Explainer
Addiction
Creed
Eating
5 min read

When indulgence and inhibition are on the menu

As the time of feasting concludes, and resolutions start to crumble, Ryan Gilfeather takes some lessons on how and when to say 'no more'.

Ryan Gilfeather explores social issues through the lens of philosophy, theology, and history. He is a Research Associate at the Joseph Centre for Dignified Work.

Two stuffed cheeseburgers are carried on a tray.
Peter Dawn on Unsplash.

Advent and Christmas are heroic culinary seasons. They are times of abundant feasting on foods from rich and varied traditions. However, despite the enthusiasm many of us share in this overindulgence, we are, as a society, fairly ambivalent about the pleasures of food. 

Recently, Tim Hayward wrote a vigorous defence of gluttony, claiming that the Church labelling it a sin, because it defied the practice of self-denial in hope of future reward that he claims the Christian faith is predicated upon. Here, Tim represents a prominent belief in our culture, that taking pleasure in an activity cannot be wrong if it doesn’t have negative consequences on others.  

However, despite the prominence of these views, diet culture is still powerful and pervasive. Many of us, perhaps guilt ridden and ashamed, will resolve in the New Year to cut out the pleasures of food in order to drop a few waist sizes.  

This encouragement to say no to the pleasures of food, is an invitation to learn the habit of denying our inner yearnings, if they will lead to emptiness.

Over the years, Christians have also toyed with the question of what pleasure we are to take in food. They are certainly far more cautious than the hedonists among us would like. However, they give us a way to navigate between the Scylla of unrestrained indulgence and the Charybdis of starving ourselves entirely.  

Gregory of Nyssa, a Fourth Century bishop and theologian, argued that indulging the desire for the pleasures of food can replace our pursuit of those things which are truly good in life. Here, Gregory makes a similar point to Graham Tomlin in a recent article for Seen & Unseen. Gregory gives particular insight into the psychological experience of addiction to physical pleasure. In his biography of Moses, he likens the pursuit of physical pleasures to an enslaved person making bricks. The brick maker is entirely consumed, both in mind and body, with filling the brick cast and baking it. But, as soon as the brick is finished, the cast is empty again, and the process must be repeated. We dedicate our thoughts and our actions to achieving physical pleasures, but as soon as we attain them, they disappear. It is a futile process.  

Crucially, some people develop a kind of addiction to pursuing pleasure, they are stuck in the loop of dedicating their minds and bodies to achieving it again and again. They begin to experience emotional turbulence if they can’t attain pleasure, like anger, greed, or anxiety. This pattern of behaviour absorbs these people’s thoughts so much that it replaces their capacity to pursue those things in life which will truly make them flourish. Therefore, this encouragement to say no to the pleasures of food, is an invitation to learn the habit of denying our inner yearnings, if they will lead to emptiness.  

The most salient and pervasive examples of this today are digital content and social media. We tend to think of addiction in clinical terms, an extreme form of behaviour associated with people whose habitual consumption of drugs, alcohol, or gambling has run their lives off of the track. However, some psychologists argue for a broader definition of addiction. One which includes the habituation to compulsively consuming social media, the news, and other forms of digital media. For many of us, our compulsion to consume these kinds of content will occupy a great deal of our time and energy, which we could otherwise spend on activities which would make us thrive. Such as nurturing our relationships with God and with others, creative endeavours, and spending time in nature.  

A well-crafted meal, especially one received from a long culinary tradition, reveals the power of human creativity, which in turn shows us a glimmer of God’s creative act. 

Importantly, Gregory does not suggest that we ought to starve ourselves. A key aspect of learning to say no to the pleasures of food, is learning to say yes to that which our body needs. He explains that our minds are capable of determining how much is sufficient, but our inner yearnings are not. If they are left unchecked, they will cause us to desire to never stop eating. For those of us who are privileged enough to afford it, the solution is to neither punish nor destroy our bodies, but simply to stop when we have had a sufficient amount. 

Admittedly, this vision of eating does not sound like much fun. Food and wine certainly afford me great pleasure, not so much in their quantities but in their qualities; what room is there for people like me in Gregory’s vision of the kingdom of God? 

In his interpretation of the Song of Songs, a book in the Hebrew Bible, Gregory discusses two kinds of pleasure. He says that there are pleasures of the body, which, as discussed, consume our minds and bodies, replace our pursuit of those things which will help us truly flourish and give us turbulent emotions. However, there are also spiritual pleasures. These are experiences which lift our minds up to God and give us a kind of spiritual ecstasy. Although Gregory does not make this connection, I suggest that food can afford us these spiritual pleasures. The occasional feast can point to the abundance of God’s generosity to us. Fine fresh fruit on a summer's day can teach us something about the goodness of God’s creation. A well-crafted meal, especially one received from a long culinary tradition, reveals the power of human creativity, which in turn shows us a glimmer of God’s creative act.  

In this way, Christians have a way of thinking about the pleasures of food which walks the narrow path between the pitfalls of unhealthy overindulgence and mutilation of the body. It is cautious about a pattern of life given over to the pursuit of pleasure instead of those things which will make us thrive. However, it recognises those times in which food can lift up our minds to the divine. So, this New Year, don’t resolve to starve yourself in pursuit of a certain waistline, and certainly don’t give up on discipline altogether. Instead, focus on moderation, and the capacity to say no to unhelpful desires. Let this discipline open up space in your life to say yes to those things which will make you truly flourish. 

