Christmas Without Sentiment: Edith Stein and the God Who Enters Finitude

Every year, Christmas arrives already crowded.

Crowded with lights, crowded with music, crowded with Hallmark Channel movies, crowded with memory and expectation. Even those of us who love the feast time often feel a quiet pressure to feel something specific… joy, warmth, reassurance. Christmas often becomes a kind of emotional performance, even in the church.

As much as our modern nativity scenes of the incarnation of Jesus are a harmony of the birth narratives in Matthew and Luke (an ancient practice going back to the beginnings of Christian writings, as we see in Tatian’s Diatessaron discovered at my beloved Dura Europos in modern-day Syria in the 1930s) with shepherds, angels, magi and timber all mixing together in a crowded space, our own performances and expectations are a harmony of these accumulated cultural projections and perceived normative truths.

Edith Stein helps me breathe differently around Christmas.

Not because she writes sweetly about the nativity… she doesn’t. And not because she offers seasonal reflections in the usual sense. What she gives instead is something far more demanding and, to my mind, far more faithful with a way of understanding Christmas as an event of ontological descent… God entering finitude without rescue clauses.

Incarnation as Entry, Not Appearance

In Finite and Eternal Being, Stein’s central concern is the relationship between eternal being and finite being. Creation itself is already a kind of gift, but the Incarnation intensifies that gift to the point of vulnerability. God does not merely touch finitude from above. God enters it from within, accepting its conditions rather than suspending them (Finite and Eternal Being, 352–360).

This matters for how I think about Christmas and how we should engage with this event, individually and culturally (rather than ceding our engagement to capitalist corporate control).

The child in the manger is not a divine exception to creaturely life. The Christ child is not insulated from time, hunger, exposure, or risk as the Gospels make abundantly clear. Christmas, in Stein’s metaphysical imagination, is the moment when eternal being consents to be shaped by the rhythms of finite existence.

God learns time from the inside. That alone should unsettle most of our Christmas instincts.

Christmas Already Contains the Cross

Stein never allows Christmas to float free from Good Friday. In The Science of the Cross, written during the final years of her life, she describes Christ’s entire existence as a single movement of self-giving love that begins with Incarnation and culminates in total surrender (The Science of the Cross, 20–28).

From this perspective, Christmas is not a pause before suffering begins. It is the first step of suffering and ultimately redemption.

The infant’s vulnerability in the Gospels is not symbolic. It is real. Exposure is not delayed until Calvary. It begins in Bethlehem much as it does today, with the birth of Palestinian children facing so many challenges that they are not responsible for nor should have to inherit.

This is why Stein’s Christmas feels so unsentimental to me. There is no divine safety net quietly waiting backstage. God does not visit human life. God commits to it. Instead of asking “Mary Did You Know?” we should be asking “God, Did You Know?”

Empathy Taken All the Way Down

Years earlier, in On the Problem of Empathy, Stein defines empathy as a way of entering another’s experience without collapsing the distinction between self and other (On the Problem of Empathy, 10–18). Empathy is not projection. It is not imagination alone. It is a disciplined openness to being affected by another while remaining oneself, which is often opposed to modern conceptions of empathy.

When Stein later reflects on the Incarnation, it becomes impossible not to see it as empathy radicalized beyond psychology and into ontology itself.

Christmas is not God observing human life with perfect knowledge. It is God living a human life from within finite consciousness. God allows Godself to be addressed by the world.

As someone working through ecological intentionality, I find Stein quietly indispensable here. Christmas is not just about human salvation. It is about divine responsiveness to material reality… to bodies, to limits, to history.

Hiddenness, Not Spectacle

In Stein’s letters from her Carmelite years, Christmas appears quietly, almost in passing. What she emphasizes is not celebration but hiddenness. God enters the world unnoticed and is recognized only by those keeping watch (the magi and the shepherds, in their respective accounts in Matthew and Luke). Recognition requires attentiveness and intentionality rather than announcement.

My own practices of slow noticing by sitting with a black walnut tree in winter and throughout 2025, attending to bark and leaf litter and time without spectacle, have quietly taught me the value of this sort of intentionality.

Christmas, for Stein, is not loud. There is no grand culmination of Handel’s Messiah. Incarnation happens when no one is watching carefully enough.

Christmas After Auschwitz

It is impossible to read Stein’s later work without knowing how her life ends. A Jewish philosopher, a teacher, a Catholic Carmelite, and murdered at Auschwitz with hundreds of others on August 9, 1942. Christmas, read backward through that history, becomes unbearable if we expect it to function as reassurance.

Stein does not let it.

Christmas does not promise escape from historical suffering. It places God inside it. Eternal being does not hover safely above violence and loss. It enters conditions in which love can be rejected, destroyed, or silenced. That is not comforting in any shallow sense. But it is faithful.

Why I Return to Stein at Christmas

I return to Edith Stein in December because she will not let me sentimentalize the Incarnation. She reminds me that Christmas is not about divine power softened for human consumption. It is about divine vulnerability embraced without reserve.

