and limiting my choices I found much liberation.

In my experience, much of life - and the Christian faith in particular - is counter-intuitive. It would be a logical hypothesis to suppose that restricting your life in this way – agreeing to reorientate towards living by a set of rules and to fall into a structured way of being – would be stifling. And yet, like thousands before me, I found the complete opposite to be true.

Our culture upholds choice; we are told that the ability to choose is the ultimate expression of freedom. And whilst this may be true with big choices – where to live, who to live with, what work to do - our brains don’t cope as well with a lot of day-to-day options as we might be led to believe. In a 2000 experiment, psychologists observed that a supermarket display with 24 different types of jam generated a lot of interest but not many sales. In contrast, a display with just six different types of jam meant people were nearly ten times more likely to go on to make a purchase. If, like me, you’re prone to spending inordinate amounts of time deciding what to have for dinner, I’m sure you can relate.

Monks and nuns have understood this human tendency to get overwhelmed and expend energy on small decisions - suffering from what we now call decision fatigue - for many centuries. Whilst we may find the idea of a rigid schedule and a limited menu and wardrobe austere, not having to make those decisions every day can free up mental energy for other things. It’s the same reason why some tech entrepreneurs espouse the idea of wearing the same black turtleneck or grey t-shirt every day.

Whilst my own experience of religious life was not as extreme as those who make a life-long vow, I did find that in committing to a pattern of living, giving up on the idea that I was in control and limiting my choices I found much liberation. The chatter in my mind quietened a little. I became more comfortable in my own skin. I felt more and more like my truest self.

Attempting Cal Newport’s monk mode productivity hack by turning off our digital devices for the morning - or listening to a podcast from former Hindu monk, Jay Shetty - is as close to encountering monasticism as many of us get. CoSA draws on wisdom from several saints who themselves founded religious communities: St Benedict, St Francis and St Ignatius of Loyola. Whilst trying to emulate their way of life wasn’t always easy, I seized the opportunity to go deeper and threw myself into the intensity of the year.

As a teenager I was always late to morning tutorial, despite being able to see my secondary school from my house. During my time in the community, I struggled to shake this habit and would usually be rushing to Lambeth Palace each Monday evening, arriving after those who had travelled from as far as Oxford, Poole and Canterbury, despite only working 10 minutes down the road.

Those evenings were spent eating, talking and praying together and quickly became the highlight of each week for me. A time to put aside the day-to-day stresses and just try to be present with the other members of the community. We finished each gathering by praying compline, or night prayer, in the crypt at Lambeth Palace. In Celtic Christianity there is a concept of ‘thin spaces’, places where the boundary between heaven and earth seems a little more permeable. The cool, silver-lit crypt at Lambeth is one of those places for me; it seems to crackle with sacred potential.

We also took three retreats in an Abbey during the year, near a stretch of wild Cornish coastline. Precious time away from the bustle of the city. Away from the demands of life admin and meetings and untameable inboxes. The strapline - for want of a better word – of the Community of St Anselm is “A year in God’s time”, and I think that actually sums it up pretty well. We spent a year trying to live a simpler, slower life. A life marked by prayerfulness and the sufficiency of God, rather than the bigger, better, hustle culture pressures of modern living.

We went into these new relationships acknowledging that we wouldn’t agree on everything, but actively deciding to love each other anyway.

Only the most disciplined of us can maintain healthy habits, like daily prayer and reflection, on our own. It’s easier to go to the gym with a buddy. The upcoming book club meeting nudges us to keep reading. I think that’s what drew me to join CoSA; I knew I needed mutual accountability and support to sustain the spiritual disciplines I craved in my life.

In the community’s Rule of Life – the guidelines we each agreed to follow during the year – there is a line “We choose on another” and this has had a profound effect on me. The idea that we chose to put our shared life in the community ahead of everything else for that year has shaped me deeply. I have forged some amazing friendships through the community, but before we had even met each other, or learned to like each other, we chose to love each other in all our diversity and difference.

I do find that church is one of the places I am most likely to encounter people who are different to me – particularly intergenerationally – but even in finding a place of worship, there can be a tendency to seek out one that ticks as many of one’s personal preferences as possible. In the weeks leading up to joining the community I had been unsure what to expect. Having not grown up in a Christian family, would I feel left behind? Coming from a less-wordy type of church, would I get lost in the orders of service? Would everyone think I was too socially liberal? Would I find them too conversative?

The act of choosing one another put all of that aside. In stepping out of our everyday lives, we also stepped out of our respective echo chambers. We went into these new relationships acknowledging that we wouldn’t agree on everything, but actively deciding to love each other anyway. It was hard at times, but I came to see that whilst people had come to different conclusions on issues to me, they had done so no less thoughtfully. I came to see that we had much more in common than the things which society would say should separate us.

In smaller ways too, I believe it is possible to choose to love others around us. We can choose to recognise the humanity of the person who is rude to us on the bus.

I usually hate household chores, but some of my fondest memories from the year are chatting in the Lambeth Palace kitchen whilst putting away cutlery or singing together whilst washing up on retreat. By sharing the load, we learned ways to find joy in the smallest of things. And, by getting stuck into the mundane tasks of living and being together, we learned to see the humanity in each other.

