The child inside

Tobias angel

The other day I came across a beautiful letter written by the poet Ted Hughes to his then 24-year-old son Nicholas, and reading it I was immediately struck by his fatherly love, by the strange familiarity, yet distinctness, of his advice and by the streak of sadness running through it.
The gist of Hughes’ advice derives from the idea that “every single [person] is, and is painfully every moment aware of it, still a child.”:

“It’s something people don’t discuss, because [they] are aware of [it] only as a general crisis of sense of inadequacy, […] or a sense of not having a strong enough ego to meet and master inner storms that come from an unexpected angle. But not many people realise that it is, in fact, the suffering of the child inside them.
Everybody tries to protect this vulnerable […] eight year old inside, and to acquire skills and aptitudes for dealing with the situations that threaten to overwhelm it. So everybody develops a whole armour of secondary self, the artificially constructed being that deals with the outer world, and the crush of circumstances.
And when we meet people, this is what we usually meet [and we] end up making ‘no contact.’ But when you develop a strong divining sense for the child behind that armour, and you make your dealings and negotiations only with that child, you find that everybody becomes, in a way, like your own child. It’s an intangible thing. But they too sense when that is what you are appealing to, and they respond with an impulse of real life, you get a little flash of the essential person, which is the child.”

When I first read this, I immediately had the sense that it contains those “reflected rays of truth” (Nostra Aetate 2); I could sense the traces of Jesus’s words in it – both in the image of the child as the underlying paradigm (“I say to you, unless you turn and become like children, you will not enter the kingdom of heaven.” Matthew 18:3) and in the mechanism of getting to a true “meeting” by having inner child engage with inner child. In fact, if you read on in Matthew’s Gospel, Jesus says: “whoever receives one child such as this in my name receives me” (18:5) and St. Paul elsewhere adds: “yet I live, no longer I, but Christ lives in me” (Galatians 2:20) which takes us to the long-established Christian image of each one of us being Jesus – having Jesus inside. With this key, I can read Hughes’ “child inside” as Jesus, which makes his proposal for how to truly meet another person essentially take us to Jesus’: “where two or three are gathered together in my name, there am I in the midst of them” (Matthew 18:20). If Jesus in me and Jesus in another connect, He is not only in each one of us, but also among us. Our meeting becomes like that of the persons of the Trinity, where the “meeting” itself takes on a level of reality like that of those who meet (“[Y]ou see the Trinity if you see love … They are three: the lover, the loved, and the love.” St. Augustine).
Am I saying that this is what Hughes meant? Certainly not. While being clearly distinct, the negative image of a person’s inner child being hidden behind the “armour of [the artificially constructed,] secondary self” does have close parallels with and traces of the Gospel. The difference between Hughes’ “inner child” and Jesus seems to grow further still in the following lines though:

“Usually, that child is a wretchedly isolated undeveloped little being. It’s been protected by the efficient armour, it’s never participated in life, it’s never been exposed to living and to managing the person’s affairs, it’s never been given responsibility for taking the brunt. And it’s never properly lived. That’s how it is in almost everybody. And that little creature is sitting there, behind the armour, peering through the slits. […] At every moment, behind the most efficient seeming adult exterior, the whole world of the person’s childhood is being carefully held like a glass of water bulging above the brim. And in fact, that child is the only real thing in them. It’s their humanity, their real individuality, the one that can’t understand why it was born and that knows it will have to die, in no matter how crowded a place, quite on its own. That’s the carrier of all the living qualities. It’s the centre of all the possible magic and revelation.”

This does sound quite unlike Jesus – or does it? Looking more closely, it seems to me that a lot of what Hughes says here is reminiscent of Jesus suffering on the cross, even to the point of feeling abandoned by his Father (“My God, my God, why have you forsaken me?” Mark 15:34). The wretched isolation facing death – that is Jesus on the cross and that is Jesus in me, when I am made to suffer by others or when I make him suffer in me by placing my own interests before those of others. Read in this way, Hughes view of the person and inter-personal relationships, appear in a very Christian light. Here Jesus suffers in those who smother him with an “artificially constructed, secondary self” and shows an “impulse of real life” when he is allowed to meet himself in another person.
Hughes then continues with a seeming contradiction, which, however, supports the above, Christocentric reading:

“That’s the paradox: the only time most people feel alive is when they’re suffering, when something overwhelms their ordinary, careful armour, and the naked child is flung out onto the world. […] But when that child gets buried away under their adaptive and protective shells—he becomes one of the walking dead, a monster.”

It is in his suffering that Jesus most vividly show’s his love for us, his friends, and it is in suffering that I too am most undeniably called to make a choice between what matters and that “artificial armour” that I allow to obstruct Jesus’ life in me. This is not some morbid fascination with suffering or a form of masochism – on the contrary, it is a realization that in suffering I have an opportunity to encounter Jesus, who then takes me with him to the joy of resurrection. Hughes does not wallow in the negative either and leads his son to the following conclusion:

“[The] only thing people regret is that they didn’t live boldly enough, that they didn’t invest enough heart, didn’t love enough. Nothing else really counts at all. It was a saying about noble figures in old Irish poems—he would give his hawk to any man that asked for it, yet he loved his hawk better than men nowadays love their bride of tomorrow. He would mourn a dog with more grief than men nowadays mourn their fathers.”

The call to love that Hughes arrives at is nothing other than Jesus’ challenge to all who came to seek his advice: “love one another as I love you[, for n]o one has greater love than this, to lay down one’s life for one’s friends” (John 15:12-13).



If, like me until very recently, you haven’t read any of Hughes’ poetry, here is a great selection – mostly from Crow. As you will see, the tone is dark, cutting, negative and atheist throughout, but I couldn’t but see the beauty of his language and the heartfelt cry of his voice.

