Creative Suffering Audiolibro Por Iulia de Beausobre arte de portada

Creative Suffering

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Creative Suffering

De: Iulia de Beausobre
Narrado por: Virtual Voice
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 FAIRACRES PUBLICATIONS 88

In the early days of World War II, a Russian exile in London was asked to talk to Anglican theological students about suffering; this booklet is the text of that talk. Underlying all that Iulia de Beausobre had to say is the assumption that ’something can be made of suffering’, as Patrick Thompson wrote in his Foreword to the original edition. She did not speak from hearsay, having shared personally in the mental and physical suffering of the Russian people in the first half of the twentieth century. She had already described something of that experience in The Woman Who Could Not Die (1938). This was further explored in Constance Babington Smith’s 1983 biography, Iulia de Beausobre, a Russian Christian in the West.
It is against the background of terror and cruelty on a huge scale that the author illuminates the way in which the Russian people have always received suffering, and what they have learned to do with it. She is particularly concerned with ‘man’s inhumanity to man’ and cruelty as a symptom of an evil whose roots lie deeper than anything in human experience. It is precisely at its roots that evil has been decisively defeated by Christ in the divine mystery of suffering willingly accepted for the sake of love. The appeal of this deeply thoughtful essay is as strong and its message as cogent now as in the dark days of 1940. It is also the testimony of one who, with many of her compatriots, learned to claim the power of Christ’s victory in face of their persecutors, and so make their suffering ‘creative’ like his.

Iulia de Beausobre, née Iulia Michaelovna Kazarina(1893–1977) was a Russian émigré who made her home in England after her exile from Russia. After her marriage she became Julia, Lady Namier. She wrote several works on Christian spirituality, and a biography of her husband, British historian Lewis Bernstein Namier (1971), for which she received th James Tait Black Award.
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