The season of Lent is the season of the realist.
Lent marks the forty days that lead of up to Easter in which Christians remember the brokenness and mortality of the human condition and the miracle of Christ who knows our weakness and lovingly offered himself for all.
The term Christians use to describe the human brokenness we reflect on with intensity at Lent is “sin”. Now, I realise that sin isn’t a terribly fashionable word. It can seem morbid, introspective and negative. But if sin simply refers to what Francis Spufford calls “our human propensity to f*ck things up“, then what could be more realistic than recognising and owning up to one’s shortcomings?
After all, the season of Lent is the season of the realist.
For it recognises our brokenness but it does not leave us without hope. If confession is where we begin on the Christian journey, it is not where we end up. Like woebegone Isaiah, we are not completely left to the devices and desires of our own hearts. If we commit ourselves to God, we can receive the cleansing we need and that only he can provide.
The confronting realism of Lent can be seen and heard in the following pieces, taken from literature, art, music and film.
Cosmic Winter or Cosmic Summer?
Our first passage comes from CS Lewis’s essay the ‘Grand Miracle’, in which Lewis spiritedly advances his argument for belief in the resurrection. This is, in one way, an odd choice of reading for Lent as it appears to skip over the season entirely and deals squarely with the miracle of Easter. But in some ways, this passage nicely frames the season of Lent by forcing us to confront the subject of repentance and its necessity to the Christian life. To this end, Lewis uses the example of the seasons. The Christian lives in Spring following the resurrection. Yes Winter in some sense remains present. We feel it “baith snell an’ keen”. And yet the signs of spring begin to manifest themselves. The crocus shoots up, a sign that spring is on its way. Above all, Lewis alights upon the theme of choice and power—of decision. At Lent, the choice is ours. Will we stay in dark winter, or move forward into the glorious cosmic summer?
The miracles that have already happened are, of course, as Scripture so often says, the first fruits of that cosmic summer which is presently coming on. Christ has risen, and so we shall rise. St Peter for a few seconds walked on the water; and the day will come when there will be a re-made universe, infinitely obedient to the will of glorified and obedient men, when we can do all things, when we shall be those gods that we are described as being in Scripture. To be sure, it feels wintry enough still: but often in the very early spring it feels like that. Two thousand years are only a day or two by this scale. A man really ought to say, ‘The Resurrection happened two thousand years ago’ in the same spirit in which he says, ‘I saw a crocus yesterday.’ Because we know what is coming behind the crocus. The spring comes slowly down this way; but the great thing is that the corner has been turned. There is, of course, this difference, that in the natural spring the crocus cannot choose whether it will respond or not. We can. We have the power either of withstanding the spring, and sinking back into the cosmic winter, or of going on into those ‘high mid-summer pomps’ in which our Leader, the Son of man, already dwells, and to which He is calling us. It remains with us to follow or not, to die in this winter, or to go on into that spring and that summer.‘The Grand Miracle’, in God in the Dock (Eerdmans: 1970) 87-88.
Miserere Mei Deus
Lent wouldn’t be Lent without Allegri’s Miserere. Along with Psalm 22, Psalm 51 forms one of the great Lenten psalms. Whereas in Psalm 22, the Psalmist plumbs the depths of despair and lament, in Psalm 51 he bares his soul in confession to God.
The setting of the Psalm couldn’t be any darker. Israel’s hero-king lustfully claims as his wife Bathsheba, the wife of one of his soldiers, whom he has killed by placing him in the front lines of battle. The child he then has with Bathsheba dies at a young age. The stark realism captures the universal human experience of despair over personal human failings. For I know my iniquities And my sins are always before me. The Psalmist is desperate for rescue and re-creation. Create in me a pure heart, oh, God. The Miserere sets this achingly warts-and-all confession in the searing beauty of a nine-part choral piece. It is a masterpiece of art and devotion.
Finding Life In the Desert
Jesus’s 40 day testing in the desert is the centre-piece of the Lenten Season. Driven by the spirit into the wilderness, Jesus triumphantly endures three tests set by the Adversary.
