Sophia in Exile: An Introduction

My latest book, Sophia in Exile, appeared in print last week courtesy of Angelico Press. Below is the introduction as found in the text.~ mm

INTRODUCTION: NOTES FROM EXILE

After Francis of Assisi and his companions walked the hundred and ten or so miles from Assisi to Rome, a trek that took days, in order to petition approval for founding the Order of Friars Minor, the cardinals interviewing them asked what their rule would be. Pretty straightforward question. Francis, a pretty straightforward man, held up the book of the Gospels. The cardinalate thought he must be either mistaken or a fool, since such a rule “seemed a thing untried, and too hard for human strength.” [1] That says pretty much all we need to know about ecclesial governance. Very few princes of the Church take out their own garbage or dirty their hands with manual labor. Living the Gospel, for all their preaching, is ultimately impractical: at worst a nuisance, at best an ideal. Even the order Francis founded couldn’t live up to its own principles and strayed from them during Francis’s lifetime. It brought him great sorrow.

When it happened, I had no idea how prophetic an event the tragic fire at Notre-Dame de Paris on 15 April 2019 would prove to be. It’s a fitting icon for a Church in distress, the weight of its own corruption, not least the ongoing sex scandals that fill us with shame and anger, evidence as they are of an ecclesial structure inured to the sufferings of its victims and further complicated by the manner in which some of its most powerful leaders have continued to shield their own from scrutiny. These are symptoms of a deeper pathology. The hierarchy’s inept and milquetoasty response to the global pandemic that began in early 2020 only further betrays how indifference has become a cardinal virtue. How many millions died without receiving the last sacraments? How many more left the Church permanently because it was too hard for the hierarchy to live out the Gospel and too easy to play the political sycophant? Did Christ wait until lepers were no longer contagious to heal them?

It was under these conditions and in this frame of mind that I wrote this book.

This book, however, is not a jerimiad on the sins and ineptitude of the hierarchy, or even about living through the madness of the pandemic. These things, I think, are only tangential, though nonetheless symptomatic, of a deeper estrangement from the Real that is the true source of our cosmological dissociation, and which has its roots deep in the historical Christian imaginary. This dissociation did not begin with the conflagration of Notre-Dame, nor with the complicity of bishops in the abuses among their ranks. When Christ told Francis “Rebuild my Church,” he was not speaking of San Damiano, though that was what Francis thought at the time. Perhaps he was telling us the same thing with the burning of Notre-Dame, for “every man’s work shall be made manifest: for the day shall declare it, because it shall be revealed by fire” (1 Cor 3:13).

I wrote the first chapter, after which the book is named, in 2019. I did not return to the project until fall of 2020, the confusion of the pandemic and work on my farm taking all of my attention in the interim. Looking at it now, the book can be called the third in a trilogy that started with The Submerged Reality (2015) and continued with Transfiguration (2018), though writing a trilogy was at no point my intention. But here we are. I felt the need to write this book because I came to realize that I had left some things, such as the Gnostic mythos of Sophia and the sophiological structure of marriage, undeveloped in those previous books, and I wanted to provide insight into the poetic metaphysics of Sophiology by deeper examinations of Eleanor Farjeon, Thomas Traherne, the legend of the Holy Grail, the Rosary, and the radical Christian philosophy of Nikolai Berdyaev (the chapter on whom was originally published in the Russian journal Тетради по консерватизму [Essays on Conservatism]). In addition, I felt a call to write on the Creation and our relationship to it—as a biodynamic farmer, this is an environment in which I live and move and have my being—as well as to contribute something on the role of human creativity. These areas of contemplation organically brought me to a consideration of the Realm of Faerie, which has thankfully been getting more serious attention from John Milbank and David Bentley Hart, among others.

As a result of all these commitments and interests, what you have in your hands here is (with the exception of my poetry) the most personal of all of my books to this point. Sophiology, it is my contention, is above all something one does, a way of being. It is not a grand theory, a beautiful intellectual construction. No. Sophiology is an entrance into life.