God becomes finite. God becomes dependent. God is exposed to the elements of Creation as well as human frailty, cruelty, joy, and love.

And in doing so, finitude itself is no longer something to be escaped by rapture or an afterlife of harp playing in the clouds. It becomes the place where meaning happens.

Christmas, then, is not a break from the world’s grief. It is God’s decision to dwell within it and to be directly addressed by that grief. That is a hard truth. But it is also, quietly, a hopeful one… if we are willing to sit still long enough to let it speak.

When you tell your daughters that you collect images of Jonah and they send you one from a Basilica

Pretty cool kids…

It’s always been my conjecture that the Dura Europos Baptistry had images of Jonah present as a representation of the 3-day Resurrection event in a Jewish/Chritian context. There were depictions of Adam and Eve in the Baptistry area (along with Jesus as the Good Shepherd as well as other common representations from the Old Testament/Hebrew Bible in places such as the Catacombs in Rome).

Here’s an image of the Dura Baptistry from the original printing of Dura Europos and Its Art by Prof. M. Rostovtzeff (1938, Oxford Press)… one of my favorite books and possessions:

The top register includes a depiction of Jesus telling the disabled person by the Bethesda Pool to grab their cot and get up and walk off (John 5). It’s a terrific passage.

The amazing (and frustrating thing) is that the register literally flows the pool into a depiction of Jesus walking on water on the Sea of Galilee and getting Peter to hop out of the boat to walk towards him (Mark 6, Matthew 14, and John 6)… which doesn’t turn out well for Peter. The depiction here actually shows Peter sinking in the waves!

Here are the two panels we have with the earliest depictions of Jesus that we know of …

Dura Europos Baptistry Depictions of Jesus Healing the Paralytic and Walking on Water

While a grad student at Yale, I was fortunate enough to spend a couple of years working at the incredible Yale Art Gallery with Prof. Susan Matheson and the talented staff there. One of my “jobs” (it was more like dream assignments) was working in the basement to catalog the Dura Europos collection with digital photography. I got to see this fresco on a pretty regular basis and we became good pals. If I knew then what I know now…

However, the frustrating part is that the water continues to flow to the next register… which has been lost to history after the sack of the (then) Roman Dura Europos in 256-257 CE by Sassanians and subsequent abandonment of the fort / town and eventual disappearance into history before the complete looting of the site by ISIS over the last decade. It’s a sad tale and I had always hoped to travel to Dura and participate in a dig where we’d uncover the other pieces of the top register in the Baptistry that would almost certainly have included Jonah being regurgitated from the fish and therefore seal my case about Jewish-Christianity extending well into the 3rd and 4th centuries. Alas.

Again, Jonah shows up quite often in early Christian artwork and imagery as a signifier of the Resurrection (the Catacombs especially), but I always wanted to see what those genius artists who designed the Dura Europos Baptistry did with the rest of the panels and the water theme as they perched between the edge of the desert and overlooking the Euphrates River.

What did Jesus look like?

I’ve taught a series on depictions of Jesus numerous times at churches and for Sunday Schools of all flavors. This is one of the best pieces I’ve ever read on the subject. Thorough, but approachable.

Plus, there’s a connection to my beloved Dura Europos

However, there is one other place to look: to the synagogue Dura Europos, dating from the early 3rd century. The depiction of Moses on the walls of the synagogue of Dura-Europos is probably the closest fit, I think, since it shows how a Jewish sage was imagined in the Graeco-Roman world. Moses is shown in undyed clothing, appropriate to tastes of ascetic masculinity (eschewing color), and his one mantle is a tallith, since one can see tassels (tzitzith). This image is a far more correct as a basis for imagining the historical Jesus than the adaptations of the Byzantine Jesus that have become standard.

Source: – ANE TODAY – 201803 – What did Jesus look like?

Why We Should Care About Archaeological Destruction

This is terrible…

The Islamic State group released a video on Thursday showing militants using sledgehammers to smash ancient artifacts in Iraq’s northern city of Mosul, describing them as idols that must be removed, according to the Associated Press.

The destructions are part of a campaign by Islamic State, who have destroyed a number of shrines — including Muslim holy sites — in order to eliminate what they view as heresy.

via Islamic State Video Shows Militants Destroying Museum Artifacts in Iraq – Dispatch – WSJ.

While the world was watching the Academy Awards ceremony, the people of Mosul were watching a different show. They were horrified to see ISIS members burn the Mosul public library. Among the many thousands of books it housed, more than 8,000 rare old books and manuscripts were burned.

via ISIS Burns 8000 Rare Books and Manuscripts in Mosul – Yahoo! Finance

Let’s not forget that people of many faiths (ancient and modern) have used the defacement or destruction of art or cultural items as a way to “wipe the slate clean” of previous heresies. From Hatsheput to Josiah pulling down the high places in Israel to the burning of books, these tactics are power plays designed to show that the deity or deities are on one’s side in a presumed theo-political battle.

