Many Waters: floods and faith

Here on the Durham peninsula, we live with water all the time. As the River Wear, it flows round the rocky acropolis on which Cathedral and Castle sit. When it is in spate, you can hear it in the cloister, tumbling noisily over the weir between the Mill House and the Old Fulling Mill. When the river is very high it goes quiet again, for then the weir becomes just a wrinkle across the smooth fast surface of the flow.

However, all this is happening far below. The river remains confined to its gorge, kept in its place as rivers are meant to be. What we have seen in Somerset and across the south of England is water that bursts out of its proper bounds. And then it is not simply unwelcome but frightening, a power that is as relentless and destructive as hurricane or wildfire.

When I am walking past the mill, I sometimes think about one of my favourite novels, George Eliot’s The Mill on the Floss. In that story, the mill is Tom and MaggieTulliver’s home. Never mind the plot (read it for yourself) in which river and mill play a central part. During the story, Tom and Maggie become estranged. At the climax, the river floods and the mill is swept away. Tom and Maggie’s boat capsizes and sinks, but not before Tom and Maggie are reconciled and drown in a tender embrace.

The novel is set in the Lincolnshire fens, not the Somerset Levels. But it captures so much of what people have been suffering in Somerset where life is imitating art in a terrible way. But there’s a point at which art and life differ. In the book, the flood brings about a reconciliation, and by implication, something new and better is coming to birth. It’s the same in Wagner’s Götterdämmerung where the old order of the gods is swept away by fire and flood and a new humanity is born. But in Somerset, there is no redemption, at least not yet. People continue to be overwhelmed, week after week, submerged beneath cold, filthy, hateful waters that simply refuse to go away.

George Eliot and Richard Wagner were drawing on ancient mythological archetypes in their art. The Epic of Gilgamesh and the Genesis story of the flood are among the oldest narratives in the world. The Bible is witness to the primordial fear the Hebrews had of waters that transgressed their limits and would not stay where they belonged. ‘The floods have lifted up, O Lord, the floods have lifted up their voice, the floods lift up their roaring’ (Psalm 93.3). To them, the flood represented chaos in its worst manifestations, monstrous, terrifying, powerful.

So it is not strange that in the New Testament, one of Jesus’ most memorable actions is to calm the storm, reassure the boatmen and instruct the waters, like a ferocious wild animal, to ‘be muzzled’ (Mark 4.35-41). It echoes the psalmist’s faith: ‘more majestic than the thunders of mighty waters, more majestic than the waves of the sea, majestic on high is the Lord!’ Or as another watery psalm says, ‘be still and know that I am God’ (Psalm 46.10).

But to those who are victims of the waters that are despoiling homes and farms and livelihoods at present, these words may not yet bring encouragement, still less hope. It will require a huge act of faith to hear them in any way other than as a cruel mockery. But we who are dry and warm in our own homes should try to pray imaginatively for the children, women and men who are on our hearts right now. We can stand alongside them and on their behalf, hold on to our belief that there is no chaos, however awful, where God is not already present, sharing in the pain of victims, knowing in his crucified self the waste and the loss and the pain. They need us to hold on to our belief that in God’s time and in God’s way, not least through the care of those who are bringing help and support, they will find hope once more, and be given back their lives. 

'Many waters cannot quench love, neither can the floods drown it' says the Song of Solomon. I am writing this on Sunday, the day of resurrection. May it come for us all - soon.

Now Voyager! Travelling the Solar System

What's been the most moving TV programme I have seen for a long time?  It may surprise you that it was a BBC4 documentary on the journeys of Voyager 1 and 2 through the Solar System. 

They two Voyagers were launched in 1977 to study the outer planets of the Solar System: Jupiter, Saturn, Uranus and Neptune.  A blog can hardly do justice to the quantity and quality of the information beamed back to us across the void.  The turbulent atmosphere of Jupiter with its storm-system known as the Great Red Spot, the rings of Saturn and the shadows on them caused by its magnetic field, Uranus (which largely kept its secrets from Voyager) and Neptune the ethereal blue planet that is the sentinel of the Solar System: all these and many of their diverse and fascinating moons have been disclosed as never before. 

The two Voyagers are receding from us (in different directions) by several thousand km/hour.  Yet their 1970s technology, so clunky by current standards, is still working and is capable of transmitting information across billions of miles, and for as long as they can continue to be powered.  It’s an eerie thought that these humanly-made objects are now crossing the threshold between the sun’s influence, passing out of the environment that is earth’s home, and entering deep space. This is as far as anything made by humankind has ever travelled.  

Why did I find all this powerfully moving?

For two reasons.  The first is the tribute the Voyagers’ journeys are still paying to what human beings are capable of.  But this isn’t simply the technology that launched them on this odyssey.  The spacecraft are carrying discs that are a greeting from Planet Earth to any ET who may chance to come across them.  They contain a record of what the world was like in the 1970s: landscapes, townscapes, human language, beliefs, buildings, writings and culture.  Among this testimony to homo sapiens sent into space was the music of Johann Sebastian Bach, perhaps because there would be some consensus (which I’d endorse) that he was the greatest composer of the western world.  

Of course the chance that any extra-terrestial will ever see pictures of children across the world and listen to their greetings is practically zero. But the real point was not to inform ET.  It was to inform us, and by an act of the imagination, underline the infinite preciousness of planet earth and the miracle of life that has evolved on its surface. To think of Bach’s 48 Preludes and Fugues hurtling through inter-stellar space for aeons to come should make us realise how marvellous a thing it is that we are here at all, so privileged, so gifted and yet so precariously placed in the face of the threats that are posed not by outside forces but from our very selves and our capacity for self-destruction.  We hear the echoes of our own life from a far-off place, and that makes us hear ourselves in new ways.

There is a real agenda for theology here, because the Voyager journeys not only put questions about the cosmos and its meaning but also put the psalmist’s question (apologies for the non-inclusive language): ‘what is man that you are mindful of him, the son of man that you visit him?’ That question of Psalm 8 is asked because the psalmist has looked up into the sky and been awed by its tracts unknown.  If the Voyager programme has helped instil a greater sense of awe so that we begin to know our place in the universe, it will have been worth it.  I wish I could believe that the past 35 years have seen the human family take that question seriously, become more aware, more responsible, wiser.  But we must not lose heart.

My second reason for being touched was more personal.  The Voyagers were launched in 1977.  That was also the year that our first child was born and launched on the adventure of being alive. She too has been travelling for all that time.  Like them, she is an explorer.  She is bound to be because she is a human being, and it’s the vocation and destiny of every human being to discover worlds undreamed of and try to make sense of life’s mystery. 

This is where cosmology and religion belong together.  It's one of those places where faith seeks understanding to the enrichment and delight of the human mind and heart.