Article

Belief

Change

13 May 2024

6 min read

What makes a journey a pilgrimage?

Travel may broaden the mind, but pilgrimage can nourish a soul.

Graeme Holdsworth

Graeme is a vicar of Marsden and Slaithwaite in West Yorkshire. He also cycles and juggles.

A country lane runs down a gentle hill between green and yellow fields under a cloud dappled sky.

The fields of Hertfordshire

Graeme Holdsworth.

On the recent anniversary of Chaucer’s pilgrims setting off to Canterbury, the British Pilgrimage Trust held a symposium on apocalyptic pilgrimage and spiritual tourism, in a London church – St James Clerkenwell. Nick Jones, the Editor of Seen & Unseen knows of my predilection for a spiritual aspect to travel, and recommended I go along. The only problem with his recommendation was that I live in West Yorkshire, and London seemed like an expensive journey for an evening sat quietly on church pews.

My nearest church is St James in Slaithwaite, and as St James is the patron saint of pilgrimages, it seemed obvious to turn the journey into a pilgrimage. The shortest walking distance is 185 miles and would take me a month to walk. Kosuke Koyama wrote that the speed of love is three miles an hour, the speed God walks. However, God has an eternity to travel, and I had to be back to lead Holy Communion the following Sunday. Cycling (the cheapest, easiest, and finest form of travel) would take me two days, if I took it easy and stayed in a hotel halfway.

I love the isolation of these high places, the wilderness-ness; it is a place for crying out, and place where only God is listening.

Not every journey is a pilgrimage. Sometimes people are just travelling. What would make this a pilgrimage rather than simply a long bicycle ride? I believe it is the intention of the heart that makes the difference - what are pilgrims hoping to achieve? Travel tends to broaden the mind, but a pilgrimage is something that might nourish a soul. There is no suggestion that every pilgrimage is religious, but when people undertake pilgrimages they are making a statement that they’re looking for something beyond themselves. For those who are religious, they’ve made space to meet God in the full knowledge that they may be disappointed. Dr Paula Gooder wrote that Christian faith sometimes focusses rather heavily on the state of a person’s soul, neglecting the state of their body. I hoped to enjoy some beautiful cycling, to re-engage with physical-prayer, and to worship God with my heart, soul, mind and strength in a whole body way. Racing cyclist Jens Voigt famously said, “Shut up legs” when the lactic acid began to burn, but what if my legs are speaking a non-verbal language understood by their creator God? Then let them shout: let the hydrolysis of adenosine triphosphate be my body praying ceaselessly, without words.

The beginning of my pilgrimage took me south and east along the edge of the Peak District. In my planning I had relied on cycling heat-maps to find the roads cyclists preferred. As I climbed a steep hill, I remembered that cyclists are a stupid bunch who often go out and find the hardest roads to cycle. I paused for breath at the top of the climb from High Bradfield; where the Agden, Dale Dike, and Strines reservoirs were stacked up into the distance, and the call of peewits pierced through the noise of the wind. I love the isolation of these high places, the wilderness-ness; it is a place for crying out, and place where only God is listening.

Bolsover castle was the last serious climb of the day, and from this point on the landscape became a lot gentler. Along the ridge after Bolsover, skirting around the west of Mansfield, I noticed the call of Skylarks, and that the fields had changed from drystone walled moorland to green and yellow crops, surrounded by hedgerows. Houses now had thatched roofs rather than the slate tiles of West Yorkshire. I also began to notice churches: Cottage-core villages with pretty gardens and pubs-on-the-green, their church buildings that seem well-kept, giving rural communities a sense of identity. It was around 7pm when I reached a Peterborough hotel.

Pilgrimages are often built around the destination, but I’ve found a real joy in the interim moment; the time between setting off and arriving.

Getting up in the morning after a long day of physical exercise is not easy. Although this day would bring an end to my mini-pilgrimage, I was looking forward to the symposium and meeting other pilgrims. Evensong at St Paul’s Cathedral was to begin at 5pm, and needed an early start to make sure I would arrive in time.

I passed a roadside marker with the distances to Huntingdon and London painted black on a white stone. The Milestone Society’ seeks to preserve these way markers which have a history stretching back to Roman times. I felt a sense of historical connection to those who would have travelled before me.

There was next to no traffic and I was alone with my thoughts and the songs I sing to myself when I’m happy. One of the lovely things about cycling is the activity itself: we’re doing the thing we want to do, and when we’ve finished we will no longer be doing the thing we want to do. Pilgrimages are often built around the destination, but I’ve found a real joy in the interim moment; the time between setting off and arriving.

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The traffic was increasing as I closed in on London, and I noticed another change in the housing. Here in the home counties the houses were getting a lot larger, further back from the road, and protected by gates and security systems. The sense of community that came from closely packed thatched cottages around an ancient church building was disappearing. Then suddenly there was an exponential shift in the cycling experience as I entered Enfield: cars, scooters, cyclists, motorbikes. The sound, and visual intensity of city living humanity swamped my senses.

I’m glad I didn’t just catch a train to London. I felt that I’d remembered the diversity of English countryside, the freedom of long-distance cycling, and made connections with like-minded pilgrims. I also refreshed my spiritual practice of physical prayer, and time alone with God in the wilderness.

