Being Fully Human

A poem by Sorrel Wood

 

Perhaps the moment we are born:

Naked, screaming and messy

Completely dependent on the provision of the other for survival

Vulnerable, miraculous

As ordinary and extraordinary as snowfall and the stars,

Perhaps that is the moment we are most fully human.

 

As quickly as the breath in our lungs transforms itself

Into air for the trees,

Step by step, we forget our true humanity.

 

We forget that we deserve to be loved unconditionally

Before we have achieved or amassed anything

Because we are unique.

We refuse to acknowledge that our presence

Infinitely and irrevocably changes the lives of those around us.

We forget the terrifying truth

That each time another disappears from our vision (however briefly)

We may never see them again.

We forget how to scream the depths of our pain

With every atom of our being.

 

We pretend that we are insignificant,

We pretend that we are God.

 

We deny the truth that we are

Miraculous

Irreplaceable

Uninsurable

And that every other is as fully human as we are

No more, no less.

 

We shirk the weighty responsibility

Of treating every other

As intricately connected to our story

And equally worthy of love.

 

We forget that we are precious.

 

We forget that our brief, significant life

Is a journey of re-remembering every day

How to be fully human.

 

Instead, we run and hide from the fragility

The responsibility, the co-dependency

The spark of divinity

That characterises our humanity.

Because the cost of being fully human

Is too heavy a cross to carry in our fragile, human hearts.

 

 

hands

 

The Testament of Mary

The Testament of Mary

 

Tim Middleton reflects on the tangible, immersed experience of Christ incarnate, and that of his mother Mary, and the challenge of meeting God in the pain and truth of life on earth. 

 

‘Conceived by the Holy Spirit, born of the Virgin Mary, suffered under Pontius Pilate, crucified, dead, and buried’—the Apostles’ Creed puts it all very succinctly. If you’re in church on a Sunday, this terse summary of the key moments in the life of Jesus is sometimes all you get. But Colm Tóibín’s play (and subsequent novella) The Testament of Mary includes rather more.

Mary the mother of Jesus has been the focus of Christian adoration for centuries and we’ve inherited a tradition replete with images. When people talk of Marian devotion, one might hear the haunting opening of Arvo Pärt’s setting of the Stabat Mater, a sorrowful hymn to Mary. Or one might conjure to mind the exquisite marble of Michelangelo’s Pietà in St. Peter’s Basilica in Rome. According to tradition, and indeed much of our greatest sacred art and music, Mary is serene, obliging, self-sacrificing and God-fearing.

But what if you had been the mother of Jesus? What if you had been at the foot of the cross when your own son was crucified? What if you were thoroughly exhausted by everybody else trying to re-interpret what the life of your son meant?

It’s not necessarily easy to read: Tóibín’s book can disturb, upset and provoke. In places it is anachronistic, chronologically disjointed or in direct contradiction with what you find in the Bible. For me, though, to be concerned by this is to miss the point. What I have gradually come to realise is that, by definition, there has to be something very gritty about the incarnation. I used to be very bothered by the idea that Jesus only came at one time and in one place—the so-called scandal of particularity. How could a supposedly universal God be as thoughtless as to not give us easy, universal access? But I have come to appreciate that the messy, historically contingent way in which God came to Earth is not a weakness but a strength—in fact, it is taking the notion that God became fully human very seriously indeed. The human condition is messy, and so the life of Jesus must also have been messy. What’s more, each of us views life through our own subjective prism: parts of life are unfair, parts of life don’t work out in the way we had hoped, and for much of our lives we are dependent on other people for support and happiness.

So what would all of this have looked like through Mary’s eyes? It might well have been baffling. The crucifixion might well have been so dangerous and terrifying that she decided to flee. And, in an echo of Dostoyevsky’s The Brothers Karamazov, it may well have felt like the whole thing just wasn’t worth the pain and anguish. Our abstract, creedal formulas have a certain place, but it is only in gritty, lived experience that we fully grasp the reality of things. Perhaps it was all rather tougher for Mary than we are sometimes led to believe.

This is My Body

A poem by Rev’d. Ruth Wells

This is my body
This
Is my body
This is
My body
This is my
Body;
Broken

I trace the cross on my belly
Vertical linea nigra
This black line, marking out your expected arrival
Then the horizontal one I barely dare to touch
The ‘sun roof’ as my sister called it
Made for your quick escape
Your great evacuation
Made in haste.
This is my body broken for you.

This is my blood shed.
The messy reality of new life
Carnage
The aftermath
Blood for weeks
That secret that nobody told me first time round
The woosiness of the initial venture out of bed
Tentative steps like learning to walk again
The return of sensation to limbs numb
The shock of it all.
This is my blood.

And as I flit inbetween sleep and wake
In the liminal hours
The sound of your guzzling
Lulling me into dreamlike trance
I chance again upon the Eucharist
The broken body
The blood shed
And I’m walking the line
Placing your broken body into outstretched hands
Some eager
Others hesitant
All broken
And my brokenness
My bloodshed
Becomes all the more poignant
The collision of humanity & the Divine

And as I hold you to me
Our heartbeats echoing
I am caught up in it all
The brokenness and the beauty.

Wells