Article
Belief
Care
Creed
4 min read

Understand what we thirst for

Whether for water or meaning, it’s a primal force.

Helen is a registered nurse and freelance writer, writing for audiences ranging from the general public to practitioners and scientists.

A child wearing a wool hat holds a glass and drink water from it.
Johnny McClung on Unsplash

Quenching thirst is a global problem. It can also be profoundly personal, impaired by illness. For nurses, it can be ethically and emotionally difficult, when treating dying patients. But is there ultimate relief? 

Thirst is the subjective sensation of a desire to drink something that cannot be ignored. The world is thirsty; globally, 703 million people lack access to clean water. That’s 1 in 10 people on the planet. 

Thirst is a life-saving warning system that tells your body to seek satisfaction through swallowing fluid. It works in partnership with other body processes - such as changes in blood pressure, heart rate and kidney function - to restore fluid, and salt, levels back to where they belong. Failure of any part of this beautifully balanced system leads to dehydration (or water intoxication), and perhaps to seizures, swelling of the brain, kidney failure, shock, coma and even death. 

Sometimes it’s difficult to quench thirst, because of problems with supply. According to the World Health Organization, at least 1.7 billion people used a drinking water source contaminated with faeces in 2022. Sometimes in war, water is weaponised, with systematic destruction of water sources and pipes. Water laced with rat fur, arsenic and copper has meanwhile been reported in prisons across the USA.  

At other times, there may be “water everywhere, but not a drop to drink” because of individual problems with swallowing. As a nurse, some of my most heartbreaking moments have been when I have been unable to fulfil a need as basic as a patient’s thirst; when even thickened fluids have led to intense coughing and distress, and a realisation that I can only moisten mouths and give so-called “taste for pleasure”: very small amounts of a favourite liquid or taste using a soft toothbrush, or a circular brush gently sweeping around the mouth and lips to release some of the liquid - even, and especially, at the end of life when the patient is unconscious. 

Difficulties in drinking are common in dementia when fluid can seem foreign and swallowing a surprise to the system. It’s thought that over 50 per cent of people in care homes have an impaired ability to eat or drink safely; 30 to 60 per cent  of people who have had a stroke and 50 per cent of those living with Parkinson’s may struggle to swallow. 

Other conditions that may affect swallowing include multiple sclerosis, cerebral palsy, and head and neck cancers. Diabetes is characterised by a raging thirst owing to problems with insulin (diabetes mellitus) or an imbalance in antidiuretic hormone levels (diabetes insipidus). In intensive care, patients are predisposed to thirst through mechanical ventilation, receiving nothing by mouth, and as a side effect of some medications. But thirst is a “neglected area” in healthcare, writes palliative care researcher Dr Maria Friedrichsen.  

“Knowledge of thirst and thirst relief are not expressed, seldom discussed, there are no policy documents nor is thirst documented in the patient’s record. There is a need for nurses to take the lead in changing nursing practice regarding thirst.” 

Is there another thirst that is also being missed in nursing, and in life in general – a spiritual thirst, beyond the physical desire to drink? In his book, Living in Wonder, writer Rod Dreher argues that humans are made to be spiritual, and that a critical sixth sense has been lost in a “society so hooked on science and reason”. We humans crave love in our deepest selves; we have an insatiable thirst for everything which lies within – and beyond – ourselves. Auschwitz survivor Viktor Frankl, who was later appointed professor of psychiatry at the University of Vienna, became convinced that human beings have a basic “will for meaning.” “The striving to find a meaning in one’s life,” he wrote, “is the primary motivational force in man.”  

In the harsh sun of a Middle East day, an ancient story of a man and a woman encountering each other at a water well illustrates this dual thirst for water and meaning. The man, Jesus, thankful for a drink of water given to him at the well by an outcast Samaritan woman, said that “Everyone who drinks this water will be thirsty again, but whoever drinks the water I give them will never thirst. Indeed, the water I give them will become in them a spring of water welling up to eternal life.” In that midday sun, such imagery made a powerful statement.  

