Article
Community
Culture
7 min read

Think little: what villages teach about coming together

Elizabeth Wainwright explores the frustrations and encouragements of village life, real and virtual, and finds a need for communion.

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

A miniature tableau depicts a band performing at a concert as people dance and others watch from a marque.
A miniature village fete, Élancourt, France.
Frédéric Bisson, via Wikimedia Commons.

Since the birth of our daughter in May, I’ve been thinking about the village that it will supposedly take to raise her. I’m curious about where - or what - that village is today.  

A meme I saw on social media depicted Tom Hanks in his role in the film Castaway, edited so that instead of being alone on a desert island, he was walking through an empty city shouting:  

“IS ANYONE OUT THERE?”.  

The creator, a mother, had added a caption:  

“Me trying to find the village that was supposed to help me raise my children”.  

I clicked on the comments - there were hundreds of responses of all kinds:  

“Hyper independence is a narrative that is pushed on mothers” / “the world our grandparents and parents grew up in no longer exists” / “our lives are too busy” / “there is no village” / “the village is there but it takes work / “I struggle with ‘it takes a village, because for those of us who don’t have one, it highlights feelings of isolation” / “loneliness and isolation are a reality of our modern way of living, mothers especially feel this”. 

It seemed that other mothers were thinking about their village – or lack of it - too.  

My husband and daughter and I live in an actual village in rural Devon. In the summer, we went out into the garden, and - hearing a noise from the back of the house - turned to see one of our neighbours at the top of a ladder fixing a broken roof tile. Another neighbour was standing at the bottom of the ladder holding it in place. We hadn’t asked them to fix it - we’d only mentioned needing a new roof tile in passing. My heart swelled. Though not directly caring for our young daughter, they were easing the load by caring in the way they knew how. 

Online community is vital for me, and it is also lacking. Physical local community is vital for me, and it is also lacking. 

That act of neighbourliness made me wonder whether the village that will help raise our daughter is the literal village we live in. Here, there are people who care for this place and the people in it. Here, there is soil into which I can plunge my hands, anchoring me in this time, this place, amongst these people, all of it working to create a web of interdependence and care which I hope will steady us all in the face of a burning and unknowable future. But we’ve only been here a couple of years, and our stories don’t yet intertwine with the roots of the place. That takes time, and interdependence takes my little family being the village for others as well as benefitting from it. And there are days when I feel I have little capacity to reach out to others.  

Living in a small rural village can also be hard. A welcome is not guaranteed, relationships often have to bridge real difference. And whilst historically the village was a physical place with clear edges, family roots, and familiar neighbours, that’s now not most people’s reality. My husband and I have lived in various places over the years, our scattered friends part of our journey still, even at a geographic distance. Whether or not a scattered village is possible, it knows me in a way that our local village does not and perhaps cannot. It is part of a social fabric that will weave around our daughter, despite not being immediately accessible day to day.  

Or perhaps the village is increasingly virtual, made up of likeminded connections we draw near to online. Here I find not hands-on help, but understanding, ideas, encouragement, and a sense of possibility, even amongst people that don’t know me especially well. I find sustenance here, but I also know I close off real life encounters - and a more nuanced and unfiltered understanding of the world, of difference, of community - by investing in self-selecting online communities. And I want my daughter to encounter difference, to know that people can love and be loved even when they are nothing like her.  

Online community is vital for me, and it is also lacking. Physical local community is vital for me, and it is also lacking.  

They invite me to wonder but also to ‘think little’ as farmer and author Wendell Berry advocates, at the scale of this person, this relationship, this place.

And so I wonder what the village is, what it is becoming, and how we find it. Because whilst we’re told it takes a village to raise a child, in practice we often move to follow jobs, we live in isolated units and hear messaging that praises individualism and self-sufficiency and being able to do and have it all. And it can be as hard to call on the village as to find it in the first place - it can even be hard to accept the help of the village when it’s right there offering itself to us, so strong is the pull to look like we’re holding it all together, or to not burden others (I say this from experience). So we carry on trying to do it all ourselves.  

