BOOK REVIEW - Phoebe : A Story by Dr Paula Gooder

“I commend to you our sister Phoebe, a deacon of the church at Cenchreae, so that you may welcome her in the Lord as is fitting for the saints, and help her in whatever she may require from you, for she has been a benefactor of many and of myself as well.” (Romans 16:1-2)

One of the many beautiful pre-raphaelite windows in Christ Church Southgate shows a woman draped in Morris and Company patterned fabrics holding a plate of fruit, with gothic script above identifying her as “Phebe”. The figure is complemented by an image of Martha in the adjoining lancet. The window was installed in 1903 and commemorates the life of Susannah Turner who lived in a large house on The Green and is described in the census as a property owner. The window is a bit of a mystery and always prompted several questions when giving tours of the church. Why was Phebe chosen for Susannah’s memorial, rather than Mary – the more usual pairing with Martha – and why is Phebe holding a plate of fruit rather than something more diagnostic, such as St Paul’s letter to the Romans? We have some clues that begin to answer the last question; we know from pattern-books that the figure was initially drawn by Burne-Jones in 1880 as St Dorothy – but for some reason the text above was changed before the window was installed in Southgate. Perhaps those commissioning the window preferred the image of St Dorothy (maybe the portrait resembled Susannah Turner?) or perhaps they simply could not afford to commission Burne-Jones to produce a new cartoon showing Phoebe and selected the image of Dorothy as an alternative? With nothing in the surviving church records to help us answer these questions, the window will continue to remain a mystery for now.

Martha & Phebe - Edward Burne Jones (Stained Glass Window in Christ Church Southgate)

The biblical reference to Phoebe – just two verses in St Paul’s letter to the Romans – is not, however, quite as mysterious as it seems – thanks to the work of Dr Paula Gooder, Director of Mission Learning and Development for the Diocese of Birmingham. Dr Gooder has used these two verses as inspiration for Phoebe : A Story – a seriously impressive piece of Lectio Divina! The introduction to the book stresses that this is not a novel but a “historical imagination.”

Interviewed by Madeleine Davies in the Church Times, Dr Gooder explains that Phoebe’s Story is based on four pieces of information, three of which come from scripture; that Phoebe was a deacon of the church in Corinth and a wealthy patron; that she took St Paul’s letter from Corinth to Rome “and therefore was probably the first person who explained it to anyone who wasn’t Paul” and the consensus that her name was normally given to slaves “and therefore she would have been a freed slave”. The book is underpinned by these four truths and enhanced by Paula Gooder’s considerable talent to paint a picture of life in the early church in Rome. Part Two of the book (just as long as Part One) provides engaging notes setting out the historical basis for each scene in the story but also Paula Gooder’s thoughtful analysis of the biblical text - all of which is just as gripping as the story itself. 

The author acknowledges that there are risks associated with an approach that lies somewhere between a novel and an academic paper, historical fiction and historical fact, and understands why some might hesistate to accept the book: “We want to deal in truth, but, if you use careful imagination, and you use the history you know, you can get access to a different form of truth, which is an emotional, spiritual truth.”

The story begins as Phoebe has just finished reading aloud St Paul’s letter to the church, who are gathered in the courtyard of a Roman house, crammed with the followers of Jesus (the rich, sympathetic, owners of the house are away). From the outset, the book seems to make parallels with the life of the church today - the congregation gathered in the house feels like it could be a snapshot of any congregation today; some people listening intently, some not convinced by what they hear, some happy, content and peaceful and some positively grumpy who seem to enjoy a bit of a moan! 

We are soon introduced to other figures we know from St Paul’s letters and other books of the Bible - Prisca and Aquila take care of Phoebe. We know from Acts 18.2-3 that they, like Paul, were tent makers. They bring Phoebe to their tent-making workshop - which doubles as a meeting place for the church. 

St Paul in the house of Prisca and Aquila. Engraving by J. Sadeler after Jodocus Winghe

The differences between the communities in the early church are brought to the fore early on - another connection between past and present. A “bring and share” meal is whisked up from nowhere on the floor of the workshop the next day, after Phoebe has been woken from a long rest. As they eat, with bowls and plates being passed from person to person, a young slave, Felix, tells the story of Jesus feeding the five thousand, which leads to a discussion about its meaning. Phoebe recalls how everyone seemed to know the rhythm of the story off by heart - and how sharing the stories of Jesus in this way is not something that seems to happen any more in Corinth - where even the bring and share meals seem more formal! 

