Explainer
Creed
Football
Providence
Sport
Trust
7 min read

Thrill and trust in an unpredictable world

When Saturday comes, Graham Tomlin is enthralled by sport's unpredictability. Yet in an uncontrollable world, he finds a need for trust.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Two footballers run in step as one tries to tackle the other
Spain and England: finalists in the 2023 Women's World Cup.
FIFA

Sport was once something you did for fun. Now it has become one of the world's great industries. 'Sportswashing' is a thing now - nations buy up clubs, franchises or invest in sporting ventures from LIV golf to football clubs to Formula One, to make their regimes look good. 

But why is it that sport engages us so? Why do we bite our nails as the ninetieth minute draws near, we are only 1-0 up and the opposition threatens to score an equaliser any minute? Surely it is because this is one area of life where the outcome remains stubbornly out of our control.  

You can never quite predict the result of any match. And the best games always exist on that knife edge. This summer, after five Ashes Tests, with five days for each Test, 3 sessions a day, so 75 sessions of cricket in total, when the players went into the very last session with the result of the whole series still in the balance, it was the best of sporting enjoyment, precisely because no-one could predict what would happen. 

And the exceptions to that statement prove the rule. When the result is almost certain - if Manchester City were to play Forest Green Rovers for example - then it takes the fun out of it. In fact, much of the disillusionment that creeps into modern sport comes when money appears to skew the unpredictability of it all. When clubs are backed with the resources of an entire Gulf State in an attempt to control the outcome of a league by the use of something not intrinsic to sport itself, then something seems wrong. 

A couple of years ago, the German sociologist Hartmut Rosa wrote an intriguing book called The Uncontrollability of Life. Modern life, he argued, is marked by a drive to master and control as much of the world as possible. We manage the economy to try to ensure constant growth; we corral all the information we can, so it sits in our pockets available at any moment; we minimise risk by actuarial calculations; we develop algorithms that deliver exactly the content that the consumer wants. When we see a mountain, we want to climb it; when we get on the scales we want to lose weight; when we have a headache want to get rid of it. Life has become an endless to-do list. We try to control life from birth through to death, through contraception and abortion, managing our children’s education to ensure success in life, even trying to control death by ‘assisted dying’ that enables us to choose the time and manner of our own demise. 

We try to manage and control everything, but life, and joy, remain elusive and tantalisingly out of our control. 

And yet, he argues, it is the very unpredictability and uncontrollability of life that makes it interesting. It’s when we are surprised – by a sudden fall of snow, or by the smell of freshly cut grass, or a joke that makes us laugh – that we feel the delight and joy of life. If we were able to make it snow whenever we chose – as when a machine pumps out fake snow in a ski resort going through a warm spell – there is no great enchantment in that. If we knew the result of every football match before it started, there would be little point in playing at all. 

We try to manage and control everything, but life, and joy, remain elusive and tantalisingly out of our control. You can pay for tickets to a concert but never quite know whether the music will stir your soul or leave you cold. You can pay for a holiday but can’t ensure it doesn’t rain, that there isn’t a ten-mile traffic jam on the way, or that the neighbours in the next apartment aren’t noisy. 

Yet it is exactly the moments that we don’t control that make life worth living – chancing on an unexpectedly stunning sunset, meeting a friend by surprise, falling in love, hearing a new song that touches your heart. And the point is you can’t control these things. If you could, they would lose the magic.  

And that, Rosa says, is the problem and tension at the heart of modern life. On the one hand we try to control everything, to make the world safer, more fair, more predictable. And that’s not a bad thing. We want to make the world more just, to eliminate random accidents or stupid mistakes. Yet the more we control, the more we evacuate the world of what makes it enchanting and enthralling.  

Yet it’s more than just unpredictability. We need, he suggests, to feel that the world out there responds to us, ‘calls us’, talks back to us in some way - so that we feel what he calls ‘resonance’ with it. We need to establish a relationship with the world, or events that happen to us, that lies somewhere between us controlling everything, or us being totally at the whim of what is out of our control. 

Wisdom, it seems, comes from getting the boundary right between the controllable and the uncontrollable. 

Perhaps in the infancy of the human race, we were totally at the mercy of climate, wild animals, infertile soil, struggling to survive against the odds. Now we are in danger of going to the other extreme of trying to manage everything, so the world becomes an inert, controlled, docile thing. Wisdom, it seems, comes from getting the boundary right between the controllable and the uncontrollable.  

It's a fascinating and persuasive analysis of modern life. But let me take his thought a little further. 

If we need the world to be responsive to us, for it to surprise us by ‘talking back’ as it were, it is hard to imagine such a thing happening if the world is simply an inert substance with nothing behind it. However much we may want a responsive relationship with the world, it is difficult to conceive of this on a purely materialist understanding of things.  

