Sarah James

IN PEACEBUILDING AND THE ARTS, practical theologians Theodora Hawksley and Jolyon Mitchell ask readers to imagine peace: “It is all too easy to reach for clichés” — doves or peace signs come to mind — or “to think of peace as a sort of absence, a not-happening.” In our violent world, we readily picture conflict and injustice, but not peace or conflict transformation. The arts help us fill this empty space, revealing the true nature of peacebuilding as “an ongoing, dynamic process, a journey that sets human relationships on the road to life.” Through bolstering the moral imagination, the arts rehumanize dehumanized contexts.

Mitchell explains how the arts give us “realistic visions of how to create peace” and foster “an environment in which the ‘moral imagination’ can be cultivated.” He shares the example of Mozambican Anglican Bishop Dinis Sengulane, who, in the mid-’90s, established the Transforming Arms into Tools project after the end of Mozambique’s long civil war. This project asked local artists to “glorify peace” through refashioning decommissioned weapons into art. Compelling works such as “Throne of Weapons” (2001) and “Tree of Life” (2004) emerged: metallic sculptures made from assault rifles welded together in a way that preserved the outlines of the weapons. The “Throne of Weapons” has a back, arms, seat, and legs made clearly from the barrels, triggers, and heels of AK47s. The viewing experience is a dance between the parts and the whole, which underscores the meaning of the project itself. The sculptures represent the specific horrors of the past and broader hope born from peacebuilding. Displayed in public places in the U.K., these works have served as a caution against gun violence and an inspiration to activist-artists across the globe.

IN MY FIRST SEMESTER of divinity school, I experienced a spiritual crisis. For months, I woke every night at 3 a.m., plagued by unanswerable questions on life’s meaning, God’s silence, suffering, and human nature. At the time, I felt alone, but now, years on the other side of it, I see the healing that emerged from my “dark night of the soul.”

While the phrase “dark night of the soul” has seeped into secular parlance, it is specifically drawn from the Christian contemplative tradition. St. John of the Cross, a 16th-century Carmelite monk and reformer, wrote a theological commentary and a poem, both titled “The Dark Night of the Soul,” about good darkness, contemplation, and the journey of faith. These works emerged after John’s unjust imprisonment in a monastery, where he endured physical violence and extreme deprivation. There, John discovered the richness of the “dark night” for illumination and purification. Barbara Brown Taylor, author of Learning to Walk in the Dark,writes, “For [John], the dark night is a love story, full of the painful joy of seeking the most elusive lover of all.” While the dark night may feel like “oblivion,” John contends that “The more darkness it brings ... the more light it sheds.”

IN RATTLING THOSE DRY BONES: Women Changing the Church, activist and author Susan Cole writes an essay in response to the question, Why do I remain in the church? In her answer, she shares how she healed her relationship with God through the figure of Sophia, who she defines as “the Wisdom of God, the divine imaged as female.” Cole writes, “Through [Sophia] I have discovered in a whole new way, divine presence within myself, within my sisters, within all that is.” Cole’s portrait of a female God, filled with kindness and joy, stands in stark contrast to the millennia of androcentrism that shapes Christian teaching and practice. The treasure of the Christian female godhead remains buried, but it can be uncovered.

Sophia sits (metaphorically) at artist Judy Chicago’s “The Dinner Party,” the famed feminist installation anchored by an enormous triangular banquet table, 48 feet long on each side. From 1974 to 1979, Chicago scrupulously created unique, historically precise place settings for 39 “guests of honor,” female figures both mythical and historical, ranging from Mother Earth to Georgia O’Keeffe. An additional 999 names appear written on tiles surrounding the table. According to Brooklyn Museum curators, at Chicago’s table Sophia stands as a powerful “creative force in the universe” and a cross-cultural symbol of a female God. And the elements of Sophia’s place setting — a flower plate with watery petals and a runner made from remnants of a wedding veil — symbolize Christianity’s role in “the downfall of female power, particularly religious power.” On a grand scale, “The Dinner Party” reminds us of what patriarchy has erased.

THERE'S A REFORM JEWISH Sabbath prayer that reads, “Days pass and the years vanish, and we walk sightless among miracles. Lord, fill our eyes with seeing and our minds with knowing; let there be moments when Your Presence, like lightning, illumines the darkness in which we walk. Help us to see, wherever we gaze, that the bush burns unconsumed. And we, clay touched by God, will reach out for holiness, and exclaim in wonder: ‘How filled with awe is this place, and we did not know it!’”

If we want to experience awe or wonder, we need to reach for inputs of wisdom that enliven our ways of seeing. As a person who struggles with overthinking and anxiety, I find visual art, like the work of Latvian American artist Vija Celmins, to be instructive. “The thing I like about painting, of course,” Celmins said in an interview with the Tate museum, “is that it takes just a second for the information to go ‘bam,’ all the way in, and then you can explore it later.” Engaging with Celmins’ work teaches me how to pay close attention to the life in front of me, noticing the beauty that pervades everything.

IN THE EIGHTH season of Call the Midwife, set in post-war east London, nuns and nurse midwives of Nonnatus House assist a woman with severe complications from a “backstreet” abortion. Sister Julienne says to a young nurse, “The word ‘midwife’ means ‘with-woman.’ A woman in that situation needs somebody by her side.”

I’m pro-choice, which was an unpopular stance in the Catholic community I grew up in. For my views on reproductive rights, people in youth group called me a “baby killer” and “Pontius Pilate.” During Advent, specifically, I loathed the hollow teachings on Mary and childbirth. We sanitized the Nativity into a cute story — the equivalent of a Disney movie featuring a white family and a manger crowded with men. Only recently did I learn that some scholars believe that midwives attended Jesus’ birth. As reproductive freedom and care are further undermined in the United States, this is an apt time to reclaim a more feminist view of the Nativity and rethink Advent as the season of the midwife.