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[ by Charles Cameron — follow-up to Liminality I: the kitsch part, dealing with the strange business of liminality, submarines, monks and more ]
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Limen is the Latin for threshold, and the liminal is therefore what happens at thresholds.

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Something pretty remarkable happened as 1999 turned into 2000 — something liminal. And it happened aboard the USS Topeka, SSN-754 (below):

USS Topeka, credit: United States Navy, released ID 090623-N-1126G-005

The Associated Press reported:

Its bow in one year, its stern in another, the USS Topeka marked the new millennium 400 feet beneath the International Dateline in the Pacific ocean. The Pearl Harbor-based navy submarine straddled the line, meaning that at midnight, one end was in 2000 while the other was still in 1999… The 360-foot-long sub, which was 2,100 miles from Honolulu, Hawaii, straddled the Equator at the same time, meaning it was in both the northern and southern hemispheres. Some of the 130 crewmembers were in Winter in the North, while others were in Summer in the South…

Sitting pretty on the threshold between two millennia, two centuries, two decades, years, seasons, months, days and hemispheres was an extraordinarily liminal idea — as the two-faced January is a liminal month — and I think illustrates effectively the terrific power of the liminal to sway human thinking

Navy commanders in charge of billion dollar ships seldom get up to such “fanciful” behaviors!

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And if we might turn from the contemporary US Navy and its submarine to ancient Indian mythology and Hindu religion for a moment:

Narsingh avatar depicted in Nepali dance, credit: Navesh Chitrakar, Reuters / Landov

The story of Narsingh (above), the fourth avatar of Vishnu in Vaisnavism, also captures the idea of what’s meant by thresholds very nicely:

A tyrannous and oppressive king obtained a boon from the gods that he should die “neither by day nor night, neither within the palace nor outside it, neither at the hand of man nor beast” and thought his boon conveyed immortality — but when he persecuted his son, a devotee of God, a half-man half-lion figure — the Narsingh avatar of Vishnu — met him on his own doorstep at dusk and slew him, so that he died neither by day nor by night, neither within the palace nor outside it, and neither at the hand of beast nor of man.

Dusk, doorsteps and metamorphs are all liminal, — with respect to day and night, home and abroad, man and beast respectively.

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Anthropologist Mary Douglas has pointed out how things that are “not this, not that” (ie that don’t fit our categories) are precisely the ones that taboos form around – hence her remark in Purity and Danger:

Uncleanness or dirt is that which must not be included if a pattern is to be maintained

Consider for instance the dietary condemnation of amphibians in Leviticus, as being neither walking nor swimming creatures — fitting neither the normative category of “animal” nor that of “fish”. But Douglas is thinking in static categories, while Victor Turner thinks in process.

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Turner takes the condition that’s between “this” and “that” and views it as part of a process in time, where “this” is how things have been, and “that” is how they can be in future – effectively, the turning point between one way of life and another.

Turner is interested in this primarily because the tribes he studies as an anthropologist create rituals which act as magnifiers of this sort of transition (his scholarly reason), and because such turning points, so ritualized, turn out to be important junctions in human lived experience (his human reason).

Turner tells us that those who are passing through a limen in social life are usually thrown in the stockade — the vice-chief who is about to become chief along with the village drunk, the pickpocket and the crazed idiot — and can then be taunted and tomatoed by all and sundry, while feeling that intense kinship with their stockade mates no matter the symptoms (success, failure) which brought them there. Which keeps them humble, builds character, and builds their capacity for empathy.

Only then can the vice-chief be brought back into society and proclaimed as the new chief.

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Basing his own work on van Gennep‘s account of rites of passage, Turner sees such rites as involving three phases: before, liminal, and after.

• Before, you’re a civilian, after, you’re a Marine — but during, there’s an extraordinary moment when you’ve lost your civilian privileges, not yet earned your Marine status, and are less than nothing — as the drill sergeant constantly reminds you — and yet feel an intense solidarity with your fellows.

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• Before, you’re a novice, not yet “professed”, after, you’re a monk — but during, you lie prostrate on the paving stones of the abbey nave in as you transition into lifelong vows poverty, chastity and obedience.

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There are two things to note here. One is that liminality is a *humility* device, the other is that is creates a strong sense of bonding which turner calls *communitas*: in one case, the Marine’s esprit de corps, in the other quite literally a monastic community. Part of what is so fascinating here is the (otherwise not necessarily obvious) insight that humility and community are closely related.