Being mindful of spiritual thirst when drinking water is something also captured in a Ghanaian proverb and pictured perfectly in the many birds that drink by gravity, so tipping their heads back when they swallow.  

“Even the chicken, when it drinks, 

Lifts its head to heaven to thank God for the water”. 

Unsatisfied thirst is part of the human condition, we long for something more; it’s living proof of our immortality, says French poet Charles Baudelaire. Despite his Olympic success, athlete Adam Peaty said that society didn’t have the answers he was seeking, and that a gold medal was the coldest thing to wear. He “discovered something that was missing” when attending church for the first time, and now has a cross with the words “Into the Light” tattooed across his abdomen, symbolizing his spiritual awakening. We are more than mechanical machines with physical needs. We are rather gardens to tend in a dry and thirsty land, with souls in need of intensive care.   

Review
Belief
Culture
Death & life
Joy
Music
Wildness
7 min read

Nick Cave’s Wild God challenges a too comfortable culture

Eavesdrop on profound discomfort and raw wonder.
A singer, wearing headphones, turns from a microphone in front of him.
Listen with Nick.
nickcave.com

In the fourteenth and fifteenth centuries, there lived an anonymous mystic who we’ve since come to know as Julian of Norwich. After coming chillingly close to death at the age of thirty, she spent the subsequent decades of her life in a small side room of St Julian of Norwich church (the inspiration behind her pseudonym), speaking to people only through windows and writing masterfully about her supernatural visions of God. 

Her anonymity, modesty, and creativity meant that she was free to write about God without the pressure of being theologically or doctrinally ‘correct’. She wasn’t too interested in making her writing academically bulletproof, nor was she too bothered with institutional rightness.  

Rather, she experienced, and she wrote. She pondered and she wrote. She suffered and she wrote. She rejoiced and she wrote.  

She was utterly captivated by God, and that meant that she was free.  

I think that Nick Cave is free, too.   

His latest album reminds me of Julian of Norwich’s work; baffling, subversive, mystical, rooted in a truth that can’t be proven. A truth he wouldn’t be interested in proving, anyway. It, too, swerves ‘rightness’. It, too, refuses to dilute the oddness of faith. It, too, is irresistibly intense. I pressed ‘play’ at around 8:03am this morning, assuming that this album would be the soundtrack to my mundane morning. But two songs in, I found myself sitting on my kitchen floor with my coffee, a notebook, and the album turned up to a volume that would have justifiably annoyed the neighbours.  

This is not a casual album. Any true Nick Cave fan would scold me for ever expecting it to be. 

The album is a ten-track-long ode to a Wild God who has met Nick in the darkest of places. Places, I’m sure, he never wanted to go. Places, I’m sure, he will never fully leave. Such a wild God is a challenge to a culture that has enthroned comfort. We’re too easily spooked. But Cave, through a combination of circumstance and intentionality, appears to have entirely shunned comfort. And so, he’s in prime position to introduce us to a God who will confound us.  

Julian of Norwich’s book and Nick Cave’s album are centuries apart – yet, somehow, it feels as though they have been made from the same materials: profound discomfort and raw wonder. 

Suddenly, you’re reminded that you’re eavesdropping on a man who has lost his son, conversing with a God who lost his too. 

This is Cave’s eighteenth album with the Bad Seeds. Together, they have created a soundscape to get lost in, a changeable climate controlled by their instruments: you get caught up in a cyclone during the title track, the cymbals crash like waves on the shore in ‘The Final Rescue Attempt’, you can hear the gentle droplets of rain fall in ‘Frogs’, the strings somehow sound like a sunset in ‘As The Waters Cover The Sea’.   

It’s music that baffles your senses. 

And then there are the stories that the songs are telling.  