For all the new age talk of ‘mother earth’ or the ‘Gaia hypothesis’ which attributes some kind of will and intention to the earth, surely we can only have a relationship with the world if there is someone (not just something) there to have a relationship with, some mind, heart or intelligence behind it all. After all, even the Greeks thought Gaia was not just another word for planet earth, as modern ecological secularists have it, but a god who shaped the universe to her liking. If it’s true that we flourish best when there is a resonant, reciprocal relationship between us and the world outside, then does it not make more sense to believe there is someone, not just something out there, calling to us, responding to us?  

Even more, what if the world is a cold, heartless, meaningless place? What is there is no order or structure behind it? What if it is coldly indifferent to us and our plight? If we are to establish a relationship with what is out there, rather than being at the mercy of it, or seeking to control it, then we need to be able to trust that what we are reaching out to is at least friendly to us. Rosa’s optimistic outlook, beckoning us to resonance, a relationship of mutual discovery, able to be touched or moved by the world, seems to assume that what we will discover out there is fundamentally to be trusted rather than feared. 

Christians have always held that behind the appearance of things, there is someone out there to ‘talk back’ to us, with whom we can resonate, and that that ‘someone’ is fundamentally good, because, despite the confusion of the world, the mixed messages it sends us due to its brokenness, we have seen the clue to what lies behind the mystery in the face of Jesus Christ.   

Living in this unpredictable world, one where we cannot control everything (nor should we try to) means, as Rosa points out, learning to accept it, not getting frustrated when we can’t control everything; learning the ability to take the vagaries and vicissitudes of life as they come, without getting angry or annoyed. Yet we can only do that with a degree of confidence when we can trust that what is out of our control is ultimately under the hand of a God who has our best interests at heart.

I may not be able to predict the result when Bristol City play on Saturday afternoon. Much as I'd like to, I’m actually glad I can’t as it would hardly be worth watching. But it makes a difference when I can trust that behind the changes and chances of what happens to us (and this, thankfully, stretches far beyond football) there is a mind and a heart that knows me and cares what happens to me – and not just me, but my neighbour and the future of the entire universe. 

  

Essay
Books
Creed
Easter
Poetry
7 min read

Of trees and truth: Tolkien on cultivating greenness

The literature of Herbert, Lewis and Tolkien all helps us see the seen and unseen better.

Jim is Director of the Marion E. Wade Center and Professor of English at Wheaton College, where he holds the Marion E. Wade Chair of Christian Thought. 

a row of flowers with green stalks and blue flowers.
Isabella Fischer on Unsplash.

Each Easter season I return to a poem called “The Flower,” written by the Anglican priest George Herbert and published shortly after his death in a collection called The Temple. In both its growth and its withering, the flower of the poem represents the poet’s spiritual life, and the verses speak powerfully to the renewal that only God can bring. “The Flower” opens in joyful exclamation— 

“How fresh, oh Lord, how sweet and clean  

Are thy returns! even as the flowers in spring” 

—but my favorite image appears at the start of the second stanza, where the poet marvels,  

“Who would have thought my shriveled heart 

 Could have recovered greenness?”  

C.S. Lewis took note of the second stanza as well. At the Marion E. Wade Center at Wheaton College, Illinois, where I work, we care for nearly 2,500 of the books that Lewis had in his personal library, many of which include his notes and underlinings. Lewis’s copy of The Temple is no exception. The back pages of the book contain a carefully constructed index in Lewis’s own hand, and one of the index entries points us back to the concluding words of the second stanza of “The Flower.” Turning to the poem, we find a hand-drawn line, very likely added by Lewis himself, running down the page alongside the stanza. I find that line to be heartening—a pointer, perhaps, to a shared interest. And though the connection between poem’s verses and the book’s appearance is purely coincidental, I appreciate the fact that Lewis’s copy of The Temple has a weathered green cover.  

What I love about “The Flower,” and about Herbert’s poetry more generally, is that it helps us see the seen thing better, helps us pay attention to it, so that we may glimpse the unseen thing. By bringing the flower into clearer focus, Herbert helps strengthen the eyes of faith. Herbert does not present nature itself as divine—the flower is a metaphor, after all—but he does represent nature in ways that point to its beauty while testifying to who God is and who we are in relation to Him.  

How during this Easter season might we recover greenness in Herbert’s sense? The poetry of The Temple is an excellent starting place. But if you are looking for another literary guide, I recommend turning (or returning) to another writer whose works we collect at the Wade Center—J.R.R. Tolkien. Should you visit the Wade to pore over the annotations in Lewis’s books, you’ll also have the chance to examine the small oak desk upon which Tolkien penned The Hobbit.  