It was about 2:30pm when I checked into my hotel near Kings Cross, unpacked the clothes I’d brought with me and freshened up before taking a walk south to the Thames embankment. After a pie and pint in a London boozer, on the banks of the River Thames, I walked to St Paul’s Cathedral for Evensong, then joined a walking-pilgrimage back to St James in Clerkenwell. St James Slaithwaite to St James Clerkenwell completed, arriving in time for The British Pilgrimage Trust’s symposium of talks and singing. Among the wonderful speakers, it was a delight to hear historian Tom Holland as he spoke to the apocalyptic call: to be a pilgrim.

He spoke about Chaucer, pandemics, black death, and the community aspect of pilgrimages. He joked that academic historians tend to be squeamish about attributing too much credit to religious or spiritual experiences as driving forces behind historical events. However, spiritual and religious drivers are significant: in 1033 there was a massive pilgrimage from all over Europe to the holy land, which came with an apocalyptic anxiety as 1,000 years had passed since the death and resurrection of Jesus. I reflected that contemporary anxiety of apocalypse is less focussed on the return of Christ and more on trigger happy world leaders in Russia, Israel and Iran…but I wonder if there will be a similar Christian pilgrimage in 2033.

Read a full account of Graeme’s pilgrimage ride on his blog.

Find out more about the British Pilgrimage Trust’s routes and resources.

Review

Belief

Culture

Film & TV

20 September 2024

4 min read

Kate Winslett delivers the performance of her life, in a film that doesn’t look away

The true quality of witness shines in Lee Miller’s biopic.

George Pitcher

George is a visiting fellow at the London School of Economics and an Anglican priest.

Two war photographers creep along a shadowy corridor.

Kate Winslett and Andy Samberg in Lee.

Sky Cinema.

If we might indulge an absurd anachronism, I wonder what the American photojournalist Lee Miller would have done, had she been one of the women at the foot of the cross. To my mind, she would have held her nerve to record – on her German-made Rolleiflex camera held at her abdomen – not only the horror of the crucifixion of Jesus of Nazareth and the criminals beside him, but also the suffering of his mother and the other women who looked on.

I’ve had these ruminations since I watched Miller’s biopic, Lee, on its UK premiere. In passing, I should record that Kate Winslet delivers the performance of her life in the title role, because it’s in the quality of her interpretation that I’m led to consider the nature of what it means to witness, which is an act at the heart of humanity as well as central to the Christian faith.

Witnessing is what reporters, at their best, do if they are to honour their vocation. Especially war reporters. But the act of witnessing isn’t confined to journalists. The case for professional witness can be made for other jobs – police officers, aid workers, medics, lawyers all come to mind.

It’s just that this movie shows witness at its sharpest end. “Even when I wanted to look away, I knew I couldn’t,” says Lee Miller. That imperative, not to look away, is central to our human story and I would argue that this is because it’s central to my faith, which has at its centre a God who doesn’t look away.

That’s why Lee Miller made me think of the historical event of the crucifixion. The Church down the ages has been inclined to turn the cross into the Christ’s great victory – rather as reportage of the Second World War has concentrated on its conclusive victory rather than the horrors that Miller recorded.

Her magazine employer, Vogue, at first declined to publish her photos of the liberation of concentration camps Dachau and Buchenwald, in part because it detracted from the joy of that victory (though they were subsequently published in the US). If you will, Vogue looked away.

I’ve found that to go down this path with Miller, accompanied by faith, a kind of terrible road to Emmaus, delivers some unexpected reactions.

We’re called to refuse to look away from the grotesque horrors of the cross, to resist it becoming simply a jewellery symbol on a pendant, to acknowledge its centrality in man’s inhumanity to man and, ultimately, our God’s choice to share that experience. “Jesus Christ,” mutters Miller at the door of a room, possibly a gas chamber, stacked with skeletal corpses, before entering to take her photographs. Jesus Christ, indeed.

This is not to make a claim for Miller as a figure of faith. It is rather to make the claim that those of us of faith should be highly alert to where we might find the witness to it. Over the past week, I have to say I’ve found it in the work of Miller, not only in the hell of the camps, but in the shaven heads of collaborator women, the frightened children and even in that bath in Hitler’s Munich apartment.

In the last of those, there she is, naked, washing herself clean from the dirt of Dachau, which stains the bathmat from her boots in the foreground. Here is a witness to a spiritual defiance, the portrait of Hitler propped on the bath edge as she is cleansed. It’s not just that he hasn’t won, it’s that death itself hasn’t won.

I’ve found that to go down this path with Miller, accompanied by faith, a kind of terrible road to Emmaus, delivers some unexpected reactions. And they’re not the kind of reactions normally associated with faith.

The first is anger. It clearly accompanied Miller throughout her work: Anger at military discrimination against her womanhood; rage that Vogue censored her work. We could all do with being more angry at injustice, especially those of us of religious faith. Note that when American Vogue published her photos, they headlined them “Believe It!” True belief, arguably, is angry.

My second takeaway is the danger of real witness. Miller described her work as "a matter of getting out on a damn limb and sawing it off behind you". Discipleship can, maybe should, be like that.

The third is the cost of witness. Miller’s war left her with depression and what today would be called PTSD. Not looking away has its price. The cost of witness to disciples may not be as extreme as it was in the first century of its practice, but we should also be aware that it’s not a cosy lifestyle choice either.

For Miller, part of the price of her witness was alienation from her son, Antony. In the movie, though (spoiler alert), he discovers after her death how devoted to him she was. At a stretch I would say he was a son in whom she was well pleased.

That’s not to imbue her with something messianic. It is perhaps to say, with the poet Philip Larkin, that what will survive of us, especially those who have witnessed the worst of humanity and come through, is love.