The album opens mid-way through a bar, its first song – ‘Song of the Lake’ - sounds as if it was playing before you hit play. In 2015, Nick and his wife Susie lost their teenage son. In 2022, Nick lost another son. The last two albums offered up by Nick Cave and the Bad Seeds – Skeleton Tree and Ghosteen – they have an address, and the address is grief. They’re laced with palpable agony. And so, beginning this album mid-way through a bar, it’s as if Nick is telling us that we’re picking up a conversation where we left off in 2019. This album wouldn’t exist if the previous two didn’t exist.  

He uses the opening song to remind us of the tragic circumstances in which he lost his teenage son, Arthur, by referencing the nursery rhyme character, Humpty Dumpty – who, of course, ‘had a great fall’. Nick quotes, ‘… and all the king's horses and all the…’ before cutting himself off with ‘… oh never mind. Never mind.’ 

What’s the meaning of this recurring ‘never mind’? Is it agony or acceptance? Maybe it’s both. Maybe it’s neither. Maybe Nick, as usual, doesn’t want to be too knowable.  

Some of his thoughts feel finished and firm, others feel unexplored and new – like we’re hearing them at the same time that Nick is. On occasion it feels as though he’s teaching us something, on other occasions, he’s the one asking the questions. It’s about him, and then it’s not about him. It is intensely personal and then it’s cosmically minded. It’s sturdy, then it’s fragile. It’s from the point of view of a deity, then it’s from the perspective of a frog in his pocket.  

It is pretty uncontainable.  

But the song that my mind seems to have gotten snagged on is ‘Joy’, which sits about a quarter of the way through the album. Again, he begins the song by telling us how he ‘woke up this morning with the blues all around my head… I felt like someone in my family is dead,’ he speaks of his ‘pain and yearning sorrow’ – all of which hits you in the stomach, because such lines are wholly unexpected in a song entitled ‘Joy’.  

You could read a 100,000-word long thesis on the theology of joy. Or you could just listen to this song. I think it would teach you everything you need to know.  

The way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. 

Despite the references to his grief, Nick recently shared that he nearly titled the album ‘Joy’. And I get why. If you think of joy as some kind of light and fluffy thing, you might not spot it. But if you, like Nick and his band of Bad Seeds, perceive joy to be something that can hold tension, confusion, and even sorrow – you will see that it is all over this project. As Nick has already taught us, faith and hope can be found amid carnage. And Nick’s new(ish)-found faith has quite obviously turned him upside down.  

His wild God has clearly swept him off his feet.  

The remaining songs on the album - the ones that I don’t have the wordcount to do justice - they take God/death/life, and they ponder them from every angle. There is a childlike wonder to this album, a pure kind of excitement. The kind that you'd think would be irreconcilable with the realities of grief but is somehow able to sit right alongside it. Nick isn’t trying to explain the God that he has found, or the ‘conversion’ he’s experienced – he’s just celebrating it, and inviting us all to listen.  

He's simply loving God and enjoying being loved right back. It really is all very ‘Julian of Norwich-esque’. It will offend you if you try too hard to put it into a neat box.  

But then there’s the last song, which is where I’ll bring this gush-a-thon to an end. It is a hymn. Like, an actual, albeit tweaked, hymn – the last song is a rendition of ‘As the Waters Cover the Sea’.  

All of a sudden, there’s a gear change to grapple with. Nick is placing himself in a church, he’s tying himself to a particular religious tradition, he’s joining a particular community and affiliating with a particular history. It turns out the God of whom he speaks is not abstract, he’s the Christian God. You’re reminded that you’ve been eavesdropping on a man who has lost his son, conversing with a God who lost his too. The lyrics have been hinting at this all the way through the album, but the way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. He is basically saying -

If you’re intrigued by the Wild God, here is where precisely I have found him…  

And this kind of religious specificity being used to tie up an album so full of metaphor and mystery. An album I thought I had worked out, an artist I thought I had finally cracked, a message I thought I had deciphered… 

… Oh, never mind. Never mind.