Lost in the fear that ISIS / ISIL / IS is imminently planning to attack the US is the cultural damage this collection of people are doing to museums and sites in Syria (Damascus, Antioch, Palmyra, Dura Europos) and northern Iraq (Mosul / Nineveh).

Specifically for the stories linked above, the modern city of Mosul sites very near Nineveh, the historical capital of the Assyrian Empire, at its height in the 9th-7th centuries BCE. Believe it or not, Assyrian artifacts caused quite a rage in the late 1800’s after Sir Henry Austen Layard’s discovery of Assyrian palaces in the 1850’s.

These artifacts directly impacted the development of the missionary movement as northeastern universities used these impressive pieces of art as proof of God’s providence (as the folks in Jerusalem were saved from Sennacherib’s invasion by God’s hand according to the book of Kings… the folks in the Northern Kingdom of Israel as well as Lachish were less fortunate).

While doing graduate studies at Yale, I somehow lucked into a dream job at the Yale Art Gallery. I was so fascinated by the Assyrian antiquities there and the story of why Yale, Harvard, Amherst, Williams etc were so passionate about securing Assyrian pieces for their own collections in the 1800’s that I wrote a book about it:

This accompanying text to the Yale University Art Gallery’s famed Assyrian reliefs details the 19th-century American frenzy for reliefs taken from Assurnasirpal II’s magnificent palace in Kalhu near the Tigris River. The discovery of the palace by the British in 1845 captured the Victorian public’s imagination, leading to the discovery of other architectural sites and the deciphering of the Assyrian language. Soon, American missionaries sought to procure artifacts for their alma maters, most often coveting reliefs that were religious in content. William Frederic Williams was one such missionary and former Yale faculty member. He, along with Yale Medical School graduate Henry Lobel, secured six slabs from Assurnasirpal’s palace, which were divided up between Yale, Amherst, and Union Seminary in Utica. Harrelson analyzes at length the two reliefs obtained by Yale. He touches on the technical aspects of the materials as well as the reliefs’ religious iconography, situating them within the palace as a whole.

via Asia Has Claims Upon New England by Sam Harrelson, Yale University Art Gallery

Along with the atrocities being done by groups such as IS to other humans, we should care about the destruction of irreplaceable pieces of world history whenever it happens. For those of us with a more jingoist mindset, we should especially care when these cultural pieces are directly tied to our own history and majority religion.

William F. Williams wrote back to his benefactors at Yale from the city of Mosul in the 1850’s that, “Asia has claims upon New England.” Perhaps that has never been more true in the modern context.

Thomas and I will definitely discuss this on the next Thinking Religion, so give that a listen if you’re interested.

I pray for peace.

Yale’s Religious Treasures

My masters degree in religion is from Yale, and it’s great to see the religious treasures there highlighted. However, I can’t believe the Dura Europos baptistry (from the earliest house church we’ve recovered and one of the first depictions of Jesus we have) didn’t make the list (the Mithraeum did, though… which is also spectacular).

Nevertheless, good read and makes me miss my days working in the Yale Art Gallery as a grad assistant…

In reality, this supposed bastion of elite godless education is teeming with people studying religion, teaching religion, and doing religion. Yale has a divinity school with a Christian identity, albeit a non-denominational one that welcomes students of other religions and no religions. It has two large chapels, the famed Battell Chapel on the undergraduate campus and the graceful Marquand Chapel at the divinity quadrangle. And Yale, a place that started out as a training ground for Congregationalist ministers (whose students included none other than Jonathan Edwards) retains to this day a dazzling array of religious treasures and relics, all publicly available.

via 15 Religion Treasures at Yale | Tom Krattenmaker.

More on Dura Europos Looting

The first image is the site of Dura Europos from June 28 2012 and the second image is from April 2 2014 (notice how many looting holes there are now):

  

Dura Europos is located right near the border of Syria and Iraq on the Euphrates and is an archaeological record of the strife this area has faced for millenia. The little fort town only existed as a functioning place for about 500 years, but was controlled by the Macedonians, Persians, Parthians, and Romans before finally being destroyed and left for us to recover by the Sassanians around 256 CE. We’ve discovered incredible records of our shared human culture such as the earliest depictions of Jesus, a full Mithraeum, a rather intact Roman citadel, and a “painted” Jewish synagogue complete with depictions of Hebrew Bible / Old Testament narratives that still cause wonderment from scholars.

It’s sad that we’re not hearing more about this cultural loss.

From the US State Department regarding looting at Dura Europos and many similar (very important) archaeological sites in Syria…

This unique Classical-period site, founded in the 3rd century BC and occupied until the 3rd century AD, demonstrates the diversity of the ancient Middle East. One of the world’s earliest churches was discovered here, as was one of the oldest preserved synagogues and numerous temples devoted to polytheistic deities. This important site of approximately 150 acres (60 hectares) is now covered by looters’ pits.

via Imagery of Archaeological Site Looting | Bureau of Educational and Cultural Affairs.