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There are also liminal festivals, like India’s Holi Festival or the mediaeval Catholic Feast of Fools (about which Harvey Cox wrote a book), in which the usual hierarchy is turned upside down for a day — so that a choirboy celebrates Mass and the bishop becomes the busboy, or the brahmins are pelted with old shoes and paint balloons by the village prostitutes and drunks…

This may all sound pretty silly, but consider again the specific quality of humility which it brings out:

Something of the sacredness of that transient humility and modelessness goes over, and tempers the pride of the incumbent of a higher position or office. Liminality implies that the high could not be high unless the low existed, and he who is high must experience what it is like to be low.

Turner comments that these are socially sanctioned devices for *making the certain degree of hierarchy that’s inevitable in human affairs tolerable once again* — that we need such devices, that the “modernizing” west tends to forget them, and that liminality as process is deeply embedded in human social wiring, and should be appreciated rather than overlooked.

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Turner himself was a Catholic, and it’s not surprising that he turns to Saint Francis for another example of liminality, pointing out that Francis was basically trying to convene a group of friends to live a *permanently liminal life* with him – that was what his idea of the Franciscan Order was all about — and that all such attempts fail (he compares flower power in the sixties) because the liminal cannot sustain itself but must naturally pass across into hierarchy, where it refreshes and revivifies structures which would otherwise become dry and lifeless:

It is as though there are here two major “models” for human interrelatedness, juxtaposed and alternating. The first is of society as a structured, differentiated, and often hierarchical system of politico-legal-economic positions with many types of evaluation, separating men in terms of ” more ” or ” less.” The second, which emerges recognizably in the liminal period, is of society as an unstructured or rudimentarily structured and relatively undifferentiated comitatus, community, or even communion of equal individuals who submit together to the general authority of the ritual elders.

In Turner’s view, this liminal refreshment is constantly arising in the margins of structures, and should be welcomed and incorporated — the strange, edgy and uncomfortable fellow in beggars rags being invited to the high feast – the limen offering spontaneity and inspiration to match and complement the discipline and reliability of the structure.

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And where does all this leave us?

Hopefully, with the understanding that our categories of the sacred and the profane are too simplistic for the complex workings of human culture and religion.

Liminality is a mode of intensification.

And I’m wondering to myself: regiments and battalions and brigades are clear cut categories, there’s nothing (apart from their initiation rites) liminal about them. But insurgents, able to blend in and out of a population, civilian yet militant, militant yet civilian?

Is insurgency warfare inherently liminal? And if so, what does that have to teach us?

[ by Charles Cameron — a warrior, a monk, and (still to come, in a fourth and final post) where that leaves me ]
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How I have loved that handwriting! How I loved that man! How I have loved that book…

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I am fifteen, seventeen years old. I walk a few hundred yards in the chill English dawn to our little parish church to “serve Mass” at 6am, for this man whose intense gaze and tireless care for those he is with made him take of his hat to Mrs Tutu, and ask Hugh what would get him out of his hospital bed fastest. He brings the same gaze and care to bear on me, and talks to me about the English Jesuit poet Gerard Manley Hopkins, whose work he loves.

Trevor Huddleston taught me to love poetry when he showed me Hopkins, and I cannot exactly tell this story without “reading” you a bit of the man’s work, because it gets to the heart of the matter.

Hopkins has a very brilliant poem, As king fishers catch fire, which requires quite a bit of “unpacking” since Hopkins writes poetry as though packing an intolerable amount of sound and meaning into a very small space. The poem is about what Hopkins calls “selving”: being the self you are, ie being true not just to your possibilities, but to your flavor, your individuality. In the theological termino0logy of Duns Scotus: hacceitas.

Here’s how Hopkins expresses it:

Each mortal thing does one thing and the same:
Deals out that being indoors each one dwells;
Selves — goes itself; myself it speaks and spells,
Crying What I do is me: for that I came.

We selve, we become ourselves — we deal out into the world that being which dwells indoors, inside, within us.

The second half of the poem goes like this:

I say more: the just man justices;
Keeps grace: that keeps all his goings graces;
Acts in God’s eye what in God’s eye he is —
Christ. For Christ plays in ten thousand places,
Lovely in limbs, and lovely in eyes not his
To the Father through the features of men’s faces.

Let me try at least to unpack this much:

The man who is just, he’s saying, goes about doing acts of justice (there’s no difference between his nature and his deeds), he is tethered to grace (has an inward center with which he is perpetually in touch), and that tether is what ensures his actions (“goings”) are of the quality of grace.