Review
Addiction
Culture
Theatre
5 min read

The ancient drama of rehab

People Places & Things is a modern play with old stories.

Simon Walsh is a communications consultant, journalist and non-stipendiary priest in the Diocese of London.

on a stage a woman kneels on a bed amid frantic action around her.
Denise Gough as Emma.

‘There is no higher power,’ says a character defiantly in People Places & Things, the revival of Duncan Macmillan’s 2015 play about addicts and addiction. It’s an echo from Greek tragedy when anyone denies the gods, and now has a modern ring in all the self-help, self-belief talk of recovery and resolve.  

Denise Gough reprises her lead performance as Emma for which, last time around, she swept the board in awards and nominations. It’s easy to see why. She’s on stage almost the entire time, compelling and fluent throughout. The opening scene has her in the white-box modern set wearing a Victorian costume, for her character is an actress in Chekhov’s The Seagull – almost meta, and the first hint and how this a show where realities and identities blur with layers upon layers. 

Soon after, Emma (if that is her real name) checks into a rehab unit. She doesn’t feel she has a problem but is there for a break. ‘Drugs and alcohol have never let me down,’ she says at one point. A brisk female doctor in a white coat admits her, played by Sinéad Cusack. A couple of scenes later, Cusack reappears as the clinic’s group therapist. This time she’s full of empathy – barefoot and with a scarf over one shoulder – all herbal tea and sympathy. 

But the therapist’s work with her charges is vital. Some even get to ‘graduate’ and host a non-alcoholic party the night before they leave, having successfully stayed the course. Probably not Emma though. She’s too feisty, individually unable to admit her problems, and inevitably she crashes. There’s a naturalistic feel to the production and narrative, even when it jolts into dream-like sequences or bright lights with thumping techno music.  

Anyone with experience of an addict or addiction will find it all too familiar. The later scene where Emma returns to the parental home is a crucible of pain, and embodies the play’s title. It concerns ‘the people who can make us relapse, the places which trigger associations, and the things which are the props of the old habits’. And it’s made more complex by the family in grief over the recent, sudden death of Emma’s beloved brother in a freak accident. ‘It should have been you instead’ is the parental curse on this remaining child. 

There’s a slow and silent feel to the way it develops. The word inexorable comes to mind, something that cannot be changed or stopped. Like Greek tragedy, the tension is in how this will resolve, and if it will turn out as badly as feared. It does and it doesn’t, which is at least true to the addiction journey. 

Jeremy Herrin expertly directs an intensely fine cast: Russell Anthony, Holly Atkins, Ryan Hutton, Malachi Kirby, Danny Kirrane, Paksie Vernon, Kevin McMonagle, Ayò Owóyemi-Peters, Lousie Templeton, Dillon Scott-Lewis. These are nuanced, crafted performances which inhabit Bunny Christie’s versatile, stylish set with presence. 

 

What the healings have in common is the aftermath – a sense of vision restored, stability refound, new clarity... 

Faith plays at the edges of this work. There are passing references to religion: a ‘bibling grief’, communion wine, the power of prayer. More tears, said St Teresa of Avila, are shed over answered prayers than unanswered ones, and this outward expression of a cry for help connotes the spiritual struggle of addicts along with their pity. As the first disciples themselves asked, ‘Teach us, Lord, how to pray.’ 

Addiction was not something Jesus had much to say about. Healings take place throughout each of the four gospels. The sufferers present with various ailments and of differing origins. For some it is hereditary, others through sin (such as when Matthew records Jesus healing a paralyzed man with the words ‘your sins are forgiven’). At other times there is a clear need for recognition such as when Jesus visits his hometown. He ‘laid hands on a few sick people and cured them’ but otherwise ‘could do no deed of power there… and was amazed at their unbelief’. 

These healings, however, do not obviously deal with addiction. The closest connection is probably the examples which deal with demons. The encounter with a man possessed in the land of the Gerasenes, a little earlier, is instructive. Here is someone who ‘lived among the tombs; and no one could restrain him anymore, even with a chain; for he had often been restrained but the chains he wrenched apart; and no one had the strength to subdue him’. But Jesus confronts the demon, the ’unclean spirit’, and sends it into a herd of swine ‘numbering about two thousand, which then rushes to the sea and is drowned. 

What the healings have in common is the aftermath – a sense of vision restored, stability refound, new clarity. The healed demoniac is found with Jesus, ‘sitting there, clothed and in his right mind’, though the swineherds do not believe it and remain scared. They beg Jesus to leave and the ex-demoniac wants to go with him, but Jesus tells him to stay: ‘Go home to your friends, and tell them how much the Lord has done for you, and what mercy he has shown you.’ He is to give his testimony. 

Drama at its heart has to be about telling a story and finding a universal truth.

It’s a running debate that lived experience and life identity are now more important than acting ability when it comes to race, sexuality, gender and so on. Denise Gough has given testimony ahead of this run – how as a teenager she fled her native Wexford for London where she fell into homelessness, drug and alcohol abuse, and was the victim of grooming. She has told her story, with purpose, much as those people who experienced healing and deliverance gave their own account to the Early Church. 

Drama at its heart has to be about telling a story and finding a universal truth. The gospels are full of this, with redemption and rehabilitation. Lives changed, sins forgiven, and a new future made possible. There is power in believing, and knowing that when someone might stumble and fall, it is not the end. In fact, it might just be the beginning. 

  

People, Places & Things is on at the Trafalgar Theatre, Whitehall, London, SW1A 2DY, until 10 August 2024.