I find myself turning to ancient things for guidance. The Christian idea of communion – a table, bread, and wine shared in community – is beautiful to me, both in how it is practiced and what it represents. Bread and wine grow and are consumed in a particular place, at a particular time. The community that shares it is knowable, together at this particular time in the world. That this entrance into faith depends so much on place and time feels significant. Communion could easily be a mystical, cerebral, hard-to-grasp idea. But crucially it’s also personal, accessible, locatable. And church - not the idea or the institution but the local gathering place - can be a place where we find this access too, as can gardens and fields and food; tethers that remind us of this created earthy peopled world. To me, these things call me back to living here and now. They invite me to wonder but also to ‘think little’ as farmer and author Wendell Berry advocates, at the scale of this person, this relationship, this place. There is a tendency to think big when it comes to solutions to world crises when perhaps thinking little - at the scale of the ‘village’ - is more actionable, more sustainable, more appropriate – a solution that works here might not work there, and that’s ok. Berry says in multiple thoughtful ways that ‘what we stand on is what we stand for’. His is a call to know place, to invest in place, to be in place, despite (and perhaps because of) the challenges that come with doing so.  

I think the local is going to become more important - calling us to find our way back to community in a time of division and overwhelming global challenges. 

‘Thinking little’ might happen in a street, a church, a garden, a neighbourhood. A place where we can root into literal or metaphorical soil, where isolation can turn to relation, where interdependence becomes easier to live out. It need not be an either/or between this and geographically distant or online communities though - I think online spaces offer their own care in the world as it is. But the communion table shows me hospitality as well as mystery, and Jesus – whose body communion draws us closer to – shows us a truth built locally, relationship-by-relationship. It calls us to the challenge and beauty of caring and being cared for in our own here and now. 

Perhaps the early Christians had it right by being deeply invested in place, and in something beyond place too. They lived locally whilst acting globally and spiritually, ready to leave if the call should come. They were ready to build the church, person by person into something whole. God, after all, calls us to be a collective, to love our neighbours and in return, to feel love. I think the local is going to become more important - calling us to find our way back to community in a time of division and overwhelming global challenges, when faceless corporations would rather we relied on them than each other. As part of that, I think it’ll become important to engage with local civic bodies too, to all feel able to take part in placemaking and decision-making, especially when national government seems increasingly out of touch (my time as a District Councillor has given me a whole new lens on what living locally means). 

Working out what the village might mean – as a mother, a citizen, a neighbour – as our daughter grows is an ongoing journey and it’s a theme I’ll return to here. But what I know is this: that I want us to be part of an ecology of care. I want us to offer and more graciously receive that care. I want us to be like the trees outside my window: linked together, rooted in place whilst reaching upwards and outwards to the light that is sometimes hard to see, but is always there.   

Article
Culture
Easter
Romance
Theatre
6 min read

Hadestown hints at so much more

The subterranean stage hit resonates deeply.

Freya is a curate at St Mary's Church, Islington.

A theatrical staging shows a couple seperated by a man standing between them.
Eurydice and Orpheus separated.
Hadestown.com

Hadestown – a folk jazz opera interpretation of the tragedy of Orpheus and Eurydice – is currently flourishing in London’s West End. Like the myth upon which it is based, Anaïs Mitchell’s opus has had many iterations. I had been listening to these songs for a decade by the time I saw the stage show. As a Christian priest, I am used to relating all myths, narratives, and fables to the story of Christianity. And yet, it was not until I saw Hadestown performed that the resonance with the Christian “myth” hit me all at once.  

In the myth (and the musical), a hero goes down to the underworld to retrieve his beloved from Hades, god of the dead. On Holy Saturday (the day between Good Friday and Resurrection Sunday), the church celebrates Christ’s descent to the dead and his freeing of imprisoned souls. This tradition is commonly known as the Harrowing of Hell. Art imagining this victory often depicts Jesus standing atop hell’s gates, ripped off their hinges, as he plunders the realm of a bound figure. Icons have Christ encircled in ripples of light as if he’s burst through the very walls of time and space to snatch his people from Death’s clutches. In some portrayals, he is pulling Adam and Eve – the original symbols of the rift in the God-humanity relationship – from their graves. The Harrowing of Hell receives more emphasis in Catholic and Orthodox traditions, but all Christians share some concept of Christ as rescuer, saviour, liberator.  

In the mythical world of Hadestown, something is broken. The seasons have collapsed, resources are scarce. Trouble in the underworld is causing everything to be off kilter in the overworld (not an uncommon concept in ancient thought). A contemporary audience can certainly relate to references to rising seas and widespread famine, as well as to the futility and despair permeating everyone’s inner monologue. The question the show poses is: can anyone break this cycle? Is there someone who could restore a broken relationship, rescue a soul back from the underworld…even make Spring come again?  

Humanity’s potential champion is Orpheus, a young man blessed with a supernatural gift for poetry and music. He is composing a melody “to fix what’s wrong”. When the song is finally sung, “Spring will come again” – the world will come “back into tune”, and “all the flowers will bloom”.  