He — and here Hopkins tell us what this is really all about, from his own perspective as a deeply religious man and a Catholic priest in the Jesuit order — acts Christ, for that is how God sees him. Each one of us is, in God’s eye, Christ, “for Christ plays in ten thousand places”. That’s the great gift Hopkins brings us, the understanding that being made in the image of God, we play here on earth like so many Christs, each with its own character and “self”, each one capable of grace… and thus, each individual beautiful to God “through the features of men’s faces”.

Here, should you care to read it, is the whole poem.

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Trevor offers his hands and voice as a priest at Mass to the great poetical transformation of “bread” into “body” and “wine” into “blood” that stands at the heart of the Christian mystery, and eats, digests, the divine presence among us, and offers that divine presence in the appearance of a wafer of bread and sip of wine to whoever “partakes of communion” with him.

And walking to Mass, or walking back from Mass, he talks to me about South Africa, and the kids he knew there — Desmond and Hugh among them no doubt, though I learned those particular stories far later — and the pass laws which penalized his students when they were late getting home from work in a “white” part of town, and his fights in the courts and in the press for young people he loved — Hugh or Desmond or Oscar or whoever goes to Mass, receives Christ on his tongue, and that “keeps all his goings graces” — because “Christ plays in ten thousand places”, and Sophiatown, a shanty town just outside Johannesberg, is one of them.

Father Trevor, school teacher, photo credit Constance Stuart Larrabee

Am I making any sense? It was Trevor’s love, which “saw” the divine in each individual child he taught and coached and loved, which could not tolerate apartheid, which could not stop at a boy’s skin color and segregate or tolerate segregation.

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Loving the individual before him with that gaze and care, he loved and taught me, for seven or eight years, in four hundred wonderful letters and many visits, Masses, days spent flyfishing for trout, voyages by car or train to visit a friend or a cathedral…

And if I could express the essence, it was this: that you tether yourself to the divine on the inside, by belief, by ritual, above all by contemplation — and then you move through the world infused with that sense of the sacred in and around you, and do whatever is needful to bring about a more just society.

You justice, you keep grace. That keeps all your goings graces.

Christ the King, Sophiatown, photo credit Eliot Elisofon

Not surprising, then, that his devotion to the kids of a shanty town in South Africa led him into court battles, into association with Luthuli and Mandela, into becoming one of a handful of “white” signatories of the African National Congress, into the award of the Isitwalandwe, the writing of his great book, Naught for your Comfort [link is to a free download] — which was smuggled out of the country to be published just a day ahead of the Special Police impounding all his papers — to bestsellerdom, to stirring the conscience of the world, to the Presidency of the Anti-Apartheid Movement, and finally to an archbishopric and a knighthood.

He saw Christ, which was his name for love, and served him.

Simple.

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Father Trevor Huddleston wrote what I think must be among the most powerful words of eucharistic theology I have ever read in Naught for Your Comfort — and they convey as nothing else can the immediacy with which he connects his ritual gestures and acts as a priest with the political necessity to overthrow the apartheid regime in his beloved South Africa — and for that matter, any and all hatred and oppression everywhere…

On Maundy Thursday, in the Liturgy of the Catholic Church, when the Mass of the day is ended, the priest takes a towel and girds himself with it; he takes a basin in his hands, and kneeling in front of those who have been chosen, he washes their feet and wipes them, kissing them also one by one. So he takes, momentarily, the place of his Master. The centuries are swept away, the Upper Room in the stillness of the night is all around him: “If I, your Lord and Master, have washed your feet, ye ought also to wash one another’s feet.” I have knelt in the sanctuary of our lovely church in Rosettenville and washed the feet of African students, stooping to kiss them. In this also I have known the meaning of identification. The difficulty is to carry the truth out into Johannesberg, into South Africa, into the world.

[ by Charles Cameron — a warrior, a monk, and where that leaves me ]
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In the first part of this post I introduced you to my father, Captain OG Cameron DSC, RN, the man who fueled my keen interest in gallantry and the martial side of things. The other great influence in my early life was Fr. Trevor Huddleston CR, pictured below:

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Trevor Huddleston CR:

Archbishop the Most Reverend Sir Ernest Urban Trevor Huddleston CR, KCMG – it’s hard even to know how to string his titles together, this monk, priest, schoolteacher, activist, archbishop, finally knighted by Her Majesty towards the end of his long and eventful life was the man who became a second father, guardian, mentor and spiritual guide to me shortly after my father died when I was nine.

That’s the man as I knew him, Father Trevor — simple, caring, intelligent, perhaps a little austere even — in the middle image above.

Austerity, simplicity: two more words to set beside gallantry in the lexicon of admiration and gratitude.
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Satchmo:

To the left in the same image, he’s shown with Louis Armstrong — Satchmo — who has just presented him with a trumpet.