Prisca’s independence of mind and her determination as a missionary is brought to life in the portrayal of her relationship with the hen-pecked and eye-rolling Aquila. These glimpses into their married life - and the intersection of the other colorful characters in the church - provide moments of light relief as Phoebe sits in the workshop explaining how she came to Rome - people seem as keen to know as much about the messenger as they are about the letter itself. They soon become aware that Phoebe is holding something back, and she begins to tell her story as a slave in Rome - the physical and emotional abuse that she suffered - events which form a basis for the reconciliation that takes place later - a backbone to the story around which other narratives are tied. 

Through the pages of the story we learn how uncertain Phoebe is of her mission and how doubtful of her own calling - especially when she is asked to explain Paul’s letter rather than just read it out. But she manages to do so - even giving Herodion pause for thought - the bearded, verbose and finger-waving head of a Jewish-Christian synagogue, who says of Paul “I never met the man, I just have to live in the devastation he leaves behind” (in his letter Paul describes Herodion as a relative or compatriot).

St Herodion of Patras and Archangel Selaphiel (Icon, Russia, 1840)

The character of Herodion is set in contrast to Junia - a radical evangelist who risks her own life to preach the Gospel to the Romans. We first meet a breathless Junia as she runs into the workshop after being released - “she was imprisoned again” says her husband Andronicus - (a reference to Romans 16.7). She can’t help herself! At one point she is sent out for food but spends so long attempting to convert people at the marketplace that another is sent out to get provisions for the meal before it gets dark! Phoebe asks Junia if she ever gets dissuaded when people are offended by her words. Junia says:

“Why should it? The message of Jesus is offensive....For those who love success, he represents failure, for those who are comfortable, he brings disquiet; he topples those who know themselves to be right; he disturbs those who are pleased with themselves. I’d be more upset if they weren’t offended. I sometimes wonder what the Good News of Jesus Christ will look like when it doesn’t upset people any more.” 

Phoebe explains how she first heard about Jesus after the death of her husband, when she was drawn to the preaching of Quartus while walking in the market place, long after she had been freed as a slave and now employed her own. Many of the slaves in her own house were Christian and she joined them to celebrate the Eucharist in the garden of a large house owned by a sympathetic (but again absent) owner. Phoebe says:

“That was the moment it all changed for me. I didn’t understand what they meant, but for the first time, I did understand something about me. As I ate the bread and drank the wine, something in me shifted. I knew myself to be loved with a love so great that I could barely comprehend it. I knew then that I had to know more about this Jesus Christ.”

As the church waits expectantly for Paul’s promised arrival and prepares foods and provisions for his planned trip to Spain, we are invited to observe how they try to meet the challenge of living their lives “In Christ” how to live together in harmony and how prayer is at the heart of their lives. Prisca says:

“Prayer isn’t like giving in your order for hot food: submitted one moment and delivered the next. But prayer does place us in God’s presence. Prayer opens us up to see what God is already doing. Prayer invites God to be present at the heart of what we are worried about.”

Later in the story, as Phoebe begins to be reconciled with her past, we meet the Apostle Peter whose conversation with her focuses on the nature of forgiveness. He says: 

“Forgiveness is not a magic trick that means we forget all the wrong we have done, or indeed the wrong others have done. We can’t undo the past. I can’t un-deny Jesus....Forgiveness is not about forgetting - it’s about refusing to be chained up by the past, accepting that a door has been opened for us, and walking through that door to freedom.....Like me, you will need to live forgiveness every day of your lives.”

The story tells of the life and ministry of the early church and the strong sense of community and belonging and of loving service to others especially those in need. We see glimpses of pastoral ministry, ministry to the sick and the sacrament of baptism; Titus, a Roman nobleman, sacrifices his status in society and puts his life at risk by agreeing to be publicly baptised in the Tiber, which leads to a heated discussion about the nature of Christian witness - whether we are called to risk rejection (and worse) through public acts of ministry, or to to worship in private and stay out of the way of those in charge. The argument is settled by one of the newest members of the church - one of Titus’s slaves, who asks the “what would Jesus do” question. 

Three years after arriving in Rome with Paul’s letter promising his imminent visit, he finally arrives - but doesn’t come to the area where Phoebe or Prisca and Aquila life, but stays elsewhere in the city. At the end of the story Phoebe received a letter from Paul (delivered by Timothy) encouraging her to go on to Spain ahead of him. As they leave the port of Rome, black smoke is seen rising above the city. 

Phoebe : A Story is a book I could not put down - even though I had other things I “should” have been reading! It was gripping! Paula Gooder provides a rich tapestry of images and characters who not only bring to life St  Paul’s letter to the Romans in a way that no text book or commentary could ever hope to do - but who also offer their own personal perspective on fundamental issues at the heart of our faith in a way that bridges the millennia. 

I hope this “historical imagination” is the first of many!

Phoebe:A Story was published by Hodder & Stoughton in May 2018.