Beauty, ugliness and art

Michel pochet

“Ugliness will redeemed us” was certainly among the most provocative and profound insights shared at a conference of Christian academics and artists that I attended some 12 years ago in Rome. This statement, by the French painter Michel Pochet, was made very much in earnest and at a moment of reflection on a sacred text that spoke about Jesus’ suffering on the cross and his cry of abandonment before his death (“My God, my God, why have you forsaken me?” Mathew 27:45). It certainly was not a frivolous, Oscar Wilde-esque quip, yet the reaction to it was one of disbelief, shock and immediate, widespread opposition. A very prominent Italian sculptress asked to be given the floor and launched into what was effectively a plea for reason to return: “How can you say that ugliness will redeem us? God is beauty and it will be by beauty that salvation will be delivered!” Personally, I was very much attracted to Pochet’s words and equally disappointed by the immediate opposition they received. Thankfully, the conference chair swiftly rebuked Pochet’s critic, with something along the following lines: He said that the sculptress’ words were not in the spirit of charity, reminded her that we must believe in the good intentions of others and that if their views differ from ours, we must try to understand why they are different. In the end what she said was true but so was that which she criticized, in its own context. The most impressive thing to my mind was not only Pochet’s insight, but also that this group of distinguished academics and artists was both capable of open disagreement and of accepting a rebuke that in many contexts would have lead to offense.

But, let us return to Pochet’s insight, which has immediately attracted me, for which I could see good reason, but which I never had the opportunity to know more about, until I read the transcript of a talk (in Italian) that he gave at an event in 2006. There he talks about his experience of returning to painting after many years and being in post-war Croatia with some friends. Materials were scarce and when his friends realized that he was painting again, they were looking for supplies for him. One day he was given a piece of canvas that was badly marked, torn, discolored and generally not in a fit state to be used as the basis for a painting. Since it was offered to him out of love by his friends, he could not refuse it. Examining the canvas, the thought came to him to paint a portrait of Jesus in his abandonment on the cross, since there he too suffered from the damage that this canvas presented.

Upon completing the painting (shown at the top of this post), Pochet realized that what he did was not so much a portrait of the abandoned Jesus but of the risen one, bearing the marks of his crucifixion and suffering. Looking at his own work, Pochet understood that this dual portrait of the suffering and risen Jesus provides an insight into what beauty is. He realized that Jesus, being God, is also perfect beauty and that his person is substitutable with that of Beauty in the Gospel:1

“[Beauty] seems dead, buried under the rock of ugliness. But on the third day the tomb is empty. Someone tells us that she is risen and that she waits for us. She walks with us, talks to us. My heart burns in my chest. It is getting late. We ask her to stay for supper, but our eyes open in the moment she disappears. Risen Beauty does not appear again: she disappears, hides in the anonymity of whomever, in the banal, the everyday. […]

Beauty is at the lake’s shore, unrecognizable. A pure eye intuits her and opens our eyes. We dive into the water and Beauty nurtures our mind and our senses, with bread baked on a hot stone. Beauty climbs a mountain with us, is lifted up high before our eyes and a cloud removes her out of sight.

And while we are staring at the heavens as she leaves: “Why are you looking at the sky? This Beauty, which has been among you and has been taken up to heaven, will return one day in the same way in which you have seen her leave.” And we, along the ways of the world, remember her words of farewell: I am with you all the days, until the end of the present age. […]

[T]he death of Beauty, “ugliness” – if we want to call it that, [is] assumed by God, divinized, in the risen Jesus.”

This fits perfectly with the intuition I had when first hearing him speak about ugliness, although the profound insight that Jesus’ life can be applied to Beauty, to gain a deeper understanding of it, is an impressive bonus! Beauty, understood through the optics of Jesus, is not superficial, ‘kitsch’ or only concerned with aesthetics, but one that goes to the heart of what it is to be human. It embraces the ugliness of suffering and uses it to arrive at love and joy.

What Pope Benedict XVI has to say on the subject is very much related. E.g., when talking about Michelangelo‘s “The Last Judgement” fresco in the Sistine Chapel, he says that it “issues a strong prophetic cry against evil, against every form of injustice” and goes on the exult beauty as follows:

“[T]he experience of beauty, beauty that is authentic, not merely transient or artificial, is by no means a supplementary or secondary factor in our search for meaning and happiness; the experience of beauty does not remove us from reality, on the contrary, it leads to a direct encounter with the daily reality of our lives, liberating it from darkness, transfiguring it, making it radiant and beautiful.

Indeed, an essential function of genuine beauty, as emphasized by Plato, is that it gives man a healthy “shock”, it draws him out of himself, wrenches him away from resignation and from being content with the humdrum — it even makes him suffer, piercing him like a dart, but in so doing it “reawakens” him, opening afresh the eyes of his heart and mind, giving him wings, carrying him aloft.”

He then quotes Simone Weil, saying: “In all that awakens within us the pure and authentic sentiment of beauty, there, truly, is the presence of God. There is a kind of incarnation of God in the world, of which beauty is the sign. Beauty is the experimental proof that incarnation is possible. For this reason all art of the first order is, by its nature, religious.”

I hope that you won’t see this as an attempted land-grab for all art in the name of religion. Instead, I believe, it is an acknowledgement of art expressing a fundamental attribute of God, which believers can seek regardless of whether the artist intended it, agrees with it or believes in it. With the profound understanding of beauty (including a “risen” ugliness) that both Pope Benedict XVI and Michel Pochet talk about, we can further seek to recognize the presence of beauty also in art (and life!) that at first sight appears ugly.


1 Apologies for this unpolished translation – it is mine and was done in a hurry :$