The story goes like this: as a monk in an Anglican monastic order, the Community of the Resurrection popularly known as the Mirfield Fathers, Father Trevor was sent to South Africa while still a young man, and worked in Sophiatown, just outside Johannesberg, as a priest and teacher.

A young black kid in one of his classes, Hugh, aged 12 or 13, fell ill and was taken to hospital, where Trevor Huddleston visited him. Trevor asked him what he would like more than anything in this world, what would so thrill and please him that he would have the greatest possible motive for getting better, getting out of the hospital and back to school. Hugh said, “a trumpet, Father” — so Trevor got hold of a trumpet which he then presented to the boy: now known the world over as the great jazz trumpeter, Hugh Masekela.

That wasn’t quite enough, though. A year or three later, Trevor was in the United States, and met Satchmo, who asked if there was anything he could do to help… Trevor told Satchmo he’d started a jazz band for the kids in his school, and knew a boy who would just love a trumpet…

Trevor was a hard man to refuse.
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Hugh Masekela:

Here’s Hugh Masekela, just a little older, with the trumpet Trevor brought him from Louis Armstrong:

And here’s the sound…

When I was maybe 15, and Trevor had returned from South Africa to England, he gave me a 7″ “45” record of the Huddleston Jazz Band — now long lost. Imagine my amazed delight to be able to hear that sound again, fifty years later, through the good graces of the internet —

Hugh Masekela and the Huddleston Jazz Band play Ndenzeni na?

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Desmond Tutu:

Another story I like to tell about Trevor and his time in South Africa has to do with a lady…

It seems this young black kid aged about 8 or 9 was sitting with his mother on the “stoop” outside his house in a South African shanty-town when a white priest walked by and doffed his hat to the boy’s mother.

The boy could hardly grasp how this had happened — his mother was a black woman, as one might say, “of no special acount”. But the priest in question was Trevor Huddleston, and it was a natural courtesy for him to lift his hat in greeting a lady…

The young boy never quite recovered from this encounter. We know him now as the Nobel Peace laureate, Archbishop Desmond Tutu.

Here’s a photo of four old friends — Huddleston, Tutu, Julius Nyerere of Tanzania, and former Commonwealth Secretary General Shridath Ramphal.
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From individuals to the world:

These are two simple stories of how Fr Trevor simply and straightforwardly loved whomever was before him, regardless of the enormous pressure at the time to discriminate between “real” and “insignificant” people — a love which made an indelible mark on those whose lives it touched.

And when Father Trevor touched you, as Lord Buckley might say, you stayed touched.

Thus far I’ve been focusing on individuals that Trevor touched. I do not think he in fact saw more than one person at a time, and his responses to situations were geared directly to the service of his love.

It was because of this that while he was in South Africa, Trevor repeatedly and quite literally put his life on the line in defence of the very simple proposition that the color of a person’s skin was immaterial in view of the love that was possible between any two people — so perhaps here’s where I should mention some of that history and some of the honors it brought him. After all, Trevor did pretty much take on the government of the South Africa he so loved, and lived to see it change.
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Bishop Trevor of Sophiatown

Trevor Huddleston was a founding member of the African National Congress, the author of the first non-fiction work (Naught for Your Comfort, more on that later) to critique his beloved South Africa’s apartheid policy, reviled publically for meddling in politics by an Archbishop of Canterbury who later declared he had been in error and that Fr Trevor was about as close to a saint as one could find.

In 1955, Father Trevor, along with Yusuf Dadoo and Chief Albert Luthuli, was awarded the Isitwalandwe, the highest award given by the African National Congress. He was awarded the United Nations Gold Medal in recognition of his contribution to the international campaign against apartheid, the highest awards from both Zambia and Nigeria, the Dag Hammerskjold Award for Peace, the Indira Gandhi Memorial Prize, and ten honorary doctorates, including that of his alma mater, Oxford.

Archbishop Huddleston initiated the “International Declaration for the Release of Nelson Mandela and all Political Prisoners” in 1982, took part in the televised “International Tribute for a Free South Africa” held at Wembley Stadium, London in 1990 during which he introduced the address by Nelson Mandela (see below), entered South Africa House, Trafalgar Square, London in 1994 to vote in the first South African democratic election, and was a guest at President Mandela’s inauguration in Pretoria that year.

He received the KCMG (Knight Commander of the Order of St. Michael and St. George) in the 1998 New Year Honours list, for “Services to UK-South African Relations”, and attended an Investiture at Buckingham Palace on March 24th, 1998, to receive this honour from HM the Queen.