In the Gnostic mythos, Sophia lives in exile, trapped in a kind of spiritual prison. We, too, live in exile, which is also a spiritual prison. Most of all, we live in exile from the Divine and the Creation. As the pandemic and the ever-increasing totalization of the technocracy have shown, we are also in exile from each other, and, ultimately, from ourselves. This is an untenable situation and one which, if left unchecked, will have disastrous repercussions, many of which are deep into their implementation stages. The antidote to such a situation, as I argue in these pages, lies in reorienting ourselves to the Real, to the sophianic structure of the world. Like St. Francis’s project, this is one of simplicity and not applicable to the needs of hierarchies of power and influence. In essence, what Sophiology offers is a regeneration of life by an engagement with what is Real. And this regeneration is conditioned by learning how to see.

Love is integral to this seeing, as both agapeic opening and as erotic longing. This integral seeing is in not characterized by a spiritual acquisitiveness or desire to possess, so much as it is a product of the subject’s entrance into a loving disposition to that which shines through the world. St. Paul describes such a condition in 1 Corinthians: “If anyone imagines that he knows something, he does not yet know as he ought to know. But if anyone loves God, he is known by God” (8:2–3). Those who try to turn Sophiology (or any theological or philosophical gesture) into a method for comprehending or containing the world are barking up the wrong sacred tree. The first movement is in love, and the response to love is not “to know” but to be known.

And in that spirit, I welcome you to these pages.

1. Bonaventura, The Life of Saint Francis of Assisi (London: J. M. Dent, 1904), 30.

The Mystical Body of Romanticism

'The Funeral of Shelley' by Louis Édouard Fournier (1889), detail.

Some people, it seems, have a tendency to over-idealize the life I live, as if on our biodynamic farm my family and I shimmer in some agrarian dreamworld in the manner of rather tall hobbits. Ours is certainly a world foreign to that of most of those in my social class (intellectuals, academics, and other learned professionals), but it’s far from idyllic. Farming is hard work, for one thing, and we often put in 12-14 hour days at the height of the growing season. For another, it’s unpredictable—and weather, insects, animals, and a host of other variables can often destroy that which we so earnestly and carefully seek to preserve. And I won’t even get into the human interactions that can often be, well, complicated. In short, farming in this way is not unlike living in a realm somewhat like that depicted in Thomas Hardy’s Far from the Madding Crowd. But it is a good life. It’s just not an easy one.

My wife and I undertook this life because we wanted something more tangible, more sacred, than that available to us in the wastelands of modernity, overshadowed by corporate superstructures and technocracy and characterized by endemic alienation from the Real. We turned to the land, not only to work it biodynamically as a way to heal the land itself, but also to heal ourselves. Nevertheless, some people think what we do is very quaint, charming even, but dismiss it as nothing but an iteration of Romanticism. I’m fine with that. If the alternative is postmodern alterity and distanciation from the Real, then I’m a card-carrying Romantic.

Paul Kingsnorth, whom I’ve written about recently, also gets smeared with the label of Romantic—and he doesn’t mind, either. And he pushes back. “It seems to me,” he writes, “that Romanticising the past, in our culture at this point in time, is less common than Romanticising the future. The only difference is that Romanticising the future is socially acceptable.” [1] Think about that next time the WEF peddles the chintzy wares of the Fourth Industrial Revolution, they of the “You’ll own nothing and you’ll be happy” (which has mysteriously disappeared from the WEF website. HA!) future. Kingsnorth lives a life not unlike mine (from what I can tell) and even gives workshops on using a scythe. Which is so cool. And I’m sure he understands the challenges and hardships of such a life and doesn’t get lost in misty-eyed fantasies of an agrarian Elysium. We are not, as of the moment, exactly dead.

But Romanticism is not only about returning to the land, though Wordsworth and many of the great Romantics, not to mention Ivan Illich and E. F. Schumacher, have certainly endorsed such an idea. It’s also about fighting, and even dying, for an ideal. What is really worth fighting, let alone dying, for? Certainly not “strategic governmental objectives,” though Truth, Beauty, and Goodness—however one interprets them—surely are. Lord Byron, profligate that he was, gave his life for an ideal (or tried to) when he left his scurrilous lifestyle to fight for Greek independence, a failed but noble cause. As I write this, citizens of Cuba and France show signs of a willingness to fight for an ideal—freedom. What would you fight for?