It’s no coincidence that those in long-term religious life call each other sister and brother; it’s certainly the best analogy for community life I can think of. As a child I was excited for the arrival of my siblings before I had even met them; I knew that it was my role as big sister to love them unconditionally. I’m not sure, if we weren’t related, whether my path would have crossed with my sister and brother as adults. Yet, they are some of the most important people in my life.

In smaller ways too, I believe it is possible to choose to love others around us. We can choose to recognise the humanity of the person who is rude to us on the bus. We can choose not to assume the worst about someone’s post on social media. We can choose to share a kind word with a colleague, even if we don’t think they’ll ever return the favour. I’m not saying that it’s easy, or that I always manage it myself, but it can be done.

In community, on the days you have doubts about the things you are saying in morning or evening prayer, you know that your fellow members are lifting you up with their words, they are lending you a little of their belief. Learning to be held by others in that way is just one of the many gifts I took from my year in God’s time. I also learned that I do not need to be or do anything in particular to be loved by God or by others. That working out faith and belief with other people can reveal things you never would’ve found alone.

In September, the Archbishop of Canterbury welcomed the ninth cohort of CoSA in a commitment service at Lambeth Palace. Young people from as far away as Sri Lanka, Australia and Zimbabwe made the decision to spend the next year living differently, making time for God and each other in new ways. And I, along with 23 others from around the world, Zoomed into the service and made a new commitment too.

This year, for the first time, there is an opportunity for alumni of CoSA to become members of a dispersed community, the Chapter. Like third order Franciscans or Benedictine oblates, we will attempt to stay linked to the life of our community, alongside our everyday routines. I’m looking forward to being more intentional about re-engaging with the daily rhythms and lessons I learned in my year in community. We will have a less intensive programme of events to help us feel connected and will follow a simplified Rule of Life that focuses on learning from Jesus, seeking reconciliation and unity in the Church, serving with compassion and, of course, choosing one another. I’m excited to see what the year holds.

The bold museum reflecting a “moonlight” experience of the unseeable

Robert Wright visits the UK's only Faith Museum, in Bishop Auckland, and hears how its funder hopes to inspire reflection on the divine.

Robert Wright

Robert is a journalist at the Financial Times.

A art installaton showing purple and pink flame-like shapes moving in a darkened room

The Eidolon art installation.

It takes a moment to grow accustomed to walking in the dark of the long, steeply roofed room that houses Mat Collishaw’s art installation Eidolon. But the artwork’s impact is immediate. Two huge, moving images in the middle of the room show a blue iris flower. It is being engulfed by flames but not consumed. Speakers play, in Latin, a story from the Hebrew bible’s Book of Daniel in which three young Jewish men survive being thrown into a fiery furnace for refusing to worship the Babylonian king. The artwork is a rare successful attempt to capture in modern art the essence of Christ’s crucifixion and the Christian tradition of martyrdom, with its roots in earlier Jewish beliefs.

Watch Eidolon

Eidolon is one of the highlights of the UK’s first Faith Museum, a bold project opened on October 7 in Bishop Auckland castle, the historic residence of the Bishops of Durham. The museum forms part of The Auckland Project, a series of initiatives in Bishop Auckland, north-west of Darlington, being funded by Jonathan Ruffer, a Christian and successful City investor. Ruffer’s childhood home was outside nearby Middlesbrough. The new institution aims to tell the story of 6,000 years of faith in Great Britain, starting with the Gainford cup and ring stone. The stone, found 90 years ago 10 miles from Bishop Auckland, may date from as early as 4,000BCE. It features carvings regarded as the earliest evidence of religious practice in Great Britain.

Jonathan Ruffer.

A man stands in a formal dining room that has traditional paintings on the walls

Jonathan Ruffer, in Bishop Auckland Castle.

Ruffer, however, declines to link the museum’s contents to his own faith or an explicitly Christian message. He insists that he is merely seeking to advance discussion of faith in a society where it is little debated but remains a potent force. In the living room of Castle Lodge, his home in the castle grounds, Ruffer compares the contemporary taboo about religion with the very different mores of the 19th century.

“Nobody talked about sex in Victorian times,” he says. “It’s impossible to imagine that because the public world was silent on it, it was not as much a guiding force as it is today. I think that’s where faith is now.”

He adds that the 10-year process of establishing the museum has made it “absolutely apparent” to him why there are no other similar institutions.

“What is a museum for?” he asks. “It’s to gawp at things and if you think what is the subject matter of a faith museum, it’s God. In whatever form and shape that you believe that God to be, you cannot see that topic.”

The museum is nevertheless rich in sometimes poignant objects that the curators call “witnesses” of faith. They include the Binchester Ring, a ring with Christian symbols dating from the third century of the Christian era. The ring, found only a mile from the museum, is regarded as the earliest known evidence for Christian practice in Britain. There is a small slate, engraved on one side, that served as an altar for Recusant Roman Catholics while their Church was out in the cold and had to stay hidden during the Reformation years. The slate could be turned over and disguised as a normal roof slate when not in use. The museum has on loan the Bodleian Bowl – a rare example of a ceremonial vessel used by one of England’s Jewish communities before King Edward I expelled the group in 1290.