The foil to Orpheus’s optimism is Eurydice, his lover. In this version, she is not killed but leaves for the underground realm of Hadestown, seeking food and shelter. I was moved afresh by her lament (‘Flowers’), sung in the depths of Hadestown’s mines, as Eurydice, like the prodigal son from St Luke’s story, realises what a mistake she has made. Hadestown’s inhabitants, it transpires, are not just trapped by the city walls – they are spiritually captive, indentured to Hades and his vision: eternal industry; perpetual war. Eurydice can no longer remember her beloved’s name, but she can remember that he could make flowers bloom in winter. She sings a petition for him to come and find her “lying in the bed [she] made.” 

We the audience know all along that Orpheus is coming, thanks to the song in the preceding act (‘Wait For Me’). Upon learning where Eurydice is, he undertakes the perilous descent to the underworld, all the while repeating “wait for me, I’m coming”. In a breathtaking moment of set design, the walls of Hadestown move aside in response to the beauty of Orpheus’s song. Eurydice’s prayer is answered by his sudden appearance, and his poignant invitation: “come home with me”.  

After the bows, the cast toast to the Orpheuses of the world, who show us things as they could be.

Orpheus is soon confronted, however, with the ugly reality of Hadestown. Eurydice has already signed her life away. Beaten and defeated, his innocent worldview shattered, Orpheus sings over and over “is it true?”. He is asking something more fundamental than if what is happening around him is real. He is demanding if this, the world that is, is the world that should be. Should we let the truth belong to those who “load the dice”, he asks?  

Hadestown’s walls take pity on Orpheus as they did before, echoing his song through the mines, where the workers – millions of other Eurydices – take up his song. The Dead-to-the-world realise they have been deceived, and remember who they were. And their faith starts to grow – that if Orpheus can walk out of Hades, then they can too. They want freedom.  

Persephone, Hades’ estranged queen, is won over by Orpheus. But Hades understands the truth about love: one flower starts a Spring. The fall of a kingdom begins with a crack in the wall. Unwilling to kill Orpheus because of Persephone, Hades instead sets up the famous tragic terms: if Orpheus can walk all the way to the surface without looking back to check Eurydice is behind him, freedom is theirs. It is a test Orpheus is doomed to fail, thanks to his experience in Hadestown. The mentality of the underworld has come to live in Orpheus’s head, and so “the path to paradise” becomes “the road to ruin”, and the story meets its inevitable end.  

And yet Orpheus does not fail as completely as he thinks. His musical gift has reconciled Persephone and Hades, and this has brought Spring to the world again. After the bows, the cast toast to the Orpheuses of the world, who show us things as they could be, and leave us with the responsibility to keep singing despite the circumstances, to reject despair, to hold on to that vision of every captive soul walking out of Hell. 

Myths tell us what we collectively fear and desire. Contemporary retellings show us how these longings have changed – or not. In what C.S. Lewis called the “true myth” of Christ, we see the fulfilment of Hadestown’s hopeful vision.  An early modern hymn describes Christ like Hadestown’s Orpheus – his presence “sees December turn’d to May”, making all the ground of the expectant “under-earth” turn to flowers. He is the one who has walked “the road that no one ever walked before”. The one who didn’t need to persuade the gods to empathise with him, because he was God. The one who was the perfect advocate for humankind, because he was human. Divinity without caprice, love without finitude: the one who experienced fear, temptation, ridicule – and yet did not turn back from the task. A peasant living under occupation: “this poor boy brought the world back into tune”.  

I was fortunate enough to see Melanie La Barrie in one of her final performances as Hadestown’s Hermes. Her voice gives the divine storyteller a godparental authority: La Barrie’s Hermes doesn’t so much narrate the story as prophesies it. At the inescapable end of the play, Hermes stands looking down like a graveside mourner, searching for the words to reignite the company. Hermes seems to have a divine vocation to keep telling the tale “regardless of how it ends” until it changes. This act is presented to us as faith, hope, resistance. In this new reality, where Spring has returned and the cosmic order has shifted, the tale might turn out differently upon the next telling, and so Hermes strikes up the band once more.  

Every year we sing the sad song again. The betrayal, the trial, the burial: the body in the tomb; the disciples in hiding. For so many, the-world-as-it-is feels like an endless Holy Saturday. The tradition of the Harrowing of Hell whispers to us to hold steady, because the rescuer is coming. “The darkest hour of the darkest night comes right before the dawn”, and a crack is appearing in the wall. 

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