Romanticism, that is, is messy, hard to nail down, and, therefore, more human than the technocratic promises of Utopia that are the inheritors of the Enlightenment’s hollow project. H. G. Schenk in his The Mind of the European Romantics: An Essay in Cultural History, puts it as well as anyone. For him Romanticism is

“a unity […] characterized as contrariness, dissonance and inner conflict of the Romantic mind. Utopian dreams for the future side by side with nostalgia for the past; a marked nihilistic mood accompanied by a fervent yearning for faith; serious attempts to bring about a Christian revival followed, in an admittedly marginal case, by the very abandonment of faith on the part of the former apologist; the long tug-of-war between the old religion and the new ideologies—these are some of the unresolved contradictions which lie at the core of the movement. No shorter formula can be devised to define the essence of Romanticism. All short-cut definitions that have been put forward—well over a hundred—are unsatisfactory.” [2]

Christianity, then, can be construed as a kind of Romanticism. This may be because the god of Christianity is a human god, thereby making Christianity the most human of religions.

Romanticism has, I have to confess, inhabited every phase of my life—from my youth as a musician, my work as a poet and teacher, in my scholarship and writing (Sophiology—hello?), as a husband and father, no less than my thirty years in biodynamics. For me, it’s all about hope: the belief that we can make the Kingdom present in our lives. I heard this in the music that inspired me as a young man—in Kate Bush and The Waterboys, for example—and I felt it in the poets, from the Romantic period and after, who continue to nourish me. They say, with Joyce’s Molly Bloom, “Yes” to this business of being human. The point is that to be human is to be a Romantic. It’s the default position.

One of the great moments of late-20th Century Romanticism.

The great Romantic poet Percy Bysshe Shelley met his end in Italy while sailing into a storm. Unfortunately, though a decent sailor, the poet could not swim. When the Tyrrhenian Sea’s waves brought Shelley’s sodden corpse back to land, a volume of Keats was found in one of his jacket pockets, a volume of Sophocles in the other. At Shelley’s funeral, while the poet’s body burned on the shore of Leghorn, his friend Edward Trelawney poured libations of incense, wine, and oil into the flames and consigned Shelley’s remains to the love of Nature. Then, just before the flames devoured it, Trelawney grabbed the poet’s heart.

The mystical body of Romanticism continues to burn, and we are in no danger of running out of fuel. No matter. What needs transfiguring in the fire of time will be transfigured. The treasures we find in its pockets we will cherish, despite fads and the affectations and disaffections of taste. What will remain is the heart, even if some need to risk burning in order to retrieve it. And how beautiful is fire.

A clip from the 2015 film version of Far from the Madding Crowd.

Michael’s latest books are an edition of The Chymical Wedding of Christian Rosenkreutz and Transfiguration: Notes toward a Radical Catholic Reimagination of Everything. He can be reached at director@thecenterforsophiologicalstudies.com See also The Center for Sophiological Studies' available courses. Also check out the latest volume of Jesus the Imagination: The Divine Feminine.

1. Paul Kingsnorth, Confessions of a Recovering Environmentalist and Other Essays (Graywold Press, 2017), 37.

2. H. G. Schenk, The Mind of the European Romantics: An Essay in Cultural History (Frederick Ungar, 1966), xxii.

Call for submissions: Jesus the Imagination 6: “Flesh and Spirit”

Solveig Dommartin as Marion in ‘Wings of Desire’ by Wim Wenders

We live in a curious time: a time in which the realities of the spirit and the body are almost entirely denied in favor of a technocratic dream of self-invention and an absorption in the virtual self.

It is time to reclaim both the flesh and the spirit.

To that project, Jesus the Imagination: A Journal of Spiritual Revolution is now inviting submissions of poetry, essays, photography, and artwork for volume 6, “Flesh and Spirit.” We are also interested in translations! Send no more than 3-5 poems, one essay, or 2-3 works of art (in a file, of course). The deadline is 1 January 2022.

Jesus the Imagination has featured work by Therese Schroeder-Sheker, John Milbank, Jon Egan, Catrin Welz-Stein, Alison Milbank, Michael Sauter, Jonathan Geltner, Elias Crim, Katie Hartsock, and many others as well as interviews with Owen Barfield, The Revolutionary Army of the Infant Jesus, Therese Schroeder-Sheker, Gunther Hauk, and Margaret Barker.

Send your best work. Send submissions to mmartin@jesustheimagination.com

Also, feel free to check out our recent volume, “The Divine Feminine” as well as our other collections. You can find them here.

image by William Blake