Ruffer says the impact of the objects – many on loan from other museums - comes from their histories.

“There’s a great power in the objects that we have,” he says.

Eileen Harrop.

A priest stands in front of lead glass windows and carved seats.

Eileen Harrop, entrepreneur priest and museum advisor.

Among the advisers on the museum’s establishment was Eileen Harrop, a Church of England priest originally from Singapore and of Chinese origin. She was appointed an “entrepreneur priest” in 2016 to work with Ruffer on The Auckland Project. Meeting in the castle’s former library, she says the museum avoids suggesting all faiths are the same, while also steering clear of Christian proselytising. Harrop, now the vicar of four parishes around Bishop Auckland, expects the museum to have a powerful effect on visitors.

“It allows for people to experience the God who led Jonathan here,” she says. “It allows for people to enter into all the different ways in which people can identify something about faith and then it’s up to God.”

A visit’s emotional impact comes largely from the new institution’s first floor, devoted to works created by contemporary artists exploring faith. Some of the most powerful exhibits are black-and-white pictures in which Khadija Saye, a young British-Gambian artist, explores possible uses for religious objects belonging to members of her family, some Muslim and some Christian. Saye lost her life in the 2017 Grenfell Tower fire.

A series of works by Christian painter Roger Wagner has proved particularly timely. The museum opened the same day that Hamas terrorists started the current Israel-Gaza war with their attack inside Israel. The paintings translate stories from the Christian New Testament to the contemporary, riot-scarred occupied West Bank.

Eidolon is among the works on the first floor. Harrop calls it an “amazing installation”, particularly for its retelling of the story of Daniel.

“It relates a story… of what was going on in that particular experience of the faithful person called and protected with his companions in relation with God and the power of faith,” she says.

Ruffer, meanwhile, shies away from expressing spiritual aspirations.

Asked how he hopes people will respond to the museum, he says: “I couldn’t care less – that’s up to them. I have many faults but a sense of wanting to tell people or persuade people how they should be is very low down the list.”

Yet Ruffer is clear that he received a clear, divine call to come to Bishop Auckland. He was first drawn to the area by his enthusiasm for Spanish art and his determination to prevent the Church of England’s Church Commissioners, then owners of the castle, from selling its prize artworks – life-size, 17th century portraits by Francisco de Zurbarán known as Jacob and his 12 Sons. The paintings, saved for Bishop Auckland in 2011 by a multi-million-pound donation by Ruffer, remain in the castle. But the Zurbarán link inspired Ruffer to establish a Spanish Gallery, dedicated to art from Spain, on Bishop Auckland’s Market Place.

“I came here really through a calling,” Ruffer says. “I felt the need really to drop everything and come up to somewhere in the north-east, to be part of a community.”

Ruffer’s engagement with the town deepened when the Church Commissioners announced, also in 2011, that they planned to sell the castle. Auckland Castle was formerly a seat of both ecclesiastical and secular power when the Bishops of Durham were prince-bishops – uniquely in England, both secular governors and bishops. The bishops lost the last of their secular powers in 1836. Ruffer bought the castle and transferred ownership to a newly established Auckland Castle Trust, which became The Auckland Project.

“I’ve heard from people who have through it who have said they can’t really put their finger on what it is, but they must go back again,”

Ruffer accepts there are issues with trying to capture the imagination of Bishop Auckland’s 25,000 inhabitants from inside a castle whose imposing entranceway symbolises its symbolic role as a seat of sometimes oppressive power.

“That sense of power is felt as a reality by people,” he says. “But it’s empty. Power has long since moved away from the prince-bishops and then the bishops.”

The castle’s unique history nevertheless makes it the ideal setting for the museum, according to Ruffer. Exhibits are housed both in a wing of the historic castle and a new, purpose-built extension. Ruffer says the castle was a far better place to site a faith museum aimed at raising questions than somewhere more explicitly linked to a specific faith such as a cathedral close.

“Auckland Castle has been intricately involved with faith for nearly 1,000 years and yet it hasn’t been a place of worship,” he says. “It has a chapel but it’s ecclesiastical without being a cathedral, church or minster. So it seemed to me that that made it very appropriate for a faith museum.”

The early signs, according to both Ruffer and Harrop, are that the new institution is encouraging reflection among visitors. Ruffer says the museum has responded to the “elemental need” for faith. He adds that the positive reaction so far vindicates the initiative to establish the museum, which he says has brought together objects and described them “without any directional guidance as to which works”.

Harrop reports that visitors seem to feel the need to experience the museum a second time after a first visit.

“I’ve heard from people who have through it who have said they can’t really put their finger on what it is, but they must go back again,” she says.

Ruffer identifies the museum’s power by saying that it gives people an easier experience of the divine than would otherwise be available to them. He compares the experience of encountering God through the museum to looking at the light of the sun as reflected in soft moonlight. That, he points out, is far easier than looking painfully and directly at the sun.

“The thing that changes people is to be confronted with something bigger than yourself,” he says.