He chose the designation, “Bishop Trevor of Sophiatown”.
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Nelson Mandela:

But let’s go back to individuals, and to Nelson Mandela in particular.

Mandela and Trevor were comrades in the fight against apartheid from the beginning — and the richness of their friendship is visible in the photo of Mandela with his arms on Trevor’s shoulders in the right hand panel at the top of this page.

In his autobiography, Long Walk to Freedom, Mandela tells the story of a time when he and Walter Sisulu were approached by a group of South African police who had been ordered to arrest them. Trevor, who was talking with with the two of them, called out to the cops, “No, you must arrest me instead, my dears.”

It’s that “my dears” that gives the game away. I can hear those words in Trevor’s voice. Even the cops were dear to Trevor: he might be utterly opposed to what they were doing, and risk his life to oppose them – but they were children of God.

Here’s a video of Trevor’s speech introducing Mandela at Wembley — a political speech, to be sure, but one powered by religious conviction:

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Mandela’s tribute:

I’m saving the best of what Fr. Trevor taught me for the third post in this series, and hope to wrap the series up with some of my own reflections in a fourth; here I’d like to close with the words Mandela wrote about his friend after Trevor’s death in 1998:

It is humbling for an ordinary mortal like myself to express the deep sense of loss one feels at the death of so great and venerable figure as Father Trevor Huddleston.

Father Huddleston was a pillar of wisdom, humility and sacrifice to the legions of freedom fighters in the darkest moments of the struggle against apartheid. At a time when identifying with the cause of equality for all South Africans was seen as the height of betrayal by the privileged, Father Huddleston embraced the downtrodden. He forsook all that apartheid South Africa offered the privileged minority. And he did so at great risk to his personal safety and well-being.

On behalf of the people of South Africa and anti-apartheid campaigners across the world, I convey my deepest condolences to his Church, his friends and his colleagues. Isithwalandwe Trevor Huddleston belonged to that category of men and women who make the world the theatre of their operation in pursuit of freedom and justice.

He brought hope, sunshine and comfort to the poorest of the poor. Not only was he a leader in the fight against oppression. He was also father and mentor to many leaders of the liberation movement, most of whom now occupy leading positions in all spheres of public life in our country. His memory will live in the hearts of our people.

[ by Charles Cameron — humility, transformation ]
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It is the evening of another Maundy Thursday — in the western Christian tradition, the day on which Christ washed the feet of his disciples:

The inherent poetry of the gesture — and no matter your opinion of the edifice that Christianity has become, it is a gesture of simple humility, possessing and transmitting the poetic power that humility alone affords us — that poetry, for me, will always be associated particularly with the paragraph I have dropped into the image above.

It is a paragraph from my mentor Fr. Trevor Huddleston‘s book, Naught for Your Comfort, and I believe it sums up his life’s work.

Today I remember him: monk and teacher.

Tomorrow is Pesach — in the Christian west, Good Friday and the Crucifixion: I shall listen to Bach.

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Inset image of the eyes of Christ from an icon by Andrei Rublyev

[ by Charles Cameron — some glorious music, Venice, Kandahar ]
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I was listening to Pergolesi‘s Stabat Mater the other day, and talk came around to the question of whether women would have sung the two solo parts – whether they were written for soprano and contralto, in other words, or for treble and counter-tenor – all of which reminded me that the “red priest” Vivaldi was, for over thirty years, maestro of the Ospedale della Pietà orphanage in Venice.

The Ospedale’s all-woman choir performed many of his sacred choral works in church, hidden from view if not speculation in a high balcony behind an iron grille…

The BBC has an hour-long documentary on the subject of Vivaldi’s Women, which features the Ospedale but also the contemporary choir and orchestra, Vivaldi’s Women, more properly known as the Schola Pietatis Antonio Vivaldi.

The (lower) image of the present-day women’s choir singing behind one of those grilles – accompanied by a voice-over reading from a fashionable “grand tour” diary of the day which reports that the “grilles conceal the angels of loveliness” (the writer was perhaps aware, perhaps not, that many of the orphans in Vivaldi’s day would have been scarred or deformed by the pox or their parents’ syphilis) reminded me of another contested icon of “women behind a grille” – this time, the traditional Afghan chadari (upper image)…

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I have exchanged greetings through a grille with Carmelite nuns in California, and they clearly appreciated the sanctuary that their enclosure offered them…

My point is not to argue the superiority of bikini over burqa or vice versa: it is to offer you a chance to hear some Vivaldi or Pergolesi, and to consider the issue of veiling and revealing — intimacy’s equivalent of secrecy and transparency — from what was for me at least an unexpected and fresh angle.