In a note to his American publisher in June of 1955, Tolkien wrote,  

“I am (obviously) much in love with plants and above all trees, and have always been; and I find human maltreatment of them as hard to bear as some find ill-treatment of animals.”  

The parenthetical “obviously” is significant. Though Tolkien didn’t view The Lord of the Rings as autobiographical, he was willing to admit that his love of plants and trees was on full display in his life and work.  

Tolkien’s faith was on display in his writing as well, as Holly Ordway argues in her remarkable book Tolkien’s Faith: A Spiritual Biography. Ordway’s first chapter begins with Tolkien’s own words on the matter: “The Lord of the Rings is of course a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision.” As with Tolkien’s “obviously” so too with his “of course.” After calling our attention to the latter, Ordway persuasively demonstrates the truth of Tolkien’s words, exploring in detail how his religious convictions and practices were indeed fundamental to him and his work. “The Lord of the Rings is not an allegory of the Gospels or a tale didactically expressing Christianity,” she writes. “Rather, the whole world of Middle-earth and everything in it is infused with, rooted in, its author’s Christian vision of reality.” 

Ordway’s metaphor of rootedness is a fitting one, and—in our pursuit of Herbert’s greenness—it is worth exploring the entanglements between the obvious and fundamental aspects of Tolkien’s work: his love of “growing things” (to borrow a phrase from Treebeard) and his faith.  

Consider a few of the trees that we find across Tolkien’s writings.  

In his poem “Mythopoeia,” Tolkien responds to C.S. Lewis’s view (before Lewis converted back to Christianity) that myths are beautiful yet untrue. Tolkien begins the poem among the trees, expressing Lewis’s views as follows:

“You look at trees and label them just so,

(for trees are ‘trees’, and growing is ‘to grow’).”

The problem with viewing nature in such purely naturalistic terms, Tolkien goes on to suggest, is that it ignores the origins of terms like “tree.” It leaves out the humans who name the things of the world and develop myths about them and, more importantly, it leaves out the Source of such creativity. For Tolkien, human creativity finds its beginnings in God, and we reflect Him through acts of sub-creation. Thus he writes,  

“The heart of man is not compound of lies, 

 but draws some wisdom from the only Wise, 

 and still recalls him.”  

Whether it is the simple act of identifying a tree by name or the complex development of stories across time and place—what Tolkien describes elsewhere as “the intricately knotted and ramified history of the branches on the Tree of Tales”—our creativity flows from, and is a form of reverence for, the One who created all things. 

In The Lord of the Rings, we encounter not just trees but also the tree-like Ents. Referring to himself and the other Ents as “tree-herds,” Treebeard explains to Merry and Pippin that the Ents help the trees grow and develop:  

“We keep off strangers and the foolhardy; and we train and we teach, we walk and we weed.”  

In line with Ordway’s quotation above, Tolkien’s Ents are not meant to be read allegorically; however, the tree-herding activity of the Ents reinforces the theme of stewardship in The Lord of the Rings—a theme that echoes Scripture’s call to humans to care for creation and, just maybe, encourages us to take up similar work in our own places. (For further encouragement along these lines, check out Kristen Page’s book The Wonders of Creation: Learning Stewardship from Narnia and Middle-Earth, which grew out of Page’s lectures for our annual Ken and Jean Hansen Lectureship at the Wade Center.)  

And in Tolkien’s short story Leaf by Niggle, we encounter an artist desperately trying to work on his painting of, yes, a tree. This tree stands for our efforts to create art, which, though frequently frustrated and often motivated by self-interest in this life, may be purified and brought to fruition in the age to come.  

Tolkien’s trees testify to the beginning, middle, and end of Christian story. Among their roots and trunks and branches, we encounter illustrations of his views about creation, the proper ways to care for it, and its culmination.  

In a 1945 letter, Tolkien told his son Christopher about an essay by Lewis on the truth and beauty that we find in the story of Scripture. In the essay, which Ordway observes is likely his piece “Myth Became Fact,” Lewis argued that people of faith are, in the words of Tolkien’s letter, “meant to draw nourishment from the beauty as well as the truth” of the story. But what of the person without faith who “clings” only to its beauty? According to Tolkien, Lewis maintained that such readers “still in that way get some nourishment and are not cut off wholly from the sap of life.”  

Greenness for Herbert is ultimately the Lord’s doing. We should seek, therefore, to find nourishment in the truth and the beauty of Scripture, the source of the sap of life. Growing things spring up from these pages as well: fruit trees and fig trees and oak trees and olive trees; vines and branches; a new shoot springing forth from a stump, a crown of thorns, the wood of the cross. And as the Psalmist reminds us, the one who “meditates day and night” on the law shall be “like a tree.” When we read and digest the Word of life, we grow greener.   

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