In the painting above, Briton Riviere‘s Christ in the Wilderness (1898), the artist strikingly, but perhaps misleadingly, presents Jesus alone, bereft of all comfort or company. As Ian Paul remarks,
The temptations might not have been a bag of laughs, but Jesus is not depicted as ‘lone and dreary’; in Mark he is ministered to by angels and the wild beasts, and Luke is clear that he goes ‘filled with the Holy Spirit’ and with the words of his Father’s blessing ringing in his ears, and returns for ministry ‘in the power of the Spirit’ (Luke 4.14)
Yes, there is the weariness and hunger of Jesus—captured in one of scripture’s greatest understatements, “he was hungry”.
Yes it was hard. And that’s precisely the point of Lent.
But there is a strange fullness, a mysterious blessing in the desert. By this I do not mean to trivialise or over-spiritualise hardship. I simply mean that such hardships can bring into focus our deep need for God.
Sometimes it is in the desert that we find life. Or more to the point, sometimes it is in the desert that we find Christ. It is in the desert that we are confronted with the emptiness and thirst we can pretend is not there in the oasis. Sometimes it is in the dryness of the desert, where there seems no breath left in our lungs, sometimes it is here “where the breath begins”.
in each direction.
in your own heart:
the center of your chest
a bare valley
every way you turn.
Did you think
this was where
you had come to die?
It’s true that
you may need
to do some crumbling,
That some things
you have protected
may want to be
That you will be asked
to let go
and let go,
This is what
a desert is for.
If you have come here
if you have come here
then thank your lucky stars
the desert is where
you have landed—
here where it is hard
here where it is unwise
to rely on your own devices,
here where you will
have to look
and look again
and look close
to find what refreshment waits
to reveal itself to you.
I tell you,
though it may be hard
to see it now,
this is where
your greatest blessing
will find you.
I tell you,
this is where
you will receive
your life again.
I tell you,Jan Richardson from Circle of Grace
this is where
the breath begins.
A Lenten Film Triptych
- Realisation: Growing Suspicious
Realization refers to the point at which we recognise that something is wrong or amiss. We might call this the moment when we realize we are ‘on to something’. The clip from the Truman Show captures something of this ‘dawning realization’—when it ‘dawns’ upon us that the reality we are living in or out is somehow not what it should be. This relates well to the idea of repentance as a change of heart and mind—the Greek for repentance is ‘metanoia’, referring to the mind or driving seat of the person which requires change. The premise of the film, of course, is that from the moment of Truman’s birth, his entire life has been make-belief. He lives in a constructed town in an all too real ‘reality’ TV programme watched by viewers outside of the city. Everyone is in on the act…everyone, that is, except for Truman. This clip (a deleted scene) humorously shows his realization that something is afoot.
2. Confession: I’m Drunk Right Now
Although knowing the truth of a situation, it is all to possible for us to stubbornly resist it. The ‘dawning realization’ discussed above almost always reveals some ugly truth about our inner selves which we inevitably wish to fight tooth and nail against. In the film Flight, William Whittaker (played by Denzel Washington) skilfully lands a plane caught in a terrible storm. Although several people on the flight die, the feat is widely acclaimed as an act of miraculous bravery by Whittaker. But then the horrible truth eventually comes out that Whittaker was drunk while flying the plane. In the final scene (spoilers!), Denzel Washington’s character has the choice to live a lie about his alcoholism or to ‘fess up to his dreadful secret. It is one of the most moving and satisfying resolutions to a film I have ever seen.
3. Action: Is This Not the Fast I Choose?
It is one thing to admit you are ‘driving in the wrong direction’, another to begin to turn the car around and begin going in the right way. This can be a deeply humbling process. Another word for this is repentance, which refers to the changing of mind and heart in light of our own wrong-doing. We are reminded of repentance at Lent but also at the beginning of the Church calendar in the season of Advent. In one Advent reading, John the Baptist admonishes the crowds to ‘bear fruits in keeping with your repentance’. This ‘bearing of fruits’ takes on a highly practical nature. Among other things, it looks like giving to those in need, clothing the naked, feeding the hungry, turning away from bribery and extortion, living justly.
In The Pianist, Nazi Officer Wilm Hosenfield is racked with guilt and vows to house Jewish pianist Władysław Szpilman. In the scene above, he is shown feeding Szpilman and, eventually, giving him his coat. I am reminded of the words of Isaiah: “Is not this the kind of fasting I have chosen: to loose the chains of injustice and untie the cords of the yoke, to set the oppressed free and break every yoke?” True repentance looks like giving your coat to the one who has none. Not as a way of earning anything, but as the fruits of a